Young Einstein Tail Credits
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SEM 62 Annual Meeting
SEM 62nd Annual Meeting Denver, Colorado October 26 – 29, 2017 Hosted by University of Denver University of Colorado Boulder and Colorado College SEM 2017 Annual Meeting Table of Contents Sponsors .............................................................................................................................................................................................................. 1 Committees, Board, Staff, and Council ................................................................................................................................................... 2 – 3 Welcome Messages ............................................................................................................................................................................................. 4 Exhibitors and Advertisers ............................................................................................................................................................................... 5 General Information ................................................................................................................................................................................. 5 – 7 Charles Seeger Lecture...................................................................................................................................................................................... 8 Schedule at a Glance. ........................................................................................................................................................................................ -
PLUNGE #305 - William K
20--MANCHESTER HERALD, Friday, Oct. 1.^, 1989 READ YOUR AD: ClassiFed odvertlsoments a r t I qi^ cars I CARS [g^CARS I CARS W E D ELIVER taken by telephone os o conyenlence. The FOR SALE FOR SALE FOR SALE Manchester Herald Is responsible For only one FOR SALE For Horr>© Del: 'sry. Call Incorrect Insertion and then only tor the size oF 6 4 7 - 9 9 4 6 the original Insertion. E . rorswhichdonot lessen the yolue oF the advertisement will not be 1984 HONDA Civic Wagon CHEVROLET 1980 Ma O L D S M O B IL E 1981 R e CHEVROLET 1985 Celeb Monday to Friday. 9 to 6 - 646-0767 or 649-4554, libu - 4 door, good gency - Loaded, must rity wagon. Excellent corrected by on additional Insertion._____________ J o c k . ________ condition. $1,250. 643- sell. 643-1364.___________ condition. V-6 auto 1986 JEEP Wogoneer Li 5484. 1984 CELEBRITY-4door, matic, power steerlng- /brakes, air, cruise. CARS mited - Excellent con CHEVROLET 1974 Co Fully equipped, excel CARS CARS dition, 43,000 miles, moro - New point, new lent condition. $3,500. $4,500 or best otter. IQI i FOR SALE 647-8894. FOR SALE automatic, olr condl- vinvl top, 6 cylinder 1987 MUSTANG LX - 4 I^^H foR sale FOR SALE tlonlng, om/tm automatic, $1,750. Ne cylinder, hatchback, 5 cassette, leather Inte- gotiable. 649-8944, speed, $6,500. 646-2392. rlor. $10,900, 643-2938. leave message. TRUCKS/VANS 1984 FORD Escort Wagon C O R V E T T E 1971 S tlno STEAL It. -
![COMPLETE MUSIC LIST by ARTIST ] [ No of Tunes = 6773 ]](https://docslib.b-cdn.net/cover/5125/complete-music-list-by-artist-no-of-tunes-6773-465125.webp)
COMPLETE MUSIC LIST by ARTIST ] [ No of Tunes = 6773 ]
[ COMPLETE MUSIC LIST by ARTIST ] [ No of Tunes = 6773 ] 001 PRODUCTIONS >> BIG BROTHER THEME 10CC >> ART FOR ART SAKE 10CC >> DREADLOCK HOLIDAY 10CC >> GOOD MORNING JUDGE 10CC >> I'M NOT IN LOVE {K} 10CC >> LIFE IS A MINESTRONE 10CC >> RUBBER BULLETS {K} 10CC >> THE DEAN AND I 10CC >> THE THINGS WE DO FOR LOVE 112 >> DANCE WITH ME 1200 TECHNIQUES >> KARMA 1910 FRUITGUM CO >> SIMPLE SIMON SAYS {K} 1927 >> IF I COULD {K} 1927 >> TELL ME A STORY 1927 >> THAT'S WHEN I THINK OF YOU 24KGOLDN >> CITY OF ANGELS 28 DAYS >> SONG FOR JASMINE 28 DAYS >> SUCKER 2PAC >> THUGS MANSION 3 DOORS DOWN >> BE LIKE THAT 3 DOORS DOWN >> HERE WITHOUT YOU {K} 3 DOORS DOWN >> KRYPTONITE {K} 3 DOORS DOWN >> LOSER 3 L W >> NO MORE ( BABY I'M A DO RIGHT ) 30 SECONDS TO MARS >> CLOSER TO THE EDGE 360 >> LIVE IT UP 360 >> PRICE OF FAME 360 >> RUN ALONE 360 FEAT GOSSLING >> BOYS LIKE YOU 3OH!3 >> DON'T TRUST ME 3OH!3 FEAT KATY PERRY >> STARSTRUKK 3OH!3 FEAT KESHA >> MY FIRST KISS 4 THE CAUSE >> AIN'T NO SUNSHINE 4 THE CAUSE >> STAND BY ME {K} 4PM >> SUKIYAKI 5 SECONDS OF SUMMER >> DON'T STOP 5 SECONDS OF SUMMER >> GIRLS TALK BOYS {K} 5 SECONDS OF SUMMER >> LIE TO ME {K} 5 SECONDS OF SUMMER >> SHE LOOKS SO PERFECT 5 SECONDS OF SUMMER >> SHE'S KINDA HOT {K} 5 SECONDS OF SUMMER >> TEETH 5 SECONDS OF SUMMER >> WANT YOU BACK 5 SECONDS OF SUMMER >> YOUNGBLOOD {K} 50 CENT >> 21 QUESTIONS 50 CENT >> AYO TECHNOLOGY 50 CENT >> CANDY SHOP 50 CENT >> IF I CAN'T 50 CENT >> IN DA CLUB 50 CENT >> P I M P 50 CENT >> PLACES TO GO 50 CENT >> WANKSTA 5000 VOLTS >> I'M ON FIRE 5TH DIMENSION -
MUSIC LIST Email: Info@Partytimetow Nsville.Com.Au
Party Time Page: 1 of 73 Issue: 1 Date: Dec 2019 JUKEBOX Phone: 07 4728 5500 COMPLETE MUSIC LIST Email: info@partytimetow nsville.com.au 1 THING by Amerie {Karaoke} 100 PERCENT PURE LOVE by Crystal Waters 1000 STARS by Natalie Bassingthwaighte {Karaoke} 11 MINUTES by Yungblud - Halsey 1979 by Good Charlotte {Karaoke} 1999 by Prince {Karaoke} 19TH NERVIOUS BREAKDOWN by The Rolling Stones 2 4 6 8 MOTORWAY by The Tom Robinson Band 2 TIMES by Ann Lee 20 GOOD REASONS by Thirsty Merc {Karaoke} 21 - GUNS by Greenday {Karaoke} 21 QUESTIONS by 50 Cent 22 by Lilly Allen {Karaoke} 24K MAGIC by Bruno Mars 3 by Britney Spears {Karaoke} 3 WORDS by Cheryl Cole {Karaoke} 3AM by Matchbox 20 {Karaoke} 4 EVER by The Veronicas {Karaoke} 4 IN THE MORNING by Gwen Stefani {Karaoke} 4 MINUTES by Madonna And Justin 40 MILES OF ROAD by Duane Eddy 409 by The Beach Boys 48 CRASH by Suzi Quatro 5 6 7 8 by Steps {Karaoke} 500 MILES by The Proclaimers {Karaoke} 60 MILES AN HOURS by New Order 65 ROSES by Wolverines 7 DAYS by Craig David {Karaoke} 7 MINUTES by Dean Lewis {Karaoke} 7 RINGS by Ariana Grande {Karaoke} 7 THINGS by Miley Cyrus {Karaoke} 7 YEARS by Lukas Graham {Karaoke} 8 MILE by Eminem 867-5309 JENNY by Tommy Tutone {Karaoke} 99 LUFTBALLOONS by Nena 9PM ( TILL I COME ) by A T B A B C by Jackson 5 A B C BOOGIE by Bill Haley And The Comets A BEAT FOR YOU by Pseudo Echo A BETTER WOMAN by Beccy Cole A BIG HUNK O'LOVE by Elvis A BUSHMAN CAN'T SURVIVE by Tania Kernaghan A DAY IN THE LIFE by The Beatles A FOOL SUCH AS I by Elvis A GOOD MAN by Emerson Drive A HANDFUL -
Cosmos: a Spacetime Odyssey (2014) Episode Scripts Based On
Cosmos: A SpaceTime Odyssey (2014) Episode Scripts Based on Cosmos: A Personal Voyage by Carl Sagan, Ann Druyan & Steven Soter Directed by Brannon Braga, Bill Pope & Ann Druyan Presented by Neil deGrasse Tyson Composer(s) Alan Silvestri Country of origin United States Original language(s) English No. of episodes 13 (List of episodes) 1 - Standing Up in the Milky Way 2 - Some of the Things That Molecules Do 3 - When Knowledge Conquered Fear 4 - A Sky Full of Ghosts 5 - Hiding In The Light 6 - Deeper, Deeper, Deeper Still 7 - The Clean Room 8 - Sisters of the Sun 9 - The Lost Worlds of Planet Earth 10 - The Electric Boy 11 - The Immortals 12 - The World Set Free 13 - Unafraid Of The Dark 1 - Standing Up in the Milky Way The cosmos is all there is, or ever was, or ever will be. Come with me. A generation ago, the astronomer Carl Sagan stood here and launched hundreds of millions of us on a great adventure: the exploration of the universe revealed by science. It's time to get going again. We're about to begin a journey that will take us from the infinitesimal to the infinite, from the dawn of time to the distant future. We'll explore galaxies and suns and worlds, surf the gravity waves of space-time, encounter beings that live in fire and ice, explore the planets of stars that never die, discover atoms as massive as suns and universes smaller than atoms. Cosmos is also a story about us. It's the saga of how wandering bands of hunters and gatherers found their way to the stars, one adventure with many heroes. -
The Collaboration of Mileva Marić and Albert Einstein
Asian Journal of Physics Vol 24, No 4 (2015) March The collaboration of Mileva Marić and Albert Einstein Estelle Asmodelle University of Central Lancashire School of Computing, Engineering and Physical Sciences, Preston, Lancashire, UK PR1 2HE. e-mail: [email protected]; Phone: +61 418 676 586. _____________________________________________________________________________________ This is a contemporary review of the involvement of Mileva Marić, Albert Einstein’s first wife, in his theoretical work between the period of 1900 to 1905. Separate biographies are outlined for both Mileva and Einstein, prior to their attendance at the Swiss Federal Polytechnic in Zürich in 1896. Then, a combined journal is described, detailing significant events. In additional to a biographical sketch, comments by various authors are compared and contrasted concerning two narratives: firstly, the sequence of events that happened and the couple’s relationship at particular times. Secondly, the contents of letters from both Einstein and Mileva. Some interpretations of the usage of pronouns in those letters during 1899 and 1905 are re-examined, and a different hypothesis regarding the usage of those pronouns is introduced. Various papers are examined and the content of each subsequent paper is compared to the work that Mileva was performing. With a different take, this treatment further suggests that the couple continued to work together much longer than other authors have indicated. We also evaluate critics and supporters of the hypothesis that Mileva was involved in Einstein’s work, and refocus this within a historical context, in terms of women in science in the late 19th century. Finally, the definition of, collaboration (co-authorship, specifically) is outlined. -
Exporting Truth from Aboriginal Australia
TOBY MIu.ER EXPORTING TRUTH FROM ABORIGINAL AUSTRAUA IPORTIONS OF OUR PAST BECOME PRESENT AGAIN, WHERE ONLY THE MELANCHOLY LIGHT OF ORIGIN SHINES' J don't think there can be any doubt that unnecessarily. Of course, we could look for Aborigines have been the most important the global trace of contemporary Australia Australian exporters of social theory and by a form of desperate content analysis. cultural production to the northern Adding up references to it in the Manhanan hemisphere over the past century. How fiction of Jay Mcinerney, for example: eight could one come to such a conclusion? in Bright Lights, Big City (986) if you count When Jock Given approached me to write the 1984 New York Post, none if you don't; this paper, he referred to a recent essay of four in Ransom (] 987); ten in Story ofMy Life mine. It began like this: 'When Australia (989) if you count each mention of Nell's, became modem, it ceased to be interesting'. three if you don't; and none in Brightness I ran the argument there that Aboriginal Falls (992). Or we could turn to the 1995 Australia had provided Europe with a 'Down Under' episode of The Stmpsons, in 'photographic negative' of itself. The which a State Department representative essence of the north, s~creted by the briefs the family on bilateral relations: 'As blllowtng engines and disputatious I'm sure you remember, in the late 1980s the parliaments of the modern, could be US experienced a short-lived infatuation secreted by examining 'the prediarnarue with Australian culture (this is accompanied realities of the Antipodean primordial' by a cartoon-slide of Paul Hogan as (Miller T 1994. -
The Spiral Dynamics of Cinema Studies Provisionally Drafted by Alex Burns ([email protected])
1 The Spiral Dynamics of Cinema Studies Provisionally Drafted by Alex Burns ([email protected]). Version 0.1 (December 1998) Comment (8th November 2007) I wrote this as a course proposal outline whilst in the Cinema Studies undergraduate program at Australia’s La Trobe University in 1998. I had been studying the Spiral Dynamics® psychological model of levels of human existence for about 18 months, and had also been corresponding with Howard Bloom and Richard Metzger. This represented a first attempt to codify the SD model using film content as examples of the models and dynamics. The artefact is from my ‘early stage’ exploration of the SD model, written with good intent but a novice’s understanding. This document has several limitations. It relied on the SD colour scheme, and prioritised breadth and span over situated depth. The selected films and sequences reflected several personal theories about media analysis and the scientific debate on memetics and were heavily influenced by the pre-millennial sub-currents of the mid- to-late 1990s. I hadn’t taken the SD practitioner training I and II at the time. My knowledge of Cinema Studies frameworks and models also varied. Thus, today I wouldn’t necessarily endorse the films or their SD codification now as correct or representative of the Beck & Cowan model or Clare W. Graves’ original research. This is provided for historical interest and self-research purposes only. I subsequently developed a more precise methodology in 2003 whilst in the Strategic Foresight masters program at Swinburne University. I trialled it in workshops at SD practitioner training and the Australian festival This Is Not Art in 2003 and 2004. -
Midnite Spares Music Credits
music Cameron Allan music consultant Phil Matthews additional music Graham Bidstrup music recorded at Studio 301 'Love is the Law' song by Paul Kelly Additional thanks to Regular Records Festival Music Deluxe Records Matthews Music Roland - logo Mushroom Music There is a band featured in the strip tease which occurs towards the end of the movie: Composer Cameron Allan: Cameron Allan made his screen composing debut for director Jim Sharman at the age of 19, composing the score for Sharman's second feature film Summer of Secrets. He received another leg up when Peter Sculthorpe couldn't do a gig for a show on the ABC, Ten Australians - About Art, and suggested Allan for the job, provided he could do the music in a week. Allan went on to work on television shows for the ABC and commercial television, for feature films such as The Umbrella Woman and Hayden Keenan's Pandemonium, the rarely seen telemovie Call Me Mr. Brown, and Susan Lambert and Sarah Gibson's documentary Landslides. Allan was born in Melbourne but moved to Sydney and went to Meadowbank Boys High School. On the second go, he was accepted into the Conservatorium of Music. Along the way, Cameron had also spent time in the National Youth Orchestra and the Gladesville RSL Junior Brass Band. Cameron began doing theatre work, and toured Australia with Carl Vine (the pianist on this soundtrack) as part of the Australian Young Composers group. Allan then made a career change, and formed a partnership with Martin Fabinyi called Regular Records. His pop music credits included producing Mutants of Modern Disco by Captain Goodvibes, and producing Mental as Anything, including hits such as The Nips are getting bigger and If You Leave Me Can I Come To. -
Song List by Artist
Song List by Artist Artist Song Name 10,000 MANIACS BECAUSE THE NIGHT EAT FOR TWO WHAT'S THE MATTER HERE 10CC RUBBER BULLETS THINGS WE DO FOR LOVE 112 ANYWHERE [FEAT LIL'Z] CUPID PEACHES AND CREAM 112 FEAT SUPER CAT NA NA NA NA 112 FEAT. BEANIE SIGEL,LUDACRIS DANCE WITH ME/PEACHES AND CREAM 12TH MAN MARVELLOUS [FEAT MCG HAMMER] 1927 COMPULSORY HERO 2 BROTHERS ON THE 4TH FLOOR COME TAKE MY HAND NEVER ALONE 2 COW BOYS EVERYBODY GONFI GONE 2 HEADS OUT OF THE CITY 2 LIVE CREW LING ME SO HORNY WIGGLE IT 2 PAC ALL ABOUT U BRENDA’S GOT A BABY Page 1 of 366 Song List by Artist Artist Song Name HEARTZ OF MEN HOW LONG WILL THEY MOURN TO ME? I AIN’T MAD AT CHA PICTURE ME ROLLIN’ TO LIVE & DIE IN L.A. TOSS IT UP TROUBLESOME 96’ 2 UNLIMITED LET THE BEAT CONTROL YOUR BODY LETS GET READY TO RUMBLE REMIX NO LIMIT TRIBAL DANCE 2PAC DO FOR LOVE HOW DO YOU WANT IT KEEP YA HEAD UP OLD SCHOOL SMILE [AND SCARFACE] THUGZ MANSION 3 AMIGOS 25 MILES 2001 3 DOORS DOWN BE LIKE THAT WHEN IM GONE 3 JAYS FEELING IT TOO LOVE CRAZY EXTENDED VOCAL MIX 30 SECONDS TO MARS FROM YESTERDAY 33HZ (HONEY PLEASER/BASS TONE) 38 SPECIAL BACK TO PARADISE BACK WHERE YOU BELONG Page 2 of 366 Song List by Artist Artist Song Name BOYS ARE BACK IN TOWN, THE CAUGHT UP IN YOU HOLD ON LOOSELY IF I'D BEEN THE ONE LIKE NO OTHER NIGHT LOVE DON'T COME EASY SECOND CHANCE TEACHER TEACHER YOU KEEP RUNNIN' AWAY 4 STRINGS TAKE ME AWAY 88 4:00 PM SUKIYAKI 411 DUMB ON MY KNEES [FEAT GHOSTFACE KILLAH] 50 CENT 21 QUESTIONS [FEAT NATE DOGG] A BALTIMORE LOVE THING BUILD YOU UP CANDY SHOP (INSTRUMENTAL) CANDY SHOP (VIDEO) CANDY SHOP [FEAT OLIVIA] GET IN MY CAR GOD GAVE ME STYLE GUNZ COME OUT I DON’T NEED ‘EM I’M SUPPOSED TO DIE TONIGHT IF I CAN’T IN DA CLUB IN MY HOOD JUST A LIL BIT MY TOY SOLDIER ON FIRE Page 3 of 366 Song List by Artist Artist Song Name OUTTA CONTROL PIGGY BANK PLACES TO GO POSITION OF POWER RYDER MUSIC SKI MASK WAY SO AMAZING THIS IS 50 WANKSTA 50 CENT FEAT. -
THE MICHIGAN REVIEW Volume 19, Number 3 the Campus Affairs Journal of the University of Michigan September 27
i · THE MICHIGAN REVIEW Volume 19, Number 3 The Campus Affairs Journal of the University of Michigan September 27. 2000 Nike Ditches U of M Over of WRC --Instead ojrecieving $24 millionjrom Nike, school to pay $760,0001.....-- By MATTHEW FRANCZAK will be used to pay the $760,000 necessary U of M's contract to the level of any other has signed a contract with Michigan State to purchase the equipment Nike would Nike-sponsored university that negotiated University for sponsorship. Nike still must IKE MANY MAJOR universities, the have provided. a better deal, and a "living wage" condition pay some royalties on U ofM merchandise University of Michigan's high profile Originally, Nike was prepared to sign which the University itself might have it sells, but these are not nearly as lucrative L athletics are capable of drawing a a contract worth $24 million over the trouble meeting. The open-ended nature as the proposed contract. lucrative sponsorship contract from athletic course ofsix years. This enormous contract of these cwo provisions combined with the One of the key factors in the apparel companies and up was expected to be closed despite some University's membership in the Worker's breakdown of negotiations, the "living until this year, had received custom service problems and objections by Rights Coalition (WRC) proved to be too wage" requirement and WRC exactly such an arrangement membership, can be traced to political from Nike. With a 6-year $8 pressure applied by the anti-sweatshop million dollar contract movement. The University group most coming to an end, the University was in actively involved in this cause is Students the process of negotiating another 6-year Organizing for Labor and Economic contract in which it would receive $24 Equality (SOLE). -
Stir Music Credits
Music Cameron Allan music conductor Chris Nichols Cameron Allan is an under-rated composer who began working during the Australian revival (and often working with Chris Nichols as conductor, though Nichols is credited as Nicolls on Jim Sharman's adaptation of Patrick White's The Night the Prowler). Allan was inclined to the "less is more" style of screen music, in contrast to say Brian May's notion of "more can never be enough, more please" style. Allan was also inclined to exotic instrumentation suggesting Asian influences. Both tendencies can be seen in his work for Stir, and it has a moderating influence on any tendency to drift towards melodrama. Ben Goldsmith made these astute comments on use of music in the film: The use of music … throughout the film is … noteworthy. Music is rare in the film, but it is used extremely effectively. It is heard for the first time at the end of this scene (the opening stylised sequence shot with a blue filter) providing a bridge to the title sequence that follows. Cameron Allan's score is minimalist in style, consisting solely of short repeated phrases, often only one or two notes, on pizzicato strings or piano, often accompanied by a variety of percussion instruments - chimes, wooden blocks, rattles - suggesting the characteristic soundscape of the institution: the ominous, oppressive rhythm of officers' footsteps along cell block corridors, bolts clanging, keys jangling, doors slamming, sirens wailing. It is not until the end credit sequence that the music comes anywhere near a pleasant melody, but even here the piano is hesitant, with notes allowed to reverberate as we contemplate the rioters' fate.