The Holy Grail: Searching for the Perfect Accent Psychometric Testing: We Know What You Are Thinking
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Agreement for Development/Sale This
1 AGREEMENT FOR DEVELOPMENT/SALE THIS AGREEMENT is made on this ____thday of ___________of the year Two Thousand and Eighteen. BETWEEN: MADKAIKAR BUILDER & DEVELOPERS being a proprietary firm of Pandurnag A. Madkaikar having its registered office at 4th floor, Mathias Plaza, 18th June Road, Panaji, Goa, PAN No ACRPM3199F represented its power of attorney holder herein by MRS. JANITA PANDURANG MADKAIKAR, wife of Mr. Pandurang Arjun Madkaikar, Age___ Years, Married, PAN No. ACRPM3200B, Indian National, Residing at “ASHIYANA” Behind Bom Jesus Basilica, Old Goa, Ilhas Goa, Hereinafter referred to as the BUILDER/SELLER (which expression shall include their respective heirs, successors, administrators, executor’s and assigns) of the FIRST PART. A N D 1) _________________, ______________, age ___yrs old, Indian National,_____,_______, having PAN no _________,and resident of ___________________.Hereinafter referred to as the "PURCHASER" (which expression shall unless it be repugnant to the context or meaning thereof mean and include her heirs, successors, legal representatives and assigns) of the SECOND PART. WHEREAS there exists two separate properties known as “TERCEIRA ADDICAO AND QUARTA ADICAO DO PREDIO DENOMINADO TERON PARTE DO PALMAR GRANDE” admeasuring 11,100 sq. mtr., and 16,875 sq. mts., surveyed under No. 15/5 known as “VISILALEM BHAT” and 16/0 known as “DAHNACHEN” respectively, situated at Gaaundalim, S.Bras Parish, Tiswadi Taluka, within the Paanchayat limits of 2 Cumbharjua, Registration Sub-District of Ilhas, District of North Goa and State of Goa more particularly described in Schedule I and II respectively and which shall be hereinafter be referred to as “the Said Plot.” AND WHEREAS the Owners/Builder is the sole and exclusive Owners in possession of the Said Property having purchased the same vide the Deed of Sale dated 01/12/2003 registered before the Sub Registrar of Ilhas, under Registered No. -
CIN Company Name Date of AGM(DD-MON-YYYY)
CIN L35911GA1980PLC000400 Company Name AUTOMOBILE CORPORATION OF GOA LIMITED Date Of AGM(DD-MON-YYYY) 31-JUL-2015 Sum of unpaid and unclaimed dividend 1563725 Sum of interest on unpaid and unclaimed dividend 0 Sum of matured deposit 0 Sum of interest on matured deposit 0 Sum of matured debentures 0 Sum of interest on matured debentures 0 Sum of application money due for refund 0 Sum of interest on application money due for refund 0 Father/Husb Proposed Date of Middle Father/Husband Amount First Name Last Name Father/Husband First Name and Middle Address Country State District PINCode Folio Number of Securities Investment Type transfer to IEPF Name Last Name Due(in Rs.) Name (DD-MON-YYYY) A DHANALAKSHMI N ARUMUGASAMY 381 KONNUR HIGH ROAD OTTERY MADRAS Amount for unclaimed NA NA INDIA Tamil Nadu 600012 0000000000AUA0000009 1,425.00 11-SEP-2018 and unpaid Dividend A K ESAIARASAN A G KALYANA SUNDARAM C/O SWADESHI POLYTEX LTD M S S MEMORIAL BLDG Amount for unclaimed NA NA INDIA Tamil Nadu 641002 0000000000AUA0000019 700.00 11-SEP-2018 D B ROAD R S PURAM COIMBATORE and unpaid Dividend A K SAKTHIVEL A KARUPPIAH NADAR 112 I C A COLONY VIRUDHU NAGAR Amount for unclaimed NA NA INDIA Tamil Nadu 626001 0000000000AUA0002856 62.50 11-SEP-2018 and unpaid Dividend A N H BANGDIWALIA NAZMULHUSSEN A B NEW CHAPPRA BLDG FLAT NO 4 1ST FLR TURNER Amount for unclaimed NA NA INDIA Maharashtra 400050 0000000000AUA0000038 600.00 11-SEP-2018 RD OPP BANDRA LAKE BANDRA(W) MUMBAI and unpaid Dividend A RAMACHANDRAN ANANTHA SASTRY 25 N S IYENGAR STREET SESHADRIPURAM Amount -
Brand Finance Monarchy 2017 Report
Monarchy 2017 The annual report on the value of the British Monarchy November 2017 To coincide with the granting of the Brand Finance Coat of Arms by the College of Arms Contents Foreword Foreword 3 This year marks exactly 25 years since the Windsor Castle fire – the event that came to symbolise the nadir of the sovereign’s annus horribilis. Executive Summary 4 A quarter of a century on from one of its most turbulent years, the British Brand Finance Network Comments 10 Monarchy is enjoying immense popularity. As the Queen and Duke of Methodology 12 Edinburgh celebrate their Platinum Wedding Anniversary and reduce their public engagements, the attraction of the youngest generation of the Royal The Value of Royal Warrants 14 Family ensures the institution’s survival in the future. The Monarchy and British Luxury Brands in China 15 Thanks to this combination of high esteem and universal appeal, the Monarchy’s influence extends far beyond pomp and circumstance, and Coats of Arms – Past and Present 16 generates a substantial uplift to the UK economy, spanning various Why Coats of Arms Matter to Brands 17 David Haigh industries. CEO Brand Finance Coats of Arms Service 18 Brand Finance plc Since its inception in 2012, our study attempts to capture the contribution generated by the Monarchy to tourism, trade, media, and the effect it has on About Brand Finance & Contact Details 19 [email protected] Brand Britain as well as on British corporate brands benefitting from Royal Warrants and Coats of Arms but also informal endorsements from members of the Royal Family. -
Austrian Music Export Handbook
Austrian Music Export Handbook Table of Contents Imprint.................................................................................................................................................................................................. 5 Introduction........................................................................................................................................................................................ 6 PART 1 - GENERAL INFORMATION.................................................................................................................................................... 7 Geogr p!ic l # t nd Tr n$port In%r $tructure.............................................................................................................. 7 Gener l In%ormation ................................................................................................................................................................ 7 Town$ nd Citie$ ...................................................................................................................................................................... ( Admini$tr ti)e #i)i$ion$......................................................................................................................................................... * Tr n$port +Touring in Au$tri ,.............................................................................................................................................. * Import nt Cont ct$, Re" ted Lin.$ .............................................................................................................................. -
Video Game Composers Apm's Adam Taylor Nathan Barr
FILM MUSIC pdalnkbaooekj]hrke_akbiqoe_bknbehi]j`pahareoekj VIDEO GAME COMPOSERS TOP GAME COMPOSERS ON THE ART, CRAFT AND BUSINESS OF VIDEO GAMES APM’S ADAM TAYLOR MUSIC LIBRARIES AND VIDEO GAME MUSIC NATHAN BARR SCORING HORROR AND HOSTEL: PART II ALF CLAUSEN THE SIMPSONS’ 400TH EPISODE JEFF & MYCHAEL THE FIRST BROTHERS OF FILM SCORING DANNA FINALE TIPS FOR COMPOSERS RKHQIA3JQI>AN/ 2*1,QO 4*1,?=J=@= + PLUS THE BUSINESS OF BUYOUTS RE@AKC=IA?KILKOANO 5GD8NQKCNE (".& $0.104*/( BY PETER LAWRENCE ALEXANDER WITH GREG O’CONNOR-READ 14 ! filmmusicmag.com In a rapidly changing technological environment that’s highly competitive, composers the world over are looking for new opportunities that enable them to score music, and for a livable wage. One of the emerging arenas for this is game scoring. Originally the domain of all synth/sample scores, game music now uses full orchestras, along with synth/sample libraries. To gain a feel for this industry, and to help you, the reader, decide if game scoring is something you want to pursue, Film Music Magazine has established an unprecedented panel in print: six top video game composers with varying styles and musical tastes, plus top game composer agent Bob Rice of Four Bars Intertainment. As you read the interviews, it will become quickly apparent that while there are many Let’s pretend that you’ve started a new music school course just for game composers. Given your experience, similarities between film and TV, and game what would you insist every student learn to master, and scoring, one major difference arises that is why? Rod Abernethy and Jason Graves:E^Zkgrhnklmk^g`mal literally within the mind of the composer. -
Soundtrack Booklet BOII.Pdf
CALL OF DUTY®: BLACK OPS II ORIGINAL SOUNDTRACK TRACK LIST 1. Theme from Call of Duty® Black Ops II 25. DeFalco’s Theme 2. Alex and David 26. Symphony No. 40 in Gminor, Mozart K550 (Allegro Molto) 3. Savimbi’s Pride 27. Dockside 4. You Can’t Kill Me 28. Go Home Gringos 5. Hidden 29. The Invasion of Panama 6. Catch Me If You Can 30. Nexus Target 7. Flying Squirrels 31. Panic Attack/P.T.S.D. 8. Future Wars 32. Cordis Die 9. Rare Earth Elements 33. Farid 10. Desert Ride 34. Mason Enters/Yemenite Fight 11. Sand and Camels 35. War Machine 12. Suicide Ride/Kravchenko Interrogation/Anvil Again 36. Guerra Precioso 13. Afghanistan 2025 37. Chasing a Ghost 14. The Search for Josefina 38. On Deck 15. Niño Precioso (Feat. Kamar de los Reyes) 39. Prom Night 16. Rivers and Rain 40. Dark Skies 17. Searchlights 41. Sniper on the 110 18. Anthem 42. Streetcar Named Fire 19. Anthem (Tuey Remix) 43. Escort 20. Escape from Anthem 44. Dogfight 21. Pakistan Run (Feat. Azam Ali) 45. Adrenaline 22. Shadows (Outer Club Solar) 46. Judgment Day 23. Spider Bot 47. Hero’s Theme 24. Colossus 48. Raul Menendez Theme (“Niño Precioso” – orch. version feat. Rudy Cardenas) 49. Theme from Call of Duty® Black Ops II (Orchestral Mix) CALL OF DUTY®: BLACK OPS II ORIGINAL SOUNDTRACK CREDITS Composed, Conducted and Produced by Jack Wall Orchestrated by Neal Desby & Edward Trybek Music Editor / Assistant to Jack Wall Alex Hemlock Additional Music Jimmy (Big Giant Circles) Hinson, Sergio Jiménez Lacima Additional Editing Brian DiDomenico Tracks 1 & 49 Composed by Trent Reznor Orchestral -
District Census Handbook, North Goa
CENSUS OF INDIA 1991 SERIES 6 GOA DISTRICT CENSUS HAND BOOK PART XII-A AND XII-B VILLAGE AND TOWN DIRECTORY AND VILLAGE AND TOWNWISE PRIMARY CENSUS ABSTRACT NORTH GOA DISTRICT S. RAJENDRAN DIRECTOR OF CENSUS OPERATIONS, GOA 1991 CENSUS PUBLICATIONS OF GOA ( All the Census Publications of this State will bear Series No.6) Central Government Publications Part Administration Report. Part I-A Administration Report-Enumeration. (For Official use only). Part I-B Administration Report-Tabulation. Part II General Population Tables Part II-A General Population Tables-A- Series. Part II-B Primary Census Abstract. Part III General Economic Tables Part III-A B-Series tables '(B-1 to B-5, B-l0, B-II, B-13 to B -18 and B-20) Part III-B B-Series tables (B-2, B-3, B-6 to B-9, B-12 to B·24) Part IV Social and Cultural Tables Part IV-A C-Series tables (Tables C-'l to C--6, C-8) Part IV -B C.-Series tables (Table C-7, C-9, C-lO) Part V Migration Tables Part V-A D-Series tables (Tables D-l to D-ll, D-13, D-15 to D- 17) Part V-B D- Series tables (D - 12, D - 14) Part VI Fertility Tables F-Series tables (F-l to F-18) Part VII Tables on Houses and Household Amenities H-Series tables (H-I to H-6) Part VIII Special Tables on Scheduled Castes and Scheduled SC and ST series tables Tribes (SC-I to SC -14, ST -I to ST - 17) Part IX Town Directory, Survey report on towns and Vil Part IX-A Town Directory lages Part IX-B Survey Report on selected towns Part IX-C Survey Report on selected villages Part X Ethnographic notes and special studies on Sched uled Castes and Scheduled Tribes Part XI Census Atlas Publications of the Government of Goa Part XII District Census Handbook- one volume for each Part XII-A Village and Town Directory district Part XII-B Village and Town-wise Primary Census Abstract GOA A ADMINISTRATIVE DIVISIONS' 1991 ~. -
O. G. Series III No. 8.Pmd
Reg. No. RNP/GOA/32/2021-2023 RNI No. GOAENG/2002/6410 Panaji, 20th May, 2021 (Vaisakha 30, 1943) SERIES III No. 8 PUBLISHED BY AUTHORITY Note:- There is one Extraordinary to the Official Gazette, Junction in consultation with DYSP Traffic (N), Series III No. 7 dated 13-05-2021 namely Altinho from 29th April, 2021 to 9th May, 2021. Extraordinary dated 13-05-2021 from pages 175 Now therefore, in exercise of the powers to 176 regarding Order from Department of Home. conferred on me under Sections 115 & 116 of the Motor Vehicles Act, 1988, and as recommended by GOVERNMENT OF GOA the Dy. Superintendent of Police (Traffic), Altinho, Department of Transport Panaji and Executive Engineer, WD-VlI (NH), PWD, Panaji, I, Ajit Roy, IAS, District Magistrate, North --- Goa hereby order the work of only hotmixing and Office of the District Magistrate, North Goa minor works from Pundalik Nagar Circle, Porvorim Magisterial Branch to Malim Junction in consultation with DYSP Traffic ___ (N), Altinho from 29th April, 2021 to 16th May, 2021. Order Once the ongoing work of PWD is completed No. 23/5/2021/MAG/BAR/1069 from Merces to KTCL, Bus Stand and the traffic is released rigid pavement, the GSIDC shall start the Read: 1. Letter No. GSIDC/Engg/Works/1000/399 work of repairing the ramp on left hand side of Atal dated 20-4-2021 of General Manager, Setu at Merces Junction and divert the vehicular GSIDC, Panaji-Goa. traffic on the Ponda side ramp of Atal Setu in 2. Letter No. GSIDC/Engg/Works/1000/401 consultation with DYSP Traffic (N), Panaji. -
Rave-Culture-And-Thatcherism-Sam
Altered Perspectives: UK Rave Culture, Thatcherite Hegemony and the BBC Sam Bradpiece, University of Bristol Image 1: Boys Own Magazine (London), Spring 1988 1 Contents Introduction……………………………………………………………………………………………………...……… 7 Chapter 1. The Rave as a Counter-Hegemonic Force: The Spatial Element…….…………….13 Chapter 2. The Rave as a Counter Hegemonic Force: Confirmation and Critique..…..…… 20 Chapter 3. The BBC and the Rave: An Agent of Moral Panic……………………………………..… 29 Conclusion…………………………………………………………………………………………………………….... 37 Appendices…………………………………………………………………………………………………………...... 39 Bibliography………………………………………………………………………………………………………...... 50 2 ‘You cannot break it! The bonding between the ravers is too strong! The police and councils will never tear us apart.’ In-ter-dance Magazine1 1 ‘Letters’, In-Ter-Dance (Worthing), Jul. 1993. 3 Introduction Rave culture arrived in Britain in the late 1980s, almost a decade into the premiership of Margaret Thatcher, and reached its zenith in the mid 1990s. Although academics contest the definition of the term 'rave’, Sheila Henderson’s characterization encapsulates the basic formula. She describes raves as having ‘larger than average venues’, ‘music with 120 beats per minute or more’, ‘ubiquitous drug use’, ‘distinctive dress codes’ and ‘extensive special effects’.2 Another significant ‘defining’ feature of the rave subculture was widespread consumption of the drug methylenedioxyphenethylamine (MDMA), otherwise known as Ecstasy.3 In 1996, the government suggested that over one million Ecstasy tablets were consumed every week.4 Nicholas Saunders claims that at the peak of the drug’s popularity, 10% of 16-25 year olds regularly consumed Ecstasy.5 The mass media has been instrumental in shaping popular understanding of this recent phenomenon. The ideological dominance of Thatcherism, in the 1980s and early 1990s, was reflected in the one-sided discourse presented by the British mass media. -
House, Techno & the Origins of Electronic Dance Music
HOUSE, TECHNO & THE ORIGINS OF ELECTRONIC DANCE MUSIC 1 EARLY HOUSE AND TECHNO ARTISTS THE STUDIO AS AN INSTRUMENT TECHNOLOGY AND ‘MISTAKES’ OR ‘MISUSE’ 2 How did we get here? disco electro-pop soul / funk Garage - NYC House - Chicago Techno - Detroit Paradise Garage - NYC Larry Levan (and Frankie Knuckles) Chicago House Music House music borrowed disco’s percussion, with the bass drum on every beat, with hi-hat 8th note offbeats on every bar and a snare marking beats 2 and 4. House musicians added synthesizer bass lines, electronic drums, electronic effects, samples from funk and pop, and vocals using reverb and delay. They balanced live instruments and singing with electronics. Like Disco, House music was “inclusive” (both socially and musically), infuenced by synthpop, rock, reggae, new wave, punk and industrial. Music made for dancing. It was not initially aimed at commercial success. The Warehouse Discotheque that opened in 1977 The Warehouse was the place to be in Chicago’s late-’70s nightlife scene. An old three-story warehouse in Chicago’s west-loop industrial area meant for only 500 patrons, the Warehouse often had over 2000 people crammed into its dark dance foor trying to hear DJ Frankie Knuckles’ magic. In 1982, management at the Warehouse doubled the admission, driving away the original crowd, as well as Knuckles. Frankie Knuckles and The Warehouse "The Godfather of House Music" Grew up in the South Bronx and worked together with his friend Larry Levan in NYC before moving to Chicago. Main DJ at “The Warehouse” until 1982 In the early 80’s, as disco was fading, he started mixing disco records with a drum machines and spacey, drawn out lines. -
Original Austrian Alpencore
ORIGINAL AUSTRIAN ALPENCORE TUXEDO, often referred to as one of the most upcoming core bands of Austria. They convey power, energy and, most important, they enjoy what they do. A concert of tuXedo is not just a concert, it`s an experience in which in every second on stage something happens. Not for nothing they were nominated for the title „Best Austrian band 2014 „ by the largest Austrian music station and reached the 2nd place in that voting! Their so-called Alpine Core is a blend of metalcore and thrash metal in many facets. Powerful, but also very melodic guitar riffs, combined with brutal shoutings and ear worms which you will not forget. A trademark for that incredible pressure, the guys convey on stage, are the pounding, monstrous drums and percussions, which give the show something really special. Everything is rounded off by their traditional Austrian stage outfit. What would be Alpine Core without leather pants and shirt? tuXedo is celebrating its 10th anniversary this year. This will be celebrated at several shows in 2015. The boys have plenty of stage experience. In over 150 shows, since 2012, they have destroyed stages in Austria, Germany, Croatia, Slovenia, Italy, the Czech Republic and Slovakia. This is the reason why they have a quiet big fan base. Due to their versatile music and their likeable live show with many funny moments, the band succeeded in winning fans with completely different tastes of music. From the typical core audience, metallers with other preferences, right up to the „non-metallers“, everybody is in front of stage when tuXedo asks for a dance. -
Universidad Nacional De Quilmes Departamento De Ciencias Sociales
Universidad Nacional de Quilmes Departamento de Ciencias Sociales Tesis de grado Licenciatura en Historia Tesista: Ernesto Lavega Director: Hernán Thomas Techno Dance electrónico El poder del techno en los surcos del vinilo. Análisis socio-técnico de los procesos de construcción de funcionamiento del dance electrónico en Argentina entre 1988-89 y la actualidad Dedicatoria y agradecimientos: En primer lugar quiero agradecer la posibilidad de haber estudiado y arribado a esta instancia en la Universidad Pública y Gratuita. Particularmente a la Universidad Nacional de Quilmes (UNQ), al Departamento de Ciencias Sociales, la Licenciatura en Historia, la Secretaría de Extensión y la Secretaría de Investigación, por el acompañamiento, la cercanía, la organización de la carrera, las jornadas, por los incentivos a los que podemos acceder como estudiantes a través de distintas becas. A todos y todas, las y los docentes con quienes tuve la oportunidad de cursar, con los cuales pude aprender, construir conocimientos, compartir experiencias enriquecedoras y transitar este camino. Especialmente le agradezco a Hernán, por haber aceptado dirigirme en esta tarea, por sugerirme incluso que abordara el tema de investigación, y por el trabajo que finalmente realizamos, con la colaboración del equipo del Instituto de Estudios Sobre la Ciencia y la Tecnología (IESCT) de la UNQ. A mis compañeros del Instituto, con los que compartimos tantas horas, algunos viajes, relevamientos, jornadas, que colaboraron con mi trabajo y siempre, desde que ingresé con una beca allá por 2014, me hicieron sentir parte del equipo. Agradezco infinitamente y dedico este trabajo a mi familia. A mis padres por haberme apoyado con amor, en todos mis emprendimientos, por más disparatados que parecieran, desde que tengo memoria.