The BG News April 14, 1997
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13 Dalhousie Student Union
o~n, > 13 Dalhousie Student Union Bon voyage• ISIC (a.k.a.l........., Travel nsurance swwtWMIHJCanll Y01r tiGklt tD put &ralhr Blftral, we Conipi•IMnlivuJIII FOf enn•,. rat. and tJalllillt)o Issue llolll on tlleapot IMxpensln •• ;.at ~ whl ,_.,. w1tt1 no ..,.. ,... Ill cate 01 tbt J'1Nid www.travelcuts.com Drop "' or efve us a call: ........... - .- bo ~by Mottl> 31/01 . ~ ~"""' opf)ly. NQI-of;d;, ~ Dtd SUB, 3rd Floor .ml> ""f olfw abo'. Qhr QWIIfablt ....... ~lot! ond moy bo dls<omlnued 01 ""1 limo or ~ MO<Io ~ purd.,.o ""' nOCfllb<Y ;,. Soi~lil <>n-Line f:f)u.-se .:valuat f)DS Columbia ,romotion •orios in CN~. Sot 494·Z054 Tr<I"'O CVISN~ Campus 10< eomploto dolal4. Will be ready to check out :for this semesters courses on March 25. Everything's gone green! JOB 0 PORTUNITY WOOd I ll f· i K A \\ o 0 I> P f{ I s f· l\. I ~ SUMMa D 8CTOR for the STUD NT ... NV~ W W'~H:'II;) .. ()._-. AD OCACY SERVICL To apply s b•it a resume ncl cover lc.tter to s~. PATRICI'S Chrystal cAulay, room t"'S, SU • Deaclli • to apply is Wed asci y, rclt g1 at 4pm. VEEI'E ID For more info call Chrystal at 494 1 g75. Fi;ATURING DS IF ·ECO CERTSE E5#3 DE T AH 'A" Societies get: 5 tickets for the even . f1ARCH 16, 2001 All ''B-E" Socteties wil receive 2 tickets. Tickets will be av:airable to be picked up o Monday, March 9 to Friday., March 23. -
An N U Al R Ep O R T 2018 Annual Report
ANNUAL REPORT 2018 ANNUAL REPORT The Annual Report in English is a translation of the French Document de référence provided for information purposes. This translation is qualified in its entirety by reference to the Document de référence. The Annual Report is available on the Company’s website www.vivendi.com II –— VIVENDI –— ANNUAL REPORT 2018 –— –— VIVENDI –— ANNUAL REPORT 2018 –— 01 Content QUESTIONS FOR YANNICK BOLLORÉ AND ARNAUD DE PUYFONTAINE 02 PROFILE OF THE GROUP — STRATEGY AND VALUE CREATION — BUSINESSES, FINANCIAL COMMUNICATION, TAX POLICY AND REGULATORY ENVIRONMENT — NON-FINANCIAL PERFORMANCE 04 1. Profile of the Group 06 1 2. Strategy and Value Creation 12 3. Businesses – Financial Communication – Tax Policy and Regulatory Environment 24 4. Non-financial Performance 48 RISK FACTORS — INTERNAL CONTROL AND RISK MANAGEMENT — COMPLIANCE POLICY 96 1. Risk Factors 98 2. Internal Control and Risk Management 102 2 3. Compliance Policy 108 CORPORATE GOVERNANCE OF VIVENDI — COMPENSATION OF CORPORATE OFFICERS OF VIVENDI — GENERAL INFORMATION ABOUT THE COMPANY 112 1. Corporate Governance of Vivendi 114 2. Compensation of Corporate Officers of Vivendi 150 3 3. General Information about the Company 184 FINANCIAL REPORT — STATUTORY AUDITORS’ REPORT ON THE CONSOLIDATED FINANCIAL STATEMENTS — CONSOLIDATED FINANCIAL STATEMENTS — STATUTORY AUDITORS’ REPORT ON THE FINANCIAL STATEMENTS — STATUTORY FINANCIAL STATEMENTS 196 Key Consolidated Financial Data for the last five years 198 4 I – 2018 Financial Report 199 II – Appendix to the Financial Report 222 III – Audited Consolidated Financial Statements for the year ended December 31, 2018 223 IV – 2018 Statutory Financial Statements 319 RECENT EVENTS — OUTLOOK 358 1. Recent Events 360 5 2. Outlook 361 RESPONSIBILITY FOR AUDITING THE FINANCIAL STATEMENTS 362 1. -
Does the Family Cap Influence Birthrates? Two New Studies Say 'No'
Issues & Implications Cash Increase No ‘Incentive’ The New Jersey and the Arkansas Does the Family Cap studies raise serious questions about the validity of family cap propo- Influence Birthrates? nents’ primary rationale for the policy—the notion that an increase Two New Studies Say ‘No’ in monthly benefits upon the birth of a new baby acts as an incentive By Patricia Donovan for welfare recipients to have more children. When the Arkansas Contrary to early claims that a cap on when the researchers controlled for researchers asked a subsample of benefits would reduce birthrates the age and race of the nearly 8,500 the women studied whether they among welfare recipients, recent stud- women studied. would have another child in order to ies in New Jersey and Arkansas con- receive higher benefits, fully 100% of clude that denying an increase in The researchers also examined state those subject to the cap and more cash assistance to women who have Medicaid data to assess whether the than 95% of those in the control another child while on welfare has family cap had any impact on abor- group said they would not. Many did had no effect on births in these states. tion rates among women on welfare. not know how much more money Some antiabortion advocates have they would receive if they had In response to the findings, New feared that a cap could result in more another child. Jersey officials now insist that the abortions among welfare recipients, family cap was never intended to but the analysis indicates otherwise. “It appears that women do not make reduce births, but simply to encour- Like birthrates, abortion rates in New decisions about the birth of their age welfare recipients to make Jersey declined both among women children based on the addition of responsible decisions about child- subject to the cap and among the $42 per month in…benefits,” the bearing. -
Violent Femmes Why Do Birds Sing? Mp3, Flac, Wma
Violent Femmes Why Do Birds Sing? mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Why Do Birds Sing? Country: UK Released: 1991 Style: Alternative Rock, Folk Rock MP3 version RAR size: 1558 mb FLAC version RAR size: 1349 mb WMA version RAR size: 1675 mb Rating: 4.7 Votes: 439 Other Formats: MIDI XM MOD ASF VQF AAC AHX Tracklist A1 American Music A2 Out The Window A3 Look Like That A4 Do You Really Want To Hurt Me A5 Hey Nonny Nonny A6 Used To Be B1 Girl Trouble B2 He Likes Me B3 Life Is A Scream B4 Flamingo Baby B5 Lack Of Knowledge B6 More Money Tonight B7 I'm Free Companies, etc. Phonographic Copyright (p) – Slash Records Copyright (c) – Slash Records Manufactured By – Festival Records Pty. Ltd. Mastered At – Masterdisk Credits Design, Photography – Hanson Graphic Mastered By – Howie Weinberg Mixed By – David Vartanian, E.T. Thorngren* Producer – Brian Ritchie, Gordon Gano, Michael Beinhorn, Victor DeLorenzo Recorded By – Susan Rogers Notes ℗ © 1991 Slash Records, U.S.A. Manufactured by Festival Records Pty, Ltd, Australia. Barcode and Other Identifiers Barcode: 9 399603 055144 Other versions Category Artist Title (Format) Label Category Country Year Violent Why Do Birds Sing? (CD, Slash, Reprise 9 26476-2 9 26476-2 US 1991 Femmes Album) Records Violent Why Do Birds Sing? Slash, Reprise 92 64764 92 64764 Canada 1991 Femmes (Cass, Album, Dol) Records Violent Why Do Birds Sing (LP, Slash, Liberation L30551 L30551 Australia 1991 Femmes Album) Records Violent Why Do Birds Sing? (CD, Slash, Reprise CD 26476 CD 26476 Canada 1991 Femmes Album) Records Violent Why Do Birds Sing? (CD, D 30551 Liberation Records D 30551 Australia 1991 Femmes Album) Related Music albums to Why Do Birds Sing? by Violent Femmes Violent Femmes - Add It Up (1981-1993) Los Lobos - Will The Wolf Survive? Violent Femmes - Violent Femmes Violent Femmes - Hallowed Ground Violent Femmes - American Music Violent Femmes - Permanent Record: Live & Otherwise Violent Femmes - Permanent Record: The Very Best Of The Violent Femmes Various - Slash Cuts. -
The Process of Creating the First Pan-European Shakuhachi Summer
The process of creating the first Pan-European Shakuhachi Summer School with Koto and Shamisen SOAS, University of London 19th-22nd July 2006 From an organiser’s viewpoint. By Kiku Day Photo: Christiane Werner The Shakuhachi Summer School with Koto and Shamisen was part of the SOAS World Music Summer Schools series. SOAS was a perfect environment for this first attempt at a large shakuhachi event, and I feel strongly that many forces came together and made this year a perfect time for this important first shakuhachi event to happen at SOAS. I contacted the music department at SOAS regarding hosting a shakuhachi summer school for the first time in September 2002 after having participated in the World Shakuhachi Festival in Tokyo and Klezfest (one week of klezmer music classes and events). However, SOAS still didn’t have a Music Summer School yet. I graduated from SOAS with a BA in ethnomusicology in 2003 and left England to do a Master degree in performance in California, USA. When I returned and registered in September 2005 the following came together like a natural force: • SOAS has one of the leading departments in ethnomusicology in Europe and is in possession of six koto and five shamisen. • SOAS had had two successful Music Summer Schools and was therefore in a much better position than earlier to host such an event. • Michael Coxall, a Yamaguchi Goro student and excellent shakuhachi performer, who teaches at SOAS was very enthusiastic and willing to co-organise this crazy project. • An active Japanese Music Society was created and led by Arisawa Shino in Sept. -
Jane Alexandria Smith
[email protected] Bellandra B. Foster, Ph.D., P.E. Phone: 336.355.7897 QUALIFICATIONS SUMMARY Years of Experience Licensed professional engineer and program manager with extensive civil and 31 construction engineering experience. Manager and administrator of numerous projects within public agencies and private industry and as Founder and President of an engineering corporation. Professional Registrations EDUCATION Licensed Professional Engineer: Doctor of Philosophy, Civil Engineering State of Georgia Michigan State University – December 1999 State of Illinois Traffic and Transportation Engineering Seminar State of Michigan Northwestern University – June 1999 State of No. Carolina Certification - Transportation Systems (ITS) State of Ohio University of Michigan - September 1992 Master of Science Degree, Civil Engineering Professional Wayne State University – May 1989 Certifications Bachelor of Science Degree, Civil Engineering U.S. Small Business Michigan State University – August 1983 Administration Emerging 200 (E200) CIVIL AND CONSTRUCTION ENGINEERING EXPERIENCE Class of 2011 BBFoster Consulting, P.C. (8/2014-Present) President– BBFoster Consulting, PC provides civil engineering, program management, Level 1 Erosion and Sedimentation Control coaching, contract administration, utility coordination and compliance assistance. Inspector BBF ENGINEERING SERVICES, P.C. (4/94-12/2014) President and Principal Engineer – Founder and Owner of BBF Engineering Services, Professional P.C. The company provided civil engineering, project -
4.5.1 Los Abducidos: El Duro Retorno En Expediente X Se Duda De Si Las
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Diposit Digital de Documents de la UAB 4.5.1 Los abducidos: El duro retorno En Expediente X se duda de si las abducciones son obra de humanos o de extraterrestres por lo menos hasta el momento en que Mulder es abducido al final de la Temporada 7. La duda hace que el encuentro con otras personas que dicen haber sido abducidas siempre tenga relevancia para Mulder, Scully o ambos, como se puede ver con claridad en el caso de Cassandra Spender. Hasta que él mismo es abducido se da la paradójica situación de que quien cree en la posibilidad de la abducción es él mientras que Scully, abducida en la Temporada 2, siempre duda de quién la secuestró, convenciéndose de que los extraterrestres son responsables sólo cuando su compañero desaparece (y no necesariamente en referencia a su propio rapto). En cualquier caso poco importa en el fondo si el abducido ha sido víctima de sus congéneres humanos o de alienígenas porque en todos los casos él o ella cree –con la singular excepción de Scully– que sus raptores no son de este mundo. Como Leslie Jones nos recuerda, las historias de abducción de la vida real que han inspirado este aspecto de Expediente X “expresan una nueva creencia, tal vez un nuevo temor: a través de la experimentación sin emociones realizada por los alienígenas usando cuerpos humanos adquiridos por la fuerza, se demuestra que el hombre pertenece a la naturaleza, mientras que los extraterrestres habitan una especie de supercultura.” (Jones 94). -
The Uses and Misuses of Popular Music Lyrics in Legal Writing, 64 Wash
Washington and Lee Law Review Volume 64 | Issue 2 Article 4 Spring 3-1-2007 [Insert Song Lyrics Here]: The sesU and Misuses of Popular Music Lyrics in Legal Writing Alex B. Long Follow this and additional works at: https://scholarlycommons.law.wlu.edu/wlulr Part of the Legal Writing and Research Commons Recommended Citation Alex B. Long, [Insert Song Lyrics Here]: The Uses and Misuses of Popular Music Lyrics in Legal Writing, 64 Wash. & Lee L. Rev. 531 (2007), https://scholarlycommons.law.wlu.edu/wlulr/vol64/iss2/4 This Article is brought to you for free and open access by the Washington and Lee Law Review at Washington & Lee University School of Law Scholarly Commons. It has been accepted for inclusion in Washington and Lee Law Review by an authorized editor of Washington & Lee University School of Law Scholarly Commons. For more information, please contact [email protected]. [Insert Song Lyrics Here]: The Uses and Misuses of Popular Music Lyrics in Legal Writing Alex B. Long* Table of Contents I. For Those About To Rock (I Salute You) .................................... 532 II. I'm Looking Through You ........................................................... 537 A. I Count the Songs That Make the Legal Profession Sing, I Count the Songs in Most Everything, I Count the Songs That Make the Young Lawyers Cry, I Count the Songs, I Count the Songs ................................................. 537 B . A dd It U p ............................................................................... 539 C. I'm Looking Through You .................................................... 541 1. It Takes a Profession of Thousands To Hold Us Back .... 541 2. Baby Boomers Selling You Rumors of Their History ..... 544 3. -
Vf & Tso Mofo Mr
VIOLENT FEMMES AND THE TASMANIAN SYMPHONY ORCHESTRA World Premiere Monday 22 & Tuesday 23 January Due to popular demand Mona Foma today announced an extra show for the world premiere of the Violent Femmes performing with the TSO. For two nights only, the Violent Femmes will take their acoustic punk-rock and work with the Tasmanian Symphony Orchestra to reimagine it as a full orchestra experience. Conducted by Hamish McKeich they’ll perform a long list of cult classics such as Add It Up, Blister In The Sun, Kiss Off, Gone Daddy Gone, American Song and Gimme The Car at The Federation Concert Hall on Monday 22 and Tuesday 23 January. “Most rock bands would blow off an orchestra with the amplifiers, but for these two shows we’re prepared to back off on the volume and actually play almost at the same volume as the orchestra musicians and create a more unified approach, “ said Brian Ritchie. The Violent Femmes were formed in 1981 as an acoustic band playing on the streets of Milwaukee. Their main influences at that time were Gene Vincent and the Blue Caps and The Velvet Underground. Enduring a couple of hiatuses throughout their 36-plus year career, the band — original members Gordon Gano and Brian Ritchie, along with drummer John Sparrow have been performing steadily since reuniting again in 2013. The TSO’s performance with the Violent Femmes represents another innovative collaboration for the orchestra, which in 2017 alone has seen sold out concerts with vocal star Kate Miller-Heidke, a Dark MOFO collaboration with Norwegian metal band Ulver, an original show with comedy trio Tripod and a sold out concert with ARIA award-winning and multi-platinum artist Megan Washington. -
Music Tasmania 2020 Music Tasmania Is the Peak Industry Body Representing Tasmania’S Contemporary, Popular Music Industries
Premier's Economic and Social Recovery Advisory Council Consultation submission by music Tasmania 2020 Music Tasmania is the peak industry body representing Tasmania’s contemporary, popular music industries. We represent over 500 Tasmanian artists, bands, and small music businesses, who we develop, connect, and promote through our services, while operating nationally as part of the Music is our Australian Music Industry Network. Music Tasmania's strength lies in our capacity to be relevant, engaged, collaborative, and responsive to soundtrack industry need. We invest in our relationships - with musicians, with industry, with Governments, and with partners. As the only organisation in Tasmania that represents the entire music ecosystem, we look at the industry holistically to effectively identify opportunities for intervention. Tasmania has the potential to be Tasmania has a proud history of punching above its weight in contemporary music, with many recognised globally as a music- homegrown artists recognised for the significant cultural and economic contributions they make to making destination, a rehearsal society both locally and abroad. Artists based in Tasmania with successful global careers, including The Wolfe Brothers, Brian Ritchie (Violent Femmes / Mona Foma), Monique Brumby, Asta, Luca Brasi, Tim state, and regional recording hub. Carroll (Holy Holy / A festival called panama), and Fiora Cutler, enhance our reputation on the world stage and build the capacity of our local industry. Music is the soundtrack to Tasmania and we have the potential to be recognised as a music-making destination, a rehearsal state, and regional recording hub - if we harness the power of music to enhance our brand, visitor experience, and sense of community. -
Science Fiction on American Television
TV Sci-Fi 16 + GUIDE This and other bfi National Library 16 + Guides are available from http://www.bfi.org.uk/16+ TV Sci-Fi CONTENTS Page IMPORTANT NOTE................................................................................................................. 1 ACCESSING RESEARCH MATERIALS.................................................................................. 2 APPROACHES TO RESEARCH, by Samantha Bakhurst ....................................................... 4 INTRODUCTION by Sean Delaney ......................................................................................... 6 AMERICAN TELEVISION........................................................................................................ 8 SCIENCE FICTION ON AMERICAN TELEVISION ................................................................. 9 AUDIENCES AND FANS......................................................................................................... 11 ANDROMEDA ......................................................................................................................... 12 BABYLON 5 ............................................................................................................................ 14 BATTLESTAR GALACTICA................................................................................................... 17 FARSCAPE ............................................................................................................................. 19 THE IRWIN ALLEN QUARTET • VOYAGE TO THE BOTTOM OF THE SEA..................................................................... -
Wonderful! 100: a Centennial Celebration Published September 18Th, 2019 Listen on Themcelroy.Family
Wonderful! 100: A Centennial Celebration Published September 18th, 2019 Listen on TheMcElroy.family [theme music plays] Rachel: Hi, this is Rachel McElroy. Griffin: [laughs] Yeah. Okay, Mario. Yeah, I'll hit you up at the after party. Okay, man. Yeah, I'll see you there. Hey, this is Griffin McElroy. Rachel: And this is Wonderful! Griffin: Sorry, it‘s just… [sighs] I know we gotta focus on the show. I know it‘s our big day, but… we‘re on the red carpet, and like… Rachel: Yeah. Griffin: It‘s hard—if Mario Lopez comes up and wants to hang out at the after party, babe, it‘s like, I‘ve made it! Rachel: I know, but let‘s not celebrate our hundredth episode before we‘ve actually recorded it. Griffin: Right, this is the red carpet before the event. We‘re about to go to the first screening of our hundredth episode. For all I know, it could be a disaster. Mario may not want to talk to me after the party, so I need to check that—cash that check. Shit, if this is the energy I bring to ep one hundred, Mario‘s definitely not gonna wanna talk to me. Rachel: [laughs] Griffin: I just wanna tell him what a good job he did playing Greg Louganis in that one Lifetime movie. Rachel: Aw, jeez. Griffin: In that one commercial I saw for it where he asked if there was a blood nipple. Rachel: Yeah. Yeah. Yeah. Griffin: You love that anecdote. Rachel: Yeah. Griffin: Who are you looking forward to seeing today on the big red way? Rachel: Well, Wallace Shawn.