DOCSLIB.ORG

Carnival Corporation Carnival Plc

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Carnival Corporation Carnival Plc UNITED STATES OMB APPROVAL SECURITIES AND EXCHANGE COMMISSION OMB Number: 3235-00595 Washington, D.C. 20549 Expires: February 28, 2006 SCHEDULE 14A Estimated average burden hours per response......... 12.75 Proxy Statement Pursuant to Section 14(a) of the Securities Exchange Act of 1934 (Amendment No. ) Filed by the Registrant x Filed by a Party other than the Registrant o Check the appropriate box: o Preliminary Proxy Statement o Confidential, for Use of the Commission Only (as permitted by Rule 14a-6(e)(2)) x Definitive Proxy Statement o Definitive Additional Materials o Soliciting Material Pursuant to Rule §240.14a-12 CARNIVAL CORPORATION CARNIVAL PLC (Name of Registrant as Specified In Its Charter) (Name of Person(s) Filing Proxy Statement, if other than the Registrant) Payment of Filing Fee (Check the appropriate box): x No fee required. o Fee computed on table below per Exchange Act Rules 14a-6(i)(1) and 0-11. 1. Title of each class of securities to which transaction applies: 2. Aggregate number of securities to which transaction applies: 3. Per unit price or other underlying value of transaction computed pursuant to Exchange Act Rule 0-11 (set forth the amount on which the filing fee is calculated and state how it was determined): 4. Proposed maximum aggregate value of transaction: 5. Total fee paid: SEC 1913 (03-04) Persons who are to respond to the Collection of information contained in this form are not required to respond unless the form displays a currently valid OMB cotrol number. o Fee paid previously with preliminary materials. o Check box if any part of the fee is offset as provided by Exchange Act Rule 0-11(a)(2) and identify the filing for which the offsetting fee was paid previously. Identify the previous filing by registration statement number, or the Form or Schedule and the date of its filing. 1. Amount Previously Paid: 2. Form, Schedule or Registration Statement No.: 3. Filing Party: 4. Date Filed: February 14, 2005 MICKY ARISON Chairman of the Boards Chief Executive Officer To our Shareholders: On behalf of the boards of directors of each of Carnival Corporation and Carnival plc, it is my pleasure to invite you to attend our joint annual meetings of shareholders. As we have shareholders in both the United Kingdom and the United States, we plan to continue to rotate the location of the annual meetings between the United States and the United Kingdom each year in order to accommodate shareholders on both sides of the Atlantic. Last year we held our annual meetings in New York City, and this year we will hold them in Southampton, United Kingdom. The annual meetings will be held at the Queen Elizabeth II Passenger Terminal, Port of Southampton, Dock Gate 4, Ocean Gate, Atlantic Way, in Southampton, United Kingdom on Wednesday, April 13, 2005. The meetings will commence at 3:00 p.m. (UK time), and although technically two separate meetings (the Carnival plc meeting will begin first), shareholders of Carnival Corporation may attend the Carnival plc meeting and vice-versa. We are also offering an audio webcast of the annual meetings. If you choose to listen to the webcast, go to our website at www.carnivalcorp.com or www.carnivalplc.com, shortly before the start of the meetings and follow the instructions provided. For our U.S. shareholders, we will also be hosting an audio webcast of the annual meetings at our headquarters located at 3655 N.W. 87th Avenue in Miami, Florida. Although shareholders will not be able to vote in Miami (they must submit a proxy as described in the Carnival Corporation Notice of Annual Meeting), they will be able to submit questions to the directors in Southampton. We remind our new shareholders that, as a result of our dual listed company, or DLC, structure, the conduct of our shareholder meetings differs from the practice you may be accustomed to as shareholders of other companies. Please see “Questions and Answers about the Proxy Materials and the Annual Meetings” which begins on page 8 for an overview of the main differences. In addition, because this proxy statement complies with the requirements of the U.S. Securities and Exchange Commission, the format of the information for the Carnival plc annual general meeting differs significantly from the format of the information that shareholders of UK companies are accustomed to receiving. You will find information regarding the matters to be voted on in the attached notices of annual meetings of shareholders and proxy statement. The Carnival Corporation Notice of Annual Meeting begins on page 1 and the Carnival plc Notice of Annual General Meeting begins on page 3. We are also pleased to offer most Carnival Corporation and all Carnival plc shareholders the opportunity to receive future shareholder communications electronically. By signing up for electronic delivery, shareholders can receive shareholder communications faster and can help your company reduce printing and mailing costs and minimize consumption of natural resources and waste generation. Because of the DLC structure, all voting will take place on a poll (or ballot). Under the DLC structure, shareholders of both companies effectively vote together as a single body on most significant matters, called joint electorate actions. All of the resolutions proposed for this year’s annual meetings are joint electorate actions, which means that Carnival Corporation shareholders will be asked to vote on resolutions for Carnival plc as well on resolutions for Carnival Corporation, and Carnival plc shareholders will be asked to vote on resolutions for Carnival Corporation as well on resolutions for Carnival plc. Please see “Questions and Answers about the Proxy Materials and the Annual Meetings” which begins on page 8 for a discussion of the voting procedures under the DLC structure. The overall results of the joint electorate vote will be announced to the media and the relevant stock exchanges and posted on the websites of Carnival Corporation and Carnival plc as soon as practicable after both shareholder meetings have closed. Your vote is important. Whether or not you plan to attend the annual meetings in person, please submit your vote using one of the voting methods described in the attached materials. Submitting your voting instructions by any of these methods will not affect your right to attend the meetings in person should you so choose. The boards of directors consider Carnival Corporation Proposals 1-11 (being Carnival plc Resolutions 1-25) to be in the best interests of Carnival Corporation & plc and the shareholders as a whole. Accordingly, the boards of directors unanimously recommend that you cast your vote “FOR” Carnival Corporation Proposals 1-11 (being Carnival plc Resolutions 1-25). Thank you for your ongoing support of, and continued interest in, Carnival Corporation & plc. Sincerely, Micky Arison TABLE OF CONTENTS Notice of Annual Meeting of Carnival Corporation Shareholders 1 Notice of Annual General Meeting of Carnival plc Shareholders 3 QUESTIONS AND ANSWERS ABOUT THE PROXY MATERIALS AND THE ANNUAL MEETINGS 8 QUESTIONS SPECIFIC TO SHAREHOLDERS OF CARNIVAL CORPORATION 12 QUESTIONS SPECIFIC TO SHAREHOLDERS OF CARNIVAL PLC 15 STOCK OWNERSHIP OF CERTAIN BENEFICIAL OWNERS AND MANAGEMENT 17 SECTION 16(a) BENEFICIAL OWNERSHIP REPORTING COMPLIANCE 23 PROPOSAL 1 (Resolutions 1-15) ELECTION OR RE-ELECTION OF DIRECTORS 23 PROPOSAL 2 (Resolution 16) APPROVAL OF THE CARNIVAL CORPORATION AMENDED AND RESTATED 2001 OUTSIDE DIRECTOR STOCK PLAN 25 PROPOSAL 3 (RESOLUTION 17) APPROVAL OF THE CARNIVAL PLC 2005 EMPLOYEE SHARE PLAN 29 PROPOSAL 4 (Resolution 18) APPROVAL OF THE CARNIVAL PLC 2005 EMPLOYEE STOCK PURCHASE PLAN 33 PROPOSALS 5 & 6 (ResolutionS 19 & 20) RE-APPOINTMENT AND REMUNERATION OF INDEPENDENT AUDITORS FOR CARNIVAL PLC AND RATIFICATION OF INDEPENDENT REGISTERED CERTIFIED PUBLIC ACCOUNTING FIRM FOR CARNIVAL CORPORATION 35 PROPOSAL 7 (Resolution 21) RECEIPT OF ACCOUNTS AND REPORTS OF CARNIVAL PLC 36 PROPOSAL 8 (RESOLUTION 22) APPROVAL OF DIRECTORS’ REMUNERATION REPORT 36 PROPOSALS 9 & 10 (RESOLUTIONS 23 & 24) APPROVAL OF LIMITS ON THE AUTHORITY TO ALLOT CARNIVAL PLC SHARES AND THE DISAPPLICATION OF PRE-EMPTION RIGHTS FOR CARNIVAL PLC 36 PROPOSAL 11 (RESOLUTION 25) GENERAL AUTHORITY TO BUY BACK CARNIVAL PLC ORDINARY SHARES 38 BOARD STRUCTURE AND COMMITTEE MEETINGS 39 DIRECTOR COMPENSATION AND STOCK OWNERSHIP GUIDELINES 42 EXECUTIVE COMPENSATION 44 Option Grants in Last Fiscal Year 46 Aggregated Option Exercises in Last Fiscal Year and Fiscal Year-End Option Values 47 Equity Compensation Plans 50 DEFINED BENEFIT AND OTHER PLANS 51 REPORT OF THE COMPENSATION COMMITTEES 53 STOCK PERFORMANCE GRAPHS 55 INDEPENDENT REGISTERED CERTIFIED PUBLIC ACCOUNTING FIRM 57 REPORT OF THE AUDIT COMMITTEES 59 TRANSACTIONS OF MANAGEMENT AND DIRECTORS 60 CHANGE IN INDEPENDENT AUDITORS 62 Annex A Amended and Restated Carnival Corporation 2001 Outside Director Stock Plan Annex B Carnival plc 2005 Employee Share Plan Annex C Carnival plc 2005 Employee Stock Purchase Plan Annex D Carnival plc Directors’ Report and UK GAAP Summary Financial Information Annex E Carnival plc Directors’ Remuneration Report Annex F Audit Committee Charter Annex G Carnival plc Corporate Governance Report Annex H Environmental Policy 3655 N.W. 87th Avenue Miami, Florida 33178-2428 NOTICE OF ANNUAL MEETING OF CARNIVAL CORPORATION SHAREHOLDERS DATE Wednesday, April 13, 2005 TIME 3:00 p.m. (UK time), being 10:00 a.m. (Miami time) The Carnival Corporation annual meeting will start directly following the annual general meeting of Carnival plc. PLACE Queen Elizabeth II Passenger Terminal Port of Southampton, Dock Gate 4 Ocean Gate Atlantic Way Southampton SO14 2QN United Kingdom WEBCAST www.carnivalcorp.com or www.carnivalplc.com Please note that there will be a live audio webcast of the Carnival Corporation annual meeting and the Carnival plc annual general meeting, at Carnival Corporation’s headquarters located at 3655 N.W.
Load more

Recommended publications
  • Ebook Download the Final Cut Ebook
    THE FINAL CUT PDF, EPUB, EBOOK Michael Dobbs | 480 pages | 09 Apr 2010 | HarperCollins Publishers | 9780007375158 | English | London, United Kingdom The Final Cut ( film) - Wikipedia Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. Episode Guide. In order to secure his retirement and establish Available on Amazon. Added to Watchlist. Top-Rated Episodes S1. Error: please try again. The Best Horror Movies on Netflix. Magnus wants to watch. DomProMedia - Series Complete. Use the HTML below. You must be a registered user to use the IMDb rating plugin. Episodes Seasons. Edit Cast Series cast summary: Ian Richardson Francis Urquhart 4 episodes, Diane Fletcher Elizabeth Urquhart 4 episodes, Paul Freeman Tom Makepeace 4 episodes, Isla Blair Claire Carlsen 4 episodes, Nickolas Grace Geoffrey Booza Pitt 4 episodes, Glyn Grain Rayner 4 episodes, Nick Brimble Corder 4 episodes, Dorothy Vernon Speaker 4 episodes, Andrew Seear Wolfin 4 episodes, Peter Symonds Polecutt 4 episodes, John Rowe Sir Clive Watling 3 episodes, Yolanda Vazquez Maria Passolides 3 episodes, Duggie Brown Joe Badger 3 episodes, Kevork Malikyan Nures 2 episodes, David Ryall Sir Bruce Bullerby 2 episodes, Joseph Long President Nicolaou 2 episodes, Cherith Mellor Hilary Makepeace 2 episodes, Erika Hoffman Princess 2 episodes, Leon Lissek Evanghelos Passolides 2 episodes, Tom Beasley Young King 2 episodes, Richard Bebb Political Commentator 2 episodes, Sue Edelson Newsreader 2 episodes, David Ashford Edit Storyline Francis Urquhart is too experienced a politician not to know that everything must end, even his long career as British prime minister. Genres: Drama. Edit Did You Know? Trivia Michael Dobbs , the author of the original book, was angered at the opening scene depicting Margaret Thatcher 's funeral.
    [Show full text]
  • Signature Sounds Available
    Guitar Pro 7: Signature Sounds available STEEL GUITAR America A Horse with no Name America Apologies All Apologies Nirvana Babe Babe I'm Gonna Leave You Led Zeppelin Blue Eyes Behind Blue Eyes Limp Bizkit Bron Bron Yr Aur Led Zeppelin California California Joni Mitchell Cat Father and Son Cat Stevens Clap The Clap Yes Cross Road Cross Road Blues Robert Johnson Drake Road Road Nick Drake Dreamin California Dreamin' The Mamas and the Papas Drive Drive Incubus Dylan Bob Dylan Extreme More Than Words Extreme Fade Fade to Black Metallica Fans Fans Kings of Leon Frizz Moon River Bill Frisell Gently While My Guitar Gently Weeps The Beatles Goodbye Last Goodbye Jeff Buckley Greensleeves Greensleeves Jeff Beck Harper Sexuel Healing Ben Harper Jessica Jessica The Allman Bothers Band Joni A Case of You Joni Mitchell Life 18 and Life Skid Row Long Train Long Train Running The Doobie Brothers Mainstreet Mainstreet Breakdown Chet Atkins My Mind Where Is My Mind The Pixies 1 No Rain No Rain Blind Melon November November Rain Guns 'N Roses Old Man Old Man Neil Young Overnight Overnight Bag Rory Gallagher Pinball Pinball Wizard The Who Presence Dear God Avenged Sevenfold Redemption Redemption Song Bob Marley Revolution Talkin 'Bout a Revolution Tracy Chapman Road Road Nick Drake September Ends Wake Me Up When September Ends Green Day Sixteen Tons Sixteen Tons Merle Travis Sky Eye Eye in the Sky Alan Pasons Project Sleep The Sleep Pantera Stairway Stairway to Heaven Led Zeppelin Stomp Bron-Y-Aur Stomp Led Zeppelin Summer All Summer Long Kid Rock Theater
    [Show full text]
  • Port of Southampton Master Plan 2009-2030 Aerial Photograph of the Port of Southampton ABP Port of Southampton Master Plan 2009-2030 • Foreword
    Port of Southampton Master Plan 2009-2030 Aerial photograph of the Port of Southampton ABP Port of Southampton Master Plan 2009-2030 • Foreword Foreword The Port of Southampton is the UK’s premier international gateway port. It connects trading nations across the world and helps the UK to benefit from the global economy. In 2007, we handled more cargo than ever before. In 2008, the Port broke another record with almost one million cruise passengers passing through the Port. It is, therefore, no surprise that the Port is recognised as one of very few UK international gateways whose commercial growth is critical to regional and national economic success. Doug Morrison Port Director, ABP Southampton Success for the Port is also success for Southampton and the community in the surrounding region. It is estimated that the Port supports around 10% of the City’s workforce directly and indirectly. We are also at the heart of the Solent maritime sector which is estimated to support up to economic conditions of 2009 in our forecasting as well as 77,000 jobs and be worth a massive £5.5 billion. identifying opportunities for the Port to contribute to a sustainable, low carbon economy. Our predecessors made far-sighted decisions to grow, consolidate and expand the Port. At the turn of the 20th When preparing the plan we have borne in mind three century they extended the Eastern Docks; in the 1920s and essentials: 30s they planned and built the Western Docks, and in the • the need to continue to attract investment and create 1960s they built one of the UK’s first container terminals.
    [Show full text]
  • Track List: All Songs Written by Syd Barrett, Except Where Noted. ”UK Release” Side One 1
    Track List: All songs written by Syd Barrett, except where noted. ”UK release” Side one 1. "Astronomy Domine" – 4:12 2. "Lucifer Sam" – 3:07 3. "Matilda Mother" – 3:08 4. "Flaming" – 2:46 5. "Pow R. Toc H." (Syd Barrett, Roger Waters, Rick Wright, Nick Mason) – 4:26 6. "Take Up Thy Stethoscope and Walk" (Roger Waters) – 3:05 Side two 1. "Interstellar Overdrive" (Syd Barrett, Roger Waters, Rick Wright, Nick Mason) – 9:41 2. "The Gnome" – 2:13 The Piper at the Gates of Dawn – August 5, 1967 3. "Chapter 24" – 3:42 Syd Barrett – guitar, lead vocals, back cover design 4. "The Scarecrow" – 2:11 5. "Bike" – 3:21 Roger Waters – bass guitar, vocals Rick Wright – Farfisa Compact Duo, Hammond organ, Certifications: piano, vocals TBR Nick Mason – drums, percussion "Astronomy Domine" Lime and limpid green, a second scene A fight between the blue you once knew. Floating down, the sound resounds Around the icy waters underground. Jupiter and Saturn, Oberon, Miranda and Titania. Neptune, Titan, Stars can frighten. Lime and limpid green, a second scene A fight between the blue you once knew. Floating down, the sound resounds Around the icy waters underground. Jupiter and Saturn, Oberon, Miranda and Titania. Neptune, Titan, Stars can frighten. Blinding signs flap, Flicker, flicker, flicker blam. Pow, pow. Stairway scare, Dan Dare, who's there? Lime and limpid green, the sounds around The icy waters under Lime and limpid green, the sounds around The icy waters underground. "Lucifer Sam" Lucifer Sam, siam cat. Always sitting by your side Always by your side.
    [Show full text]
  • Pink Floyd, Revisited: Waters Doesn’T Disappoint by Christopher John Treacy, Boston Herald | September 9, 2006
    9 Sep 2006 - Concert Review Boston Herald - Roger Waters Band Tweeter Center, Boston, MA, USA (8-Sep-06) Pink Floyd, revisited: Waters doesn’t disappoint By Christopher John Treacy, Boston Herald | September 9, 2006 No gimmicky light show or practiced cover band can match the majesty of seeing Roger Waters recreate his visionary work with Pink Floyd. And even though he’s currently touring under the guise of performing the legendary ‘Dark Side of The Moon’ that’s literally only the half of it. ‘Dark Side’ was originally performed as Act 2 of a Floyd show - exactly how Waters did it last night before a capacity crowd for the first of two gigs at Mansfield’s Tweeter Center. For all the anticipation surrounding Act 2, the first set was a much more compelling display. That’s not to knock Floyd’s 1973 masterpiece, which the musically muscled 11-piece band did commendable justice to. But hearing him lead his troops through crisp renditions of ‘Have a Cigar,’ ‘Sheep’ - during which an inflatable pink pig circled the venue – ‘Wish You Were Here,’ the opener ‘In the Flesh’ and ‘Shine on You Crazy Diamond (Parts 1-5),’ complete with multiple images of the late Syd Barrett flashing across the video screen, was infinitely more satisfying. During ‘Mother,’ when posing the question, ‘Should I trust the government?’ the crowd roared, but Waters disapprovingly shook his head as if to say, ‘You’ve missed the point.’ But there was no misinterpreting his messages of despair and disillusionment during the politically charged power-suite of ‘Southampton Dock,’ ‘The Fletcher Memorial Home’ and ‘Perfect Sense,’ the latter of which likens war to an arena sporting event.
    [Show full text]
  • The Final Solution Can Be Applied Vi State Divertendo? Adesso Si Può Passare Alla Soluzione Finale
    The post war dream Il sogno del dopoguerra Tell me true tell me why was Jesus crucified Dimmi la verità, dimmi perchè Gesù fu crocifisso Is it for this that daddy died? E per questo che papà è morto? Was it for you? Was it me? Era per te? Per me? Did I watch too much TV? Ho guardato troppa televisione? Is that a hint of accusation in your eyes? C'è un'ombra d'accusa nei tuoi occhi? If it wasn't for the nips Se non era per i giapponesi Being so good at building ships Così bravi a far navi The yards would still be open on the Clyde I cantieri navali di Glasgow sarebbero ancora aperti And it can't be much fun for them E non deve essere uno spasso per loro Beneath the rising sun Sotto il sol levante With all their kids committing suicide Con i loro ragazzi che si suicidano What have we done Maggie what have we done Che cosa abbiamo fatto, Maggie? Che abbiamo fatto? What have we done to England Che cosa abbiamo fatto all'Inghilterra? Should we shout should we scream Dobbiamo urlare? Dobbiamo gridare "What happened to the post war dream?" "Che cosa è successo al sogno del dopoguerra?" Oh Maggie Maggie what have we done? Oh Maggie, Maggie, che abbiamo fatto? One of the few Uno dei pochi When you're one of the few to land on your feet Quando sei uno dei pochi che ancora se la cavano What do you do to make ends meet? Come fai a sbarcare il lunario? Teach Insegna Make them mad, make them sad, make them add two and two Falli impazzire, falli intristire, fagli far due più due Make them me, make them you, make them do what you want Rendili come me,
    [Show full text]
  • In Depth History
    In Depth History We are often described The building however is a as being a big old barn, mere shell, it is the people having one of the largest and productions who come auditoriums in the country and work here that make us with over 2,300 seats. a living breathing theatre. Contents Chapter 1: The Early Years 3 Chapter 2: Under Attack from Cinema and Hitler 6 Chapter 3: A Change of Name for the Return of Live Shows 8 Chapter 4: The Rock ‘n’ Roll Years 10 Chapter 5: The Return to Live Theatre 13 Chapter 6: The Threat of Closure 15 Chapter 7: Born Again - The Mayflower Years 17 Chapter 8: Musicals Fit for The Mayflower 19 Chapter 9: The Changing Face of Christmas Productions 22 Chapter 10: Preserving and Modernising 23 Chapter 11: New Leadership and a New Foyer 24 Chapter 12: Regeneration for the Next Generation 26 2 3 Chapter 1: The Early Years The prospects were good in the late theatre as the most popular night 1920s, when the Moss Empire theatre out. Soon after, the Wall Street crash group planned a major expansion, sent economies into recession and building six huge 2000 seater venues unemployment rose, even in the throughout the country, comprising previously prospering shipping port Southampton, Edinburgh, Liverpool, Southampton. Oxford and The Dominion in London, as well the Empire Theatre Glasgow, No expense was spared in providing which sadly no longer survives. The audiences and performers with theatres were built by William and luxurious surroundings. The front T. R. Milburn of Sunderland using of the building was enclosed in a principles that T.
    [Show full text]
  • Consolidated Codes and Data Entry Notes
    This document was supplied by the depositor and has been modified by AHDS History SN 5622 - Constructing the Company: Governance and Procedures in British and Irish Joint Stock Companies, 1720-1844 Study Documentation Full summary of codes used in the database The database contains 96 fields and 514 records. Each record contains information about a company. The first 9 fields are unnumbered, and contain summary information about the company. The remaining 87 fields are numbered. Not all numbers are used: some information was collected from the company constitutions, but was not used in the final database. Some fields were added during or after the data collection phase of the project, and are designated by a number and a letter (e.g. 7C). One field, 60B2, has a number, a letter, and a subsequent number. Each field also has a name, which is given immediately after the number. id A unique identifying number, automatically generated by the database software. name For this field we entered the name of the company, as given in the constitutional document. date We entered the date of the constitutional document. This was not necessarily the date at which the company was established, or began to operate. period This field splits the companies into two periods: 1720-1825 1826-44 sub-period This field splits the companies into eight sub-periods: 1720-99 1800-09 1810-19 1820-24 1824-29 1830-34 1 1835-39 1840-44 type of company For this field we entered: Inc: incorporated. Un: unincorporated. It is possible to distinguish between companies incorporated by charter and by Act of Parliament by using this field in connection with field 78A.
    [Show full text]
  • To What Extent Did Roger Waters' 1967-1969
    University of Surrey Faculty of Arts and Social Sciences Department of Music and Media BMus Music (3 year) Final-Year Individual Project MUS3078 ‘To What Extent Did Roger Waters’ 1967-1969 Songwriting Style Shape 1983’s The Final Cut?’ Daniel Peeke Supervised By Dr. Christopher Wiley May 2019 2 Acknowledgements Since hearing The Wall at a friend’s house when I was twelve, Pink Floyd led me towards all the music I’m passionate about today, whether it’s Ben Folds, Cannibal Corpse or Dr Dre. Since Roger Waters composed much of their best work, I felt it appropriate to explore the way in which his style grew their sound from innocent, underground psychedelia into genius conceptual art. I’d like to thank Dr Chris Wiley in particular for his countless pointers in the right direction and for giving up so much of his time to help refine all 12,000 of these words. Also, my parents for reading this repeatedly despite not understanding what a single word of it means, Joe and Stelios for letting me obsessively play prog 24 hours a day at home, and Shan for pretending to care about metric irregularity, modal interchange and melodic contour. Contents Abstract................................................................................................................3 Introduction..........................................................................................................4 Part One: Roger Waters’ Early Style And The Introduction Of Later Songwriting Staples..................................................................................................................7
    [Show full text]
  • Pink Floyd Mp3 Mp3, Flac, Wma
    Pink Floyd Mp3 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Rock Album: Mp3 Country: Russia Style: Psychedelic Rock, Experimental, Prog Rock, Classic Rock MP3 version RAR size: 1704 mb FLAC version RAR size: 1269 mb WMA version RAR size: 1171 mb Rating: 4.2 Votes: 950 Other Formats: APE AAC MP4 TTA DMF VOX MIDI Tracklist Hide Credits The Division Bell 1 Cluster One 2 What Do You Want From Me 3 Poles Apart 4 Marooned 5 A Great Day For Freedom 6 Wearing The Inside Out 7 Take It Back 8 Coming Back To Life 9 Keep Talking 10 Lost For Words 11 High Hopes A Momentary Lapse Of Reason 12 Signs Of Life 13 Learning To Fly 14 The Dogs Of War 15 One Slip 16 On The Turning Away 17 Yet Another Movie-Round And Round 18 A New Machine P.I 19 Terminal Frost 20 A New Machine P.II 21 Sorrow The Final Cut 22 The Post War Dream 23 Your Possible Pasts 24 One Of The Few 25 The Hero's Return 26 The Gunner's Dream 27 Paranoyd Eyes 28 Get Your Filthy Hands Off My Desert 29 The Fletcher Memorial Home 30 Southampton Dock 31 The Final Cut 32 Not Now John 33 Two Suns In The Sunset The Wall (CD1) 34 In The Flesh 35 The Thin Ice 36 Another Brick In The Wall P.I 37 The Happiest Days Of Our Lives 38 Another Brick In The Wall P.II 39 Mother 40 Goodbye Blue Sky 41 Empty Spaces 42 Young Lust 43 One Of My Turns 44 Don't Leave Me Now 45 Another Brick In The Wall P.III 46 Goodbye Cruel World The Wall (CD2) 47 Hey You 48 Is There Anybody Out There 49 Nobody Home 50 Vera 51 Bring The Boys Back Home 52 Comfortably Numb 53 The Show Must Go On 54 In The Flesh 55 Run Like Hell 56
    [Show full text]
  • An Analysis of the Microfauna and Microflora of The
    AN ANALYSIS OF THE MICROFAUNA AND MICROFLORA OF THE UPPER EOCENE OF THE HAMPSHIRE BASIN By Martin Simeon Norvick Thesis Submitted for the Degree of Doctor of Philosophy at the University of London. Abstract The succession of the Upper Bracklesham and Barton beds of Hampshire i! discussed in a lithostratigraphic context. Compilations from surface sections and borehole data enable lithological correlations to be made, based on the cyclic pattern of lithofacies. The areal distribution and variations in thickness of lithological units are elucidated and the local palaeogeography is reconstructed. Stratigraphic usage of planktonic and larger Foraminiferida in the North West European Upper Eocene is reviewed,, A detailed study of the Nummulites shows the presence of seven morphological units and their distribution as local stratigraphic markers is evaluated. The total microfauna and microflora of the Barton Beds from Christchurch Bay and Alum Bay is examined quantitatively and the percentage distributions of Foraminiferida, Ostracoda and ivIollusca are presented graphically. In addition the occurrence of Dinoflagellat,, and Tasmanitid cysts, Angiosperm seeds, Echinoderm, Sponge, Bryozoan, Annelid and Vertebrate remains are studied qualitatively. The variatic..1 in distribution of species and larger units is used to provide a biofac' - zonation of the Barton Beds. Two cycles of sedimentation are recognised and and the two sections are compared. The total fauna and flora is classified into 459 indigenous taxonomic and organ groups. Meroplankton and Holothuroid ossicles are recorded for the first time from the Barton Beds and !!3 species are described and illustrated. 99 species of Foraminiferida, 34 of Ostracoda, 168 species and groups of Mollusca and 28 species of smaller phyla are also described and the majority figured.
    [Show full text]
  • 14 X Remastered Studio (Discovery) Albums
    Media Information im Auftrag: medienAgentur Stefan Michel T 040-5149 1467 [email protected] PINK FLOYD DEFINIEREN IHR EMI-VERMÄCHTNIS NEU 14 x Remastered studio (Discovery) Albums Die ‘Discovery’-Collection: 14 remasterte Studioalben Seit 1967 haben Pink Floyd einen der überragendsten und nachhaltig prägendsten Kataloge in der Geschichte der Schallplattenindustrie geschaffen. Sämtliche 14 Original-Studioalben wurden nun von James Guthrie (Koproduzent bei The Wall) aufwändig digital remastert und mit neugestalteten Covers sowie von Storm Thorgerson, dem langjährigen Artdirector der Band, entworfenen Booklets neu aufgelegt. Die ‘Discovery’-Alben sind als Einführung in ein künstlerisches Werk konzipiert, sodass sämtliche Booklets die vollständigen Songtexte enthalten. Pink Floyd The Piper At The Gates Of Dawn Discovery Version Produktbeschreibung: Pink Floyds Debütalbum erschien im Jahr 1967 mit der ursprünglichen Bandbesetzung Syd Barrett, Roger Waters, Richard Wright und Nick Mason. Die aktuelle Discovery-Version präsentiert das Original- Studioalbum, digital remastert von James Guthrie, mit neugestaltetem Digipak und einem von Storm Thorgerson designten 12-seitigen Booklet. Tracklist: Astronomy Domine Lucifer Sam Matilda Mother Flaming Pow R. Toc. H Take Up Thy Stethoscope And Walk Interstellar Overdrive The Gnome Chapter 24 The Scarecrow Bike Pink Floyd A Saucerful of Secrets Discovery Version Produktbeschreibung: Das zweite Bandalbum, ursprünglich 1968 veröffentlicht, war das erste unter der Mitwirkung von David Gilmour,
    [Show full text]