Outrage may refer to:
Outrage (アウトレイジ, Autoreiji) is a 2010 Japanese yakuza film directed by and starring Takeshi Kitano. It competed for the Palme d'Or at the 2010 Cannes Film Festival. It is followed by a 2012 sequel, Beyond Outrage.
The film begins with a sumptuous banquet at the opulent estate of the Grand Yakuza leader Sekiuchi (Soichiro Kitamura), boss of the Sanno-kai, a huge organized crime syndicate controlling the entire Kanto region, and he has invited the many Yakuza leaders under his control. After the formal conclusion of the banquet, Kato, the chief lieutenant of Sekiuchi, pulls one of the Yakuza leaders, Ikemoto, aside and makes plain that he is displeased with the news that Ikemoto has become friendly with a rival gang leader, Murase, while the two were unexpectedly imprisoned together. Kato orders Ikemoto to bring the unassociated Murase-gumi gang in line, and he immediately passes the task on to his subordinate Otomo (Beat Takeshi), who runs his own crew.
Shortly thereafter an incident occurs at a nightclub owned by Murase where a man posing as a customer is inadvertently put through a shakedown for about one million yen. It turns out that this is a member of the Ikemoto family who has been planted into the nightclub in order to help set-off the conditions for an all-out gang war against the Murase family. Murase, who is completely in the dark concerning his having fallen out of favor with Sekiuchi, tries to ameliorate the situation by relying on his former prison friendship with Ikemoto, not knowing that Ikemoto is under orders to terminate his gang. He accepts Ikemoto's advice several times not suspecting any ill-intentions from Ikemoto and each time he further weakens his strength, his resources and his crime family. In one incident, Otomo leaves vicious scars on the face of Kimura who is Murase's chief lieutenant.
Outrage is a 2009 American documentary film written and directed by Kirby Dick. The film presents a narrative discussing the hypocrisy of people purported in the documentary to be closeted gay or bisexual politicians who promote anti-gay legislation. It premiered at the 2009 Tribeca Film Festival before being released theatrically on May 8, 2009. It was nominated for a 2010 Emmy Award, and won Miami Gay and Lesbian Film Festival's jury award for best documentary.
Outrage argues that several American political figures have led closeted gay lives while supporting and endorsing legislation that is harmful to the gay community. The film examines mass media's reluctance to discuss issues involving gay politicians despite many comparable news stories about heterosexual politicians and scandals. Outrage describes this behavior as a form of institutionalized homophobia that has resulted in a tacit policy of self-censorship when reporting on these issues. The film is based on the work of blogger Michael Rogers and his site BlogActive.com.
Theme or themes may refer to:
In Indo-European studies, a thematic vowel or theme vowel is the vowel *e or *o from ablaut placed before the ending of a Proto-Indo-European (PIE) word. Nouns, adjectives, and verbs in the Indo-European languages with this vowel are thematic, and those without it are athematic. Used more generally, a thematic vowel is any vowel found at the end of the stem of a word.
PIE verbs and nominals (nouns and adjectives) consist of three parts:
The thematic vowel, if present, occurs at the end of the suffix (which may include other vowels or consonants) and before the ending:
Athematic forms, by contrast, have a suffix ending in a consonant, or no suffix at all (or arguably a null suffix):
For several reasons, athematic forms are thought to be older, and the thematic vowel was likely an innovation of late PIE: Athematic paradigms (inflection patterns) are more "irregular", exhibiting ablaut and mobile accent, while the thematic paradigms can be seen as a simplification or regularisation of verbal and nominal grammar. In the Anatolian languages, which were the earliest to split from PIE, thematic verbs are rare or absent. Furthermore, during late PIE and in the older daughter languages, a number of athematic forms were replaced by thematic ones, as in prehistoric Greek *thes- 'god' versus *thes-o- > Classical Greek θεός (theós).
The Family Way is a soundtrack recording composed by Paul McCartney, released in January 1967. The album is the soundtrack to the 1966 film of the same name, directed by Roy Boulting and starring Hayley Mills. Produced and arranged by George Martin, the album was credited to "The George Martin Orchestra" and issued under the full title The Family Way (Original Soundtrack Album). A 45rpm single, again credited to the George Martin Orchestra, was issued on 23 December 1966, comprising "Love in the Open Air" backed with "Theme From 'The Family Way'", as United Artists UP1165.
The Family Way won an Ivor Novello Award in 1967. It was remastered and released on CD in 1996 with new musical compositions not on the original 1967 soundtrack album.
The recording took place over November and December 1966, before the Beatles began work on their album Sgt. Pepper's Lonely Hearts Club Band. McCartney's involvement in the project was minimal, according to biographer Howard Sounes, who quotes Martin's recollection that he had to "pester Paul for the briefest scrap of a tune" with which to start writing the score. After McCartney had provided "a sweet little fragment of a waltz tune", Martin continued, "I was able to complete the score."
Dub, Dubs, Dubí, or dubbing may refer to:
Many places in Slavic countries, where "dub" means "oak tree":
Empty words fired at me with an oral
cannon
WE WANNA BE HEARD!
Lousy jerks such bad breath I put the fan on
This is where we draw the line we're
sick of you wasting all our time
Talking about you you're given
something to revolve
WE WANNA BE SEEN!
You're given a clue a three piece
puzzle for you to solve
This is where we draw the line we're
sick of you wasting all our time
Game over you have played out your last card
WE WANNA DISAPEAR!
Constant looser a change for the better can't be that hard
This is where we draw the line we're