Cut may refer to:
In the post-production process of film editing and video editing, a cut is an abrupt, but usually trivial film transition from one sequence to another. It is synonymous with the term edit, though "edit" can imply any number of transitions or effects. The cut, dissolve and wipe serve as the three primary transitions. The term refers to the physical action of cutting film or videotape, but also refers to a similar edit performed in software; it has also become associated with the resulting visual "break".
Due to the short length of early film stock, splicing was necessary to join together segments into long-form. Actuality directors spliced together reels prior to shooting in order to record for longer periods of time. Narrative directors, on the other hand, preferred shooting for shorter lengths, editing together shot footage. In either case, film was cut (and subsequently joining the cut segments) in order to remove excess footage, focusing attention on significant elements.
Cut is the seventh studio album by Australian rock band, Hunters & Collectors. It was mostly produced by American Don Gehman with the group and issued by White Label/Mushroom on 5 October 1992. It reached No. 6 on the ARIA Albums Chart and No. 17 on the New Zealand Albums Chart. The band were nominated for Best Group at the 1992 ARIA Music Awards and Album of the Year for Cut in the following year.
"Where Do You Go" was co-produced with Nick Sansano and released as a single in September 1991, prior to commencing the rest of the album with Gehman, but it was included on Cut. Subsequent singles were "Head Above Water" (July 1992), "We the People" (September), "True Tears of Joy" (November), "Holy Grail" (March 1993) and "Imaginary Girl" (August), all appeared on the ARIA Singles Chart Top 100.
Hunters & Collectors' seventh studio album, Cut, was recorded from late 1991 and into 1992. The line-up of the group was John Archer on bass guitar; Doug Falconer on drums, backing vocals, programming, percussion and tape loops; Jack Howard on trumpet, keyboards and backing vocals; Robert Miles on live sound and art design; Barry Palmer on lead guitar; Mark Seymour on lead vocals and guitar,; Jeremy Smith on French horn, keyboards, guitars and backing vocals; and Michael Waters on keyboards and trombone.
In medicine and biology, transmission is the passing of a communicable disease from an infected host individual or group to a particular individual or group, regardless of whether the other individual was previously infected.
The term usually refers to the transmission of microorganisms directly from one individual to another by one or more of the following means:
Transmission can also be indirect, via another organism, either a vector (e.g. a mosquito or fly) or an intermediate host (e.g. tapeworm in pigs can be transmitted to humans who ingest improperly cooked pork). Indirect transmission could involve zoonoses or, more typically, larger pathogens like macroparasites with more complex life cycles.
Locus is the name of two fictional characters in the Marvel Comics universe. The first one, whose real name is Aaron Verne, first appeared in Thor #302 (December 1980), and has the ability to create geometric energy constructs.
The second one is a mutant villainess. She was first introduced as a member of the Mutant Liberation Front in the comic title X-Force under the leadership of Reignfire. She has been portrayed inconsistently with a variety of ethnic features, prior to her death.
After the Mutant Liberation Front (MLF) were incarcerated by the United States government following the events of the X-Cutioner's Song crossover, a tyrannical despot named Reignfire decides to restart the MLF. He breaks Forearm, Reaper, Wildside, and Tempo out of prison and gives them their first mission: kill Henry Peter Gyrich. With the addition of Locus - at this point drawn and colored as a Caucasian with blonde hair and a white, downward arrow sometimes painted on her face- and Moonstar, the team is sent on their way, however their assassination attempt is foiled by X-Force. When Locus tries to kill Gyrich, Sunspot jumps in the way and something unexpected happens: the two mutants' powers react and send the pair disappearing to parts unknown. Due to the nature of Locus' powers and Sunspot's well-traveled tenure with both the New Mutants and X-Force the couple could be virtually anywhere in the galaxy. Cable and the rest of X-Force attempted to search for Sunspot using a modified version of Cerebro, but they have no luck.
In geometry, a locus (plural: loci) (Latin word for "place", "location") is a set of points (commonly, a line, a line segment, a curve or a surface), whose location satisfies or is determined by one or more specified conditions.
Until the beginning of 20th century, a geometrical shape (for example a curve) was not considered as an infinite set of points; rather, it was considered as an entity on which a point may be located or on which it moves. Thus a circle in the Euclidean plane was defined as the locus of a point that is at a given distance of a fixed point, the center of the circle. In modern mathematics, similar concepts are more frequently reformulated by describing shapes as sets; for instance, one says that the circle is the set of points that are at a given distance of the center. In contrast to the set-theoretic view, the old formulation avoids considering infinite collections, as avoiding the actual infinite was an important philosophical position of earlier mathematicians.
[Styles]
Ruff Ryder Nigga, Volume 2
We show niggas the meaning of ryde or die
So all that bullshit you talking, go head nigga
[Jadakiss]
You don't gotta slap me five or give me a hug
And it hurts when you gotta kill a nigga you love
But I'm gone deal wit my enemies sooner
Cause I got'em looking for my solo album like Kennedy Jr.
Fuck crush ice, go head and get your shine on
I'm bout to cop rocks that y'all niggas can climb on
Don't worry bout why I ain't got mine on
I want some new shit, I don't want nothing that you can tell time on
Things ain't all good right now
Cause some more niggas die an turn all you in the hood right now
Y'all can stop acting like that nigga J gone squeeze
Cause all I got is misdeameanors and some ACD's
Y'all gon make me lay something down I promise
And Puff wear scarmas and listen to Carl Thomas
Fuck runnin and hidin, we copping more guns
An we coming outside cause somebody gotta die
[Chorus]
Go head you know we getting plenty of Dough
Go head you know we lighting plenty of dro
Go head you know we coming from Y-O
Go head truly though Go head really though
Go Head you know we hitting plenty of hos
Go head you know we ripping plenty of shows
Go head you know we coming from Y-O
Go head truly though Go head really though
[Sheek]
Now I warned y'all niggas that Sheek was the one
Now I'm warning y'all niggas that I got my gun
Read' to kill, don't worry bout no doctor bill
It ain't gone be one of those, just yo' casket closed
LOX, nah you rather fuck wit the cops
cause I'll pop and turn y'all like the optimum box
Mo pay-per-view, this trey-eight will do
some'in ugly and let the morgue zip up your crew
Wanna hope on our dicks and go Willie yo bikes
and wear Ruff Ryder tees, motherfucker please
You a Pocanos nigga, why don't you stick to the skis
And I don't hear a nigga raps no more
So I don't bother to go in the store an cop y'all shit
Only time I cop y'all shit if Lox on it
I shoot you in yo mouth ain't no calling the cops
I want my shit back like Castro and Elian's pop
[Chorus]
[Styles]
I'm always that, I'm always this
But the floor stay nasty like hallway piss
If you here the P spitting it's a deep ass song
When I die mama bury me wit street clothes on
Cause drama be the threapy, the beef goes on
should've been speaking out of it makes it a lot
But I was fucking wit the savages, kicking the drop
Live for the money, die for my niggas, run from the law
Catch me smoking my weed or fucking your whore
Push my whip to the limit kind of hoping it flip
Throw my clip to the tip kind of hoping you flip
I feel sorry for the crackheads, but happy for myself
So I got mixed feelings about this hussling shit
I keep saying I'm gone quit after a couple of bricks
But I can't stop building and I don't pop children
But I got no problem kidnapping a bitch