Way Out West is a 1930 American comedy film. It tells the story of "Windy", a con man who cheats a group of cowboys out of their money. When they discover his cheating and learn that he himself has been robbed, they force him to work on a ranch until he has paid his debt. Way Out West stars William Haines, Leila Hyams, Polly Moran and Ralph Bushman and was directed by Fred Niblo.
Windy, a sideshow barker, cheats a group of cowboys out of their pay but is then robbed himself. When the cowboys discover they have been cheated they initially decide to hang him, then decide to make him work off his debt. He falls in love with ranch owner Molly and, when he saves her life after she is bitten by a snake, he wins her heart.
Way Out West is a Laurel and Hardy comedy film released in 1937. It was directed by James W. Horne, produced by Stan Laurel and distributed by Metro-Goldwyn-Mayer. This was the second picture for which Stan Laurel was credited as producer – the first was 1936's Our Relations. Laurel served in that uncredited capacity for the duo's entire career.
Stan and Oliver, after consorting with Seymore "Sy" Roberts, an old prospector, have been entrusted to deliver the deed to a gold mine the prospector discovered to the man's daughter, Mary Roberts (Rosina Lawrence), a poor girl living in Brushwood Gulch who is consistently victimized by her cruel guardians, saloon owner Mickey Finn (James Finlayson), and his equally-cruel saloon-singer wife, Lola Marcel (Sharon Lynn).
Traveling by stage coach, they attempt to flirt with the woman (Vivien Oakland) who is riding with them. She rebuffs the pair, and upon arriving in Brushwood Gulch, she complains to her husband, the town's sheriff (Stanley Fields). The angry sheriff orders the pair to leave on the next coach out of town, or else they'll be "riding out of here in a hearse". Stan and Ollie promise to do so once they have completed their mission.
Way Out (note that the on-screen title begins with an apostrophe) is a 1961 fantasy and science fiction television anthology series hosted by writer Roald Dahl. The macabre, black-and-white, 25-minute shows were introduced by Dahl, his face projected in a disconcerting hall of mirrors effect, dryly delivering a brief introductory monologue, expounding on such unusual subjects as undertakers or frogs or murdering a romantic rival with ground tiger's whiskers.
The taped series began because CBS needed a replacement for a Jackie Gleason talk show that network executives were about to cancel, and producer David Susskind contacted Dahl to help mount a show quickly. The series was paired by the network with the similar The Twilight Zone for Friday evening broadcasts, running from March through July 1961 at 9:30 p.m. Eastern time. The show's primary sponsor was Liggett & Myers (L&M cigarettes). Writers included Philip H. Reisman, Jr. and Sumner Locke Elliott.
The premiere episode, "William and Mary", adapted from a Roald Dahl short story, told of a wife getting revenge on her husband.
A remix is an alternative version of a recorded work.
Remix may also refer to:
In music:
In other media:
In technology
Remix is a Danish 2008 feature film directed by Martin Hagbjer starring Micky Skeel Hansen as a 16-year-old pop singer Ruben. Remix is inspired by the true story of Danish pop idol Jon Gade Nørgaard known by the mononym Jon. Jon was also the subject of the documentary feature film Solo released in 2007. The film was released on January 25, 2008.
Ruben (played by Micky Skeel Hansen), an aspiring young man is offered a record contract by the music executive Tanya (portrayed by Camilla Bendix). The film, which co-stars Jakob Cedergren, Sofie Lassen-Kahlke, Henrik Prip and Anette Støvelbæk, follows Ruben's fall from grace in the hands of the music industry.
Remix: Making Art and Commerce Thrive in the Hybrid Economy is Lawrence Lessig's fifth book. It is available as a free download under a Creative Commons license. It details a hypothesis about the societal effect of the Internet, and how this will affect production and consumption of popular culture.
In Remix Lawrence Lessig, a Harvard law professor and a respected voice in what he deems the "copyright wars", describes the disjuncture between the availability and relative simplicity of remix technologies and copyright law. Lessig insists that copyright law as it stands now is antiquated for digital media since every "time you use a creative work in a digital context, the technology is making a copy" (98). Thus, amateur use and appropriation of digital technology is under unprecedented control that previously extended only to professional use.
Lessig insists that knowledge and manipulation of multi-media technologies is the current generation's form of "literacy"- what reading and writing was to the previous. It is the vernacular of today. The children growing up in a world where these technologies permeate their daily life are unable to comprehend why "remixing" is illegal. Lessig insists that amateur appropriation in the digital age cannot be stopped but only 'criminalized'. Thus most corrosive outcome of this tension is that generations of children are growing up doing what they know is "illegal" and that notion has societal implications that extend far beyond copyright wars. The book is now available as a free download under one of the Creative Commons' licenses.
The four cardinal directions or cardinal points are the directions of north, east, south, and west, commonly denoted by their initials: N, E, S, W. East and west are at right angles to north and south, with east being in the clockwise direction of rotation from north and west being directly opposite east. Intermediate points between the four cardinal directions form the points of the compass. The intermediate (intercardinal, or ordinal) directions are northeast (NE), southeast (SE), southwest (SW), and northwest (NW). Further, the intermediate direction of every set of intercardinal and cardinal direction is called a secondary-intercardinal direction, the eight shortest points in the compass rose to the right, i.e. NNE, ENE, ESE, and so on.
To keep to a bearing is not, in general, the same as going in a straight direction along a great circle. Conversely, one can keep to a great circle and the bearing may change. Thus the bearing of a straight path crossing the North Pole changes abruptly at the Pole from North to South. When travelling East or West, it is only on the Equator that one can keep East or West and be going straight (without need to steer). Anywhere else, maintaining latitude requires a change in direction, requires steering. However, this change in direction becomes increasingly negligible as one moves to lower latitudes.
Howdy ma'am, where ya headed?
I'm goin' home
'sat right, where ya been?
Out west...
Heard my man was cheating me
He was out west, no chores for me
Eyes that watch just in the door
And now they'll open nevermore
I'll never go back
Swinging door only swings one way
When you give your heart away
When it's stolen by a thief
He only cries bloody grief
I'll never go back
Blue was just (?) the sky was grey
The sun went down on me that day
Gun was hot and my mind slipped away
Hid myself beneath the seat
The man can steal a woman's due
Found him in his lover's bed
And that is where i left him dead
I'll never go back
Took off my pants, took off my vest
And i put back on my dress
I walked into the street
I wasn't scared of what i'd meet
I'll never go back
Blue was just (?) the sky was grey
God came upon me that day