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Alan Curtis Kay (born May 17, 1940) [1] is an American computer scientist best known for his pioneering work on object-oriented programming and windowing graphical user interface (GUI) design. At Xerox PARC he led the design and development of the first modern windowed computer desktop interface.
Double Indemnity is a 1944 American film noir directed by Billy Wilder and produced by Buddy DeSylva and Joseph Sistrom. Wilder and Raymond Chandler adapted the screenplay from James M. Cain 's novel of the same name , which ran as an eight-part serial in Liberty magazine in 1936.
Double Indemnity is a 1973 American made-for-television crime film directed by Jack Smight and starring Richard Crenna, Lee J. Cobb, Robert Webber and Samantha Eggar. It was a remake of Double Indemnity (1944) based on the film rather than the original novel.
"In Heaven (Lady in the Radiator Song)" (often referred to as simply "In Heaven") is a song performed by Peter Ivers, composed by Peter Ivers, with lyrics by David Lynch. The song is featured in Lynch's 1977 film Eraserhead , and was subsequently released on its 1982 soundtrack album .
The narrator/voice of the first track is Street poet Robert Alan Weiser. Black Sabbath - "Changes" (only appears in early leaked versions of the album, but readily available on public websites, e.g. YouTube) "Eye for an Eye" The film The Prophecy (vocal sample: "Even now in heaven there were angels carrying savage weapons")
Double Indemnity is a 1943 crime novel by American journalist-turned-novelist James M. Cain. It was first published in Liberty magazine in 1936 as an eight part serial, and later republished as one of "three long short tales" in the collection Three of a Kind .
The original soundtrack for Eraserhead was released via I.R.S. Records on LP in the United States on June 15, 1982, with 5 tracks. Side A consists of three songs written by Thomas "Fats" Waller and Side B consists of "In Heaven", the song performed by Laurel Near's character the Lady in the Radiator in the original film.
Reunited, a respite from the action, is the music played as Van Helsing stands on the cliff and sees Anna in heaven, as well as Frankenstein's monster sailing off on his raft. It introduces a new theme, a love theme for Van Helsing and Anna, that is performed on solo horn and strings, with a powerful variation following with some heartbeat ...