A few more clinks than I'd like but I'll take the win.
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Roseanne clinks her glass and demands someone give a toast in their honor.
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His assistant clinks down sterilized instruments and fluid-filled containers onto a stainless steel table.
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Hacking and audio art are the jingling keys; even the artist's name, "Jean Tinguely," heterogeneously clinks, clatters, and clunks.
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When she walks, she clinks and jangles — weighed down by ornate crystals and shimmery jewels, seemingly painted on her porcelain skin.
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The title track clinks and cranks around white noise, underwater loops and unfamiliar voices washing in and out for seven minutes.
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There are the mechanical clinks of moving magnets, vibrating compressors to move liquid helium, and beeps from computers in the control rooms.
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The atmosphere was polite and subdued with the day's first post-work drinkers, most of them male, providing a lightly bubbling soundtrack of glass clinks and murmurs.
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Asked if she thinks she got a fair shake, she clinks her fire-engine red nails against her glass and stares out the window before she responds.
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This apparent universality of the dark side of male desire and power being exposed as each big institution clinks to the ground like a domino is catching speed.
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"Cuando Tu Quieras" shuffles along over metallic clinks and water droplets, punctuating the chorus with what sounds like a digitally elongated exhalation, looped and artificially modulated to align with the melody.
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"Fallin' Up" is lackadaisical boom-bap for "rolling up marble steps"; elsewhere, "U Try" features field recordings of a bustling crowd, and the sprawling "GJGJ Cake" is filled with glass clinks and bird chirps.
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The smell of fresh basil and the sound of clinks from dishes filled the space, a small area decorated with plants, paper lanterns and baking racks piled high with gadgets like espresso machines and pressure cookers.
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All of Tinguely's rocking, mocking compositions, like "Vive la liberté I" (260), are made up of rickety stuff that sways and clinks and clanks away, even as the movements of the machine are delicate and irregular, weedy and tentative.
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Pak shoots me a look, and slips back to Korean: "God, if only she knew how much harder it is now," he says to O. "We filmmakers used to be at the top, didn't we…" Pak raises his glass in ironic celebration, and O, with a sympathetic nod, clinks and sculls.
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While the sun sets along the Brooklyn side of the East River, two men donning soiled white outfits throw heavy blocks of steel at one another, rhythmically roll around on the concrete, and, at times, poetically caress one another with the same steel chunks, to the hypnotic sound of their heavy breathing and the industrial clinks of the hurled metal.
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Meg clinks her coffee cup to produce a ringing noise, pauses, says "Earth as a conductor of acoustical resonance" and clinks her coffee cup to produce the noise again; she looks pensively out into the distance before a cut to black. Early during the segment, "Down on the Street" by The Stooges is played in the background.
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The Chain Clinks () is a 1923 German silent film directed by Paul L. Stein and starring Ressel Orla, Alfons Fryland, and Grete Diercks. The film's sets were designed by the art director Fritz Lederer.
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In 2007, pact formed an alliance with the Prison Reform Trust, Action for Prisoners' Families and Clinks to campaign for more help for prisoners' families. A joint Agenda for Action was launched at the House of Lords in December 2007, with 30 recommendations for government, ranging from family-friendly visitors' centres to radically improved prison visits booking lines.
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The street is named for early Atlanta settler Ammi Williams. The company's original name, Ghost Planet Industries, came from Space Ghost's fictional planet, where the animated talk show Space Ghost Coast to Coast was supposedly filmed. The studio's production logo features a wavy gray image of Space Ghost's fictional studio, with the words "Williams Street" beneath it. The soundtrack of Jack Webb's Mark VII Limited's production logo - a rumbling drum roll and two clinks of a hammer - is often used while the GPI/Williams Street production card is shown.
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While this is happening she thanks her fans for making her famous. Scenes of this are intercut with Fergie getting back on the plane she came on, while she flashes back to when she was younger, where her father warned her about the coldness of the showbiz industry. Fergie is then shown at the same kegger from earlier in the video, with her Black Eyed Peas bandmate apl.de.ap, Alfonso Ribeiro, Polow da Don, and B-Real from Cypress Hill with whom she clinks plastic glasses, followed with the plane she is on in the present day flying into London as the sunsets.
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After this she founded CLINKS, an organisation whose goal was to encourage voluntary organisations to offer services in prison. In 2000 she was a member of the Laming committee which looked at penal reform. She was appointed OBE in 2003. In the same year she became chair of the Penal Affairs Consortium, a group that coordinates organisations involved in the penal system. From 1999 until her death from cancer in 2006, Padel was the director of the Centre for Crime and Justice Studies (CCJS), or the Institute for the Study and Treatment of Delinquency as it was then called when she joined.
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Agenda was brought together by a group of trusts, foundations and voluntary sector organisations building on work started with Baroness Corston’s 2007 report into women in the criminal justice system. From 2008, a group of funders collaborated through the Corston Independent Funders Commission (CIFC) to improve the response to women in contact with the criminal justice system. Primarily focused on community alternatives to custody, the CIFC became interested in broadening its scope away from women already in the criminal justice system to look at a wider group of women and girls facing disadvantage. In partnership with Clinks, CIFC carried out a consultation with organisations working with vulnerable women and girls in 2013.
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He played live at the 2004 Produced by Trevor Horn show and with The Producers in 2006/7. He has worked with Madness (on Keep Moving and Mad Not Mad), Asia (on Astra and Arena and Aura), Claire Martin (Take My Heart), Yes, Sir Paul McCartney, The Rolling Stones, They Might Be Giants, Clinks Turner, Mike Batt, David Bowie, Cher, Grace Jones, Björk, Mezzoforte, Bee Gees, Duran Duran, Robbie Williams, Elvis Costello, Gareth Gates, Tom Jones, Alejandro Sanz, Nina Hagen, João Pedro Pais, Eros Ramazzoti, Diana Ross, Rod Stewart, Johnny Hallyday, Mariah Carey, Céline Dion, Sir Elton John, George Michael, Cyndi Lauper, Gloria Estefan, Katie Melua, Modern Romance, Jeff Beck, Fish, Tina Turner, Roddy Frame, Billy Idol, Coldplay, David Gilmour, and many others.
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