Paragraph 1: In November 1997, Australian National was sold and the passenger cars passed to Great Southern Rail Limited, which contracted National Rail to haul the services with NR class locomotives. On occasions, BL and 93 class locomotives hauled the service. In July 1998, the Wednesday and Saturday night journeys in each direction were cancelled, leaving the service operating five times per week in each direction. In May 1999, a new timetable was introduced but with previous intermediate stops omitted at Stawell, Murtoa, Nhill, Kaniva, Wolseley, Tintinara, Coonalpyn and Tailem Bend. In 1999, the maroon and silver livery was removed and the train was repainted in a new grey and silver scheme, with a new kookaburra logo. In May 2000, the service was reduced to four times weekly. However, with an accelerated journey time of 10 hours 30 minutes, the service was able to be operated by one set of passenger cars, operating to Melbourne in the day and to Adelaide overnight. Some of the largest Overland consists were run during this era; during the 2002 AFL finals, in which both the Adelaide Crows and Port Adelaide Power were competing, The Overland was built up to a record 32 carriages for the Preliminary Final round on 21 September.

Paragraph 2: In business, the term long tail is applied to rank-size distributions or rank-frequency distributions (primarily of popularity), which often form power laws and are thus long-tailed distributions in the statistical sense. This is used to describe the retailing strategy of selling many unique items with relatively small quantities sold of each (the "long tail")—usually in addition to selling fewer popular items in large quantities (the "head"). Sometimes an intermediate category is also included, variously called the body, belly, torso, or middle. The specific cutoff of what part of a distribution is the "long tail" is often arbitrary, but in some cases may be specified objectively; see segmentation of rank-size distributions.

Paragraph 3: John Allen studied physics initially at the University of Manitoba, where he received his bachelor's degree in 1928. Afterwards, he went to the University of Toronto to pursue postgraduate studies. He obtained his master's degree in 1930 and undertook his PhD working with John McLennan about superconductivity. He there developed and built his first cryostat which was taken by John McLennan for a demonstration of superconductivity in a public lecture to the Royal Institution in London. He obtained his PhD degree in 1933. With a two-year US National Research Council Fellowship which he obtained in 1933, he went to work as a postdoctoral researcher at Caltech between 1933 and 1935. In 1935, he joined the Mond Laboratory of the Royal Society in Cambridge to work with Pyotr Kapitsa on low temperature experiments. However, Kapitsa could not return from a visit of his mother in the Soviet Union in 1934 and never returned to Cambridge. So John Allen worked independently of Kapitsa on properties of helium at very low temperatures and published reports on the discovery of superfluidity in helium which were published side by side in Nature in January 1938. Despite the independent discovery at about the same time, the Nobel prize for Superfluidity was awarded only to Kapitsa in 1978.

Paragraph 4: In business, the term long tail is applied to rank-size distributions or rank-frequency distributions (primarily of popularity), which often form power laws and are thus long-tailed distributions in the statistical sense. This is used to describe the retailing strategy of selling many unique items with relatively small quantities sold of each (the "long tail")—usually in addition to selling fewer popular items in large quantities (the "head"). Sometimes an intermediate category is also included, variously called the body, belly, torso, or middle. The specific cutoff of what part of a distribution is the "long tail" is often arbitrary, but in some cases may be specified objectively; see segmentation of rank-size distributions.

Paragraph 5: John Allen studied physics initially at the University of Manitoba, where he received his bachelor's degree in 1928. Afterwards, he went to the University of Toronto to pursue postgraduate studies. He obtained his master's degree in 1930 and undertook his PhD working with John McLennan about superconductivity. He there developed and built his first cryostat which was taken by John McLennan for a demonstration of superconductivity in a public lecture to the Royal Institution in London. He obtained his PhD degree in 1933. With a two-year US National Research Council Fellowship which he obtained in 1933, he went to work as a postdoctoral researcher at Caltech between 1933 and 1935. In 1935, he joined the Mond Laboratory of the Royal Society in Cambridge to work with Pyotr Kapitsa on low temperature experiments. However, Kapitsa could not return from a visit of his mother in the Soviet Union in 1934 and never returned to Cambridge. So John Allen worked independently of Kapitsa on properties of helium at very low temperatures and published reports on the discovery of superfluidity in helium which were published side by side in Nature in January 1938. Despite the independent discovery at about the same time, the Nobel prize for Superfluidity was awarded only to Kapitsa in 1978.

Paragraph 6: Theon was a great philosopher of harmony and he discusses semitones in his treatise. There are several semitones used in Greek music, but of this variety, there are two that are very common. The “diatonic semitone” with a value of 16/15 and the “chromatic semitone” with a value of 25/24 are the two more commonly used semitones (Papadopoulos, 2002). In these times, Pythagoreans did not rely on irrational numbers for understanding of harmonies and the logarithm for these semitones did not match with their philosophy. Their logarithms did not lead to irrational numbers, however Theon tackled this discussion head on. He acknowledged that “one can prove that” the tone of value 9/8 cannot be divided into equal parts and so it is a number in itself. Many Pythagoreans believed in the existence of irrational numbers, but did not believe in using them because they were unnatural and not positive integers. Theon also does an amazing job of relating quotients of integers and musical intervals. He illustrates this idea in his writings and through experiments. He discusses the Pythagoreans method of looking at harmonies and consonances through half-filling vases and explains these experiments on a deeper level focusing on the fact that the octaves, fifths, and fourths correspond respectively with the fractions 2/1, 3/2, and 4/3. His contributions greatly contributed to the fields of music and physics (Papadopoulos, 2002).

Paragraph 7: John Allen studied physics initially at the University of Manitoba, where he received his bachelor's degree in 1928. Afterwards, he went to the University of Toronto to pursue postgraduate studies. He obtained his master's degree in 1930 and undertook his PhD working with John McLennan about superconductivity. He there developed and built his first cryostat which was taken by John McLennan for a demonstration of superconductivity in a public lecture to the Royal Institution in London. He obtained his PhD degree in 1933. With a two-year US National Research Council Fellowship which he obtained in 1933, he went to work as a postdoctoral researcher at Caltech between 1933 and 1935. In 1935, he joined the Mond Laboratory of the Royal Society in Cambridge to work with Pyotr Kapitsa on low temperature experiments. However, Kapitsa could not return from a visit of his mother in the Soviet Union in 1934 and never returned to Cambridge. So John Allen worked independently of Kapitsa on properties of helium at very low temperatures and published reports on the discovery of superfluidity in helium which were published side by side in Nature in January 1938. Despite the independent discovery at about the same time, the Nobel prize for Superfluidity was awarded only to Kapitsa in 1978.

Paragraph 8: Theon was a great philosopher of harmony and he discusses semitones in his treatise. There are several semitones used in Greek music, but of this variety, there are two that are very common. The “diatonic semitone” with a value of 16/15 and the “chromatic semitone” with a value of 25/24 are the two more commonly used semitones (Papadopoulos, 2002). In these times, Pythagoreans did not rely on irrational numbers for understanding of harmonies and the logarithm for these semitones did not match with their philosophy. Their logarithms did not lead to irrational numbers, however Theon tackled this discussion head on. He acknowledged that “one can prove that” the tone of value 9/8 cannot be divided into equal parts and so it is a number in itself. Many Pythagoreans believed in the existence of irrational numbers, but did not believe in using them because they were unnatural and not positive integers. Theon also does an amazing job of relating quotients of integers and musical intervals. He illustrates this idea in his writings and through experiments. He discusses the Pythagoreans method of looking at harmonies and consonances through half-filling vases and explains these experiments on a deeper level focusing on the fact that the octaves, fifths, and fourths correspond respectively with the fractions 2/1, 3/2, and 4/3. His contributions greatly contributed to the fields of music and physics (Papadopoulos, 2002).

Paragraph 9: The initial lines of "Chinnamma Chilakamma" give a feel of Telugu peppy number, but as Sukhwinder Singh picks up his lines, a Hyderabadi accent is revealed. The lyrics are penned by Sukhwinder Singh. "Rang Hai" is like a rustic mysterious cry of a woman. Alka Yagnik is the main vocalist whilst Lebanese singer Dallinda provided additional vocals. "Dhuan Dhuan" is a sultry and seductive number sung by Asha Bhosle. Additional vocals is by Kunal and percussions by Rahman's usual associate Sivamani. Rahman said about recording of this song at the filmfare: "For one song, we started with no tune and no lyrics either. One afternoon I bumped into Lataji and Ashaji in London. I asked Ashaji if she'd do a song with me the next day. She had to go to Scotland the next day. But she returned in a few days and we finished the track "Dhuan Dhuan" in four hours in London." "Yeh Rishta" is a melody sung by Reena Bhardwaj who has previously worked with Rahman in a chartbuster song for the Tamil movie Baba. It was later reused by Rahman in the Tamil movie Sakkarakatti as "Naan Epodhu" with the same singer which then became a chartbuster. It was picturised as Tabu's solo entrance piece in the film. "Do Kadam" is highly regarded as one of Rahman's best compositions. This song is sung by Sonu Nigam with lyrics provided by Rahat Indori. Planetbollywood referred to this song as the best from Sonu Nigam. The controversial song "Noor-Un-Ala-Noor" is a Sufi style song sung by Murtaza Khan and Qadir Khan, together called Khan brothers. Lyrics for the song were by M. F. Hussain which slightly adapted the Quranic verses honouring Allah to honour the lead character Meenaxi. Husain wrote in The Hindu about this song, "There is a qawwali written by me and sung by classical musicians Ustad Ghulam Mustafa and his son for which Rahman has tuned unusual music. The film opens with this qawwali, the picturisation of which is a major highlight ... The qawwali is exultant about the presence of the light and what a light it is! It is a Sufi thought, a thought that keep us going even when there is pitch darkness."

Paragraph 10: The initial lines of "Chinnamma Chilakamma" give a feel of Telugu peppy number, but as Sukhwinder Singh picks up his lines, a Hyderabadi accent is revealed. The lyrics are penned by Sukhwinder Singh. "Rang Hai" is like a rustic mysterious cry of a woman. Alka Yagnik is the main vocalist whilst Lebanese singer Dallinda provided additional vocals. "Dhuan Dhuan" is a sultry and seductive number sung by Asha Bhosle. Additional vocals is by Kunal and percussions by Rahman's usual associate Sivamani. Rahman said about recording of this song at the filmfare: "For one song, we started with no tune and no lyrics either. One afternoon I bumped into Lataji and Ashaji in London. I asked Ashaji if she'd do a song with me the next day. She had to go to Scotland the next day. But she returned in a few days and we finished the track "Dhuan Dhuan" in four hours in London." "Yeh Rishta" is a melody sung by Reena Bhardwaj who has previously worked with Rahman in a chartbuster song for the Tamil movie Baba. It was later reused by Rahman in the Tamil movie Sakkarakatti as "Naan Epodhu" with the same singer which then became a chartbuster. It was picturised as Tabu's solo entrance piece in the film. "Do Kadam" is highly regarded as one of Rahman's best compositions. This song is sung by Sonu Nigam with lyrics provided by Rahat Indori. Planetbollywood referred to this song as the best from Sonu Nigam. The controversial song "Noor-Un-Ala-Noor" is a Sufi style song sung by Murtaza Khan and Qadir Khan, together called Khan brothers. Lyrics for the song were by M. F. Hussain which slightly adapted the Quranic verses honouring Allah to honour the lead character Meenaxi. Husain wrote in The Hindu about this song, "There is a qawwali written by me and sung by classical musicians Ustad Ghulam Mustafa and his son for which Rahman has tuned unusual music. The film opens with this qawwali, the picturisation of which is a major highlight ... The qawwali is exultant about the presence of the light and what a light it is! It is a Sufi thought, a thought that keep us going even when there is pitch darkness."

Paragraph 11: The initial lines of "Chinnamma Chilakamma" give a feel of Telugu peppy number, but as Sukhwinder Singh picks up his lines, a Hyderabadi accent is revealed. The lyrics are penned by Sukhwinder Singh. "Rang Hai" is like a rustic mysterious cry of a woman. Alka Yagnik is the main vocalist whilst Lebanese singer Dallinda provided additional vocals. "Dhuan Dhuan" is a sultry and seductive number sung by Asha Bhosle. Additional vocals is by Kunal and percussions by Rahman's usual associate Sivamani. Rahman said about recording of this song at the filmfare: "For one song, we started with no tune and no lyrics either. One afternoon I bumped into Lataji and Ashaji in London. I asked Ashaji if she'd do a song with me the next day. She had to go to Scotland the next day. But she returned in a few days and we finished the track "Dhuan Dhuan" in four hours in London." "Yeh Rishta" is a melody sung by Reena Bhardwaj who has previously worked with Rahman in a chartbuster song for the Tamil movie Baba. It was later reused by Rahman in the Tamil movie Sakkarakatti as "Naan Epodhu" with the same singer which then became a chartbuster. It was picturised as Tabu's solo entrance piece in the film. "Do Kadam" is highly regarded as one of Rahman's best compositions. This song is sung by Sonu Nigam with lyrics provided by Rahat Indori. Planetbollywood referred to this song as the best from Sonu Nigam. The controversial song "Noor-Un-Ala-Noor" is a Sufi style song sung by Murtaza Khan and Qadir Khan, together called Khan brothers. Lyrics for the song were by M. F. Hussain which slightly adapted the Quranic verses honouring Allah to honour the lead character Meenaxi. Husain wrote in The Hindu about this song, "There is a qawwali written by me and sung by classical musicians Ustad Ghulam Mustafa and his son for which Rahman has tuned unusual music. The film opens with this qawwali, the picturisation of which is a major highlight ... The qawwali is exultant about the presence of the light and what a light it is! It is a Sufi thought, a thought that keep us going even when there is pitch darkness."

Paragraph 12: In November 1997, Australian National was sold and the passenger cars passed to Great Southern Rail Limited, which contracted National Rail to haul the services with NR class locomotives. On occasions, BL and 93 class locomotives hauled the service. In July 1998, the Wednesday and Saturday night journeys in each direction were cancelled, leaving the service operating five times per week in each direction. In May 1999, a new timetable was introduced but with previous intermediate stops omitted at Stawell, Murtoa, Nhill, Kaniva, Wolseley, Tintinara, Coonalpyn and Tailem Bend. In 1999, the maroon and silver livery was removed and the train was repainted in a new grey and silver scheme, with a new kookaburra logo. In May 2000, the service was reduced to four times weekly. However, with an accelerated journey time of 10 hours 30 minutes, the service was able to be operated by one set of passenger cars, operating to Melbourne in the day and to Adelaide overnight. Some of the largest Overland consists were run during this era; during the 2002 AFL finals, in which both the Adelaide Crows and Port Adelaide Power were competing, The Overland was built up to a record 32 carriages for the Preliminary Final round on 21 September.

Paragraph 13: In business, the term long tail is applied to rank-size distributions or rank-frequency distributions (primarily of popularity), which often form power laws and are thus long-tailed distributions in the statistical sense. This is used to describe the retailing strategy of selling many unique items with relatively small quantities sold of each (the "long tail")—usually in addition to selling fewer popular items in large quantities (the "head"). Sometimes an intermediate category is also included, variously called the body, belly, torso, or middle. The specific cutoff of what part of a distribution is the "long tail" is often arbitrary, but in some cases may be specified objectively; see segmentation of rank-size distributions.

Paragraph 14: Theon was a great philosopher of harmony and he discusses semitones in his treatise. There are several semitones used in Greek music, but of this variety, there are two that are very common. The “diatonic semitone” with a value of 16/15 and the “chromatic semitone” with a value of 25/24 are the two more commonly used semitones (Papadopoulos, 2002). In these times, Pythagoreans did not rely on irrational numbers for understanding of harmonies and the logarithm for these semitones did not match with their philosophy. Their logarithms did not lead to irrational numbers, however Theon tackled this discussion head on. He acknowledged that “one can prove that” the tone of value 9/8 cannot be divided into equal parts and so it is a number in itself. Many Pythagoreans believed in the existence of irrational numbers, but did not believe in using them because they were unnatural and not positive integers. Theon also does an amazing job of relating quotients of integers and musical intervals. He illustrates this idea in his writings and through experiments. He discusses the Pythagoreans method of looking at harmonies and consonances through half-filling vases and explains these experiments on a deeper level focusing on the fact that the octaves, fifths, and fourths correspond respectively with the fractions 2/1, 3/2, and 4/3. His contributions greatly contributed to the fields of music and physics (Papadopoulos, 2002).

Paragraph 15: In November 1997, Australian National was sold and the passenger cars passed to Great Southern Rail Limited, which contracted National Rail to haul the services with NR class locomotives. On occasions, BL and 93 class locomotives hauled the service. In July 1998, the Wednesday and Saturday night journeys in each direction were cancelled, leaving the service operating five times per week in each direction. In May 1999, a new timetable was introduced but with previous intermediate stops omitted at Stawell, Murtoa, Nhill, Kaniva, Wolseley, Tintinara, Coonalpyn and Tailem Bend. In 1999, the maroon and silver livery was removed and the train was repainted in a new grey and silver scheme, with a new kookaburra logo. In May 2000, the service was reduced to four times weekly. However, with an accelerated journey time of 10 hours 30 minutes, the service was able to be operated by one set of passenger cars, operating to Melbourne in the day and to Adelaide overnight. Some of the largest Overland consists were run during this era; during the 2002 AFL finals, in which both the Adelaide Crows and Port Adelaide Power were competing, The Overland was built up to a record 32 carriages for the Preliminary Final round on 21 September.

Paragraph 16: In November 1997, Australian National was sold and the passenger cars passed to Great Southern Rail Limited, which contracted National Rail to haul the services with NR class locomotives. On occasions, BL and 93 class locomotives hauled the service. In July 1998, the Wednesday and Saturday night journeys in each direction were cancelled, leaving the service operating five times per week in each direction. In May 1999, a new timetable was introduced but with previous intermediate stops omitted at Stawell, Murtoa, Nhill, Kaniva, Wolseley, Tintinara, Coonalpyn and Tailem Bend. In 1999, the maroon and silver livery was removed and the train was repainted in a new grey and silver scheme, with a new kookaburra logo. In May 2000, the service was reduced to four times weekly. However, with an accelerated journey time of 10 hours 30 minutes, the service was able to be operated by one set of passenger cars, operating to Melbourne in the day and to Adelaide overnight. Some of the largest Overland consists were run during this era; during the 2002 AFL finals, in which both the Adelaide Crows and Port Adelaide Power were competing, The Overland was built up to a record 32 carriages for the Preliminary Final round on 21 September.

Paragraph 17: The initial lines of "Chinnamma Chilakamma" give a feel of Telugu peppy number, but as Sukhwinder Singh picks up his lines, a Hyderabadi accent is revealed. The lyrics are penned by Sukhwinder Singh. "Rang Hai" is like a rustic mysterious cry of a woman. Alka Yagnik is the main vocalist whilst Lebanese singer Dallinda provided additional vocals. "Dhuan Dhuan" is a sultry and seductive number sung by Asha Bhosle. Additional vocals is by Kunal and percussions by Rahman's usual associate Sivamani. Rahman said about recording of this song at the filmfare: "For one song, we started with no tune and no lyrics either. One afternoon I bumped into Lataji and Ashaji in London. I asked Ashaji if she'd do a song with me the next day. She had to go to Scotland the next day. But she returned in a few days and we finished the track "Dhuan Dhuan" in four hours in London." "Yeh Rishta" is a melody sung by Reena Bhardwaj who has previously worked with Rahman in a chartbuster song for the Tamil movie Baba. It was later reused by Rahman in the Tamil movie Sakkarakatti as "Naan Epodhu" with the same singer which then became a chartbuster. It was picturised as Tabu's solo entrance piece in the film. "Do Kadam" is highly regarded as one of Rahman's best compositions. This song is sung by Sonu Nigam with lyrics provided by Rahat Indori. Planetbollywood referred to this song as the best from Sonu Nigam. The controversial song "Noor-Un-Ala-Noor" is a Sufi style song sung by Murtaza Khan and Qadir Khan, together called Khan brothers. Lyrics for the song were by M. F. Hussain which slightly adapted the Quranic verses honouring Allah to honour the lead character Meenaxi. Husain wrote in The Hindu about this song, "There is a qawwali written by me and sung by classical musicians Ustad Ghulam Mustafa and his son for which Rahman has tuned unusual music. The film opens with this qawwali, the picturisation of which is a major highlight ... The qawwali is exultant about the presence of the light and what a light it is! It is a Sufi thought, a thought that keep us going even when there is pitch darkness."

Paragraph 18: Theon was a great philosopher of harmony and he discusses semitones in his treatise. There are several semitones used in Greek music, but of this variety, there are two that are very common. The “diatonic semitone” with a value of 16/15 and the “chromatic semitone” with a value of 25/24 are the two more commonly used semitones (Papadopoulos, 2002). In these times, Pythagoreans did not rely on irrational numbers for understanding of harmonies and the logarithm for these semitones did not match with their philosophy. Their logarithms did not lead to irrational numbers, however Theon tackled this discussion head on. He acknowledged that “one can prove that” the tone of value 9/8 cannot be divided into equal parts and so it is a number in itself. Many Pythagoreans believed in the existence of irrational numbers, but did not believe in using them because they were unnatural and not positive integers. Theon also does an amazing job of relating quotients of integers and musical intervals. He illustrates this idea in his writings and through experiments. He discusses the Pythagoreans method of looking at harmonies and consonances through half-filling vases and explains these experiments on a deeper level focusing on the fact that the octaves, fifths, and fourths correspond respectively with the fractions 2/1, 3/2, and 4/3. His contributions greatly contributed to the fields of music and physics (Papadopoulos, 2002).

Paragraph 19: In business, the term long tail is applied to rank-size distributions or rank-frequency distributions (primarily of popularity), which often form power laws and are thus long-tailed distributions in the statistical sense. This is used to describe the retailing strategy of selling many unique items with relatively small quantities sold of each (the "long tail")—usually in addition to selling fewer popular items in large quantities (the "head"). Sometimes an intermediate category is also included, variously called the body, belly, torso, or middle. The specific cutoff of what part of a distribution is the "long tail" is often arbitrary, but in some cases may be specified objectively; see segmentation of rank-size distributions.

Paragraph 20: Theon was a great philosopher of harmony and he discusses semitones in his treatise. There are several semitones used in Greek music, but of this variety, there are two that are very common. The “diatonic semitone” with a value of 16/15 and the “chromatic semitone” with a value of 25/24 are the two more commonly used semitones (Papadopoulos, 2002). In these times, Pythagoreans did not rely on irrational numbers for understanding of harmonies and the logarithm for these semitones did not match with their philosophy. Their logarithms did not lead to irrational numbers, however Theon tackled this discussion head on. He acknowledged that “one can prove that” the tone of value 9/8 cannot be divided into equal parts and so it is a number in itself. Many Pythagoreans believed in the existence of irrational numbers, but did not believe in using them because they were unnatural and not positive integers. Theon also does an amazing job of relating quotients of integers and musical intervals. He illustrates this idea in his writings and through experiments. He discusses the Pythagoreans method of looking at harmonies and consonances through half-filling vases and explains these experiments on a deeper level focusing on the fact that the octaves, fifths, and fourths correspond respectively with the fractions 2/1, 3/2, and 4/3. His contributions greatly contributed to the fields of music and physics (Papadopoulos, 2002).

Paragraph 21: In November 1997, Australian National was sold and the passenger cars passed to Great Southern Rail Limited, which contracted National Rail to haul the services with NR class locomotives. On occasions, BL and 93 class locomotives hauled the service. In July 1998, the Wednesday and Saturday night journeys in each direction were cancelled, leaving the service operating five times per week in each direction. In May 1999, a new timetable was introduced but with previous intermediate stops omitted at Stawell, Murtoa, Nhill, Kaniva, Wolseley, Tintinara, Coonalpyn and Tailem Bend. In 1999, the maroon and silver livery was removed and the train was repainted in a new grey and silver scheme, with a new kookaburra logo. In May 2000, the service was reduced to four times weekly. However, with an accelerated journey time of 10 hours 30 minutes, the service was able to be operated by one set of passenger cars, operating to Melbourne in the day and to Adelaide overnight. Some of the largest Overland consists were run during this era; during the 2002 AFL finals, in which both the Adelaide Crows and Port Adelaide Power were competing, The Overland was built up to a record 32 carriages for the Preliminary Final round on 21 September.

Paragraph 22: The initial lines of "Chinnamma Chilakamma" give a feel of Telugu peppy number, but as Sukhwinder Singh picks up his lines, a Hyderabadi accent is revealed. The lyrics are penned by Sukhwinder Singh. "Rang Hai" is like a rustic mysterious cry of a woman. Alka Yagnik is the main vocalist whilst Lebanese singer Dallinda provided additional vocals. "Dhuan Dhuan" is a sultry and seductive number sung by Asha Bhosle. Additional vocals is by Kunal and percussions by Rahman's usual associate Sivamani. Rahman said about recording of this song at the filmfare: "For one song, we started with no tune and no lyrics either. One afternoon I bumped into Lataji and Ashaji in London. I asked Ashaji if she'd do a song with me the next day. She had to go to Scotland the next day. But she returned in a few days and we finished the track "Dhuan Dhuan" in four hours in London." "Yeh Rishta" is a melody sung by Reena Bhardwaj who has previously worked with Rahman in a chartbuster song for the Tamil movie Baba. It was later reused by Rahman in the Tamil movie Sakkarakatti as "Naan Epodhu" with the same singer which then became a chartbuster. It was picturised as Tabu's solo entrance piece in the film. "Do Kadam" is highly regarded as one of Rahman's best compositions. This song is sung by Sonu Nigam with lyrics provided by Rahat Indori. Planetbollywood referred to this song as the best from Sonu Nigam. The controversial song "Noor-Un-Ala-Noor" is a Sufi style song sung by Murtaza Khan and Qadir Khan, together called Khan brothers. Lyrics for the song were by M. F. Hussain which slightly adapted the Quranic verses honouring Allah to honour the lead character Meenaxi. Husain wrote in The Hindu about this song, "There is a qawwali written by me and sung by classical musicians Ustad Ghulam Mustafa and his son for which Rahman has tuned unusual music. The film opens with this qawwali, the picturisation of which is a major highlight ... The qawwali is exultant about the presence of the light and what a light it is! It is a Sufi thought, a thought that keep us going even when there is pitch darkness."

Paragraph 23: In business, the term long tail is applied to rank-size distributions or rank-frequency distributions (primarily of popularity), which often form power laws and are thus long-tailed distributions in the statistical sense. This is used to describe the retailing strategy of selling many unique items with relatively small quantities sold of each (the "long tail")—usually in addition to selling fewer popular items in large quantities (the "head"). Sometimes an intermediate category is also included, variously called the body, belly, torso, or middle. The specific cutoff of what part of a distribution is the "long tail" is often arbitrary, but in some cases may be specified objectively; see segmentation of rank-size distributions.

Paragraph 24: In November 1997, Australian National was sold and the passenger cars passed to Great Southern Rail Limited, which contracted National Rail to haul the services with NR class locomotives. On occasions, BL and 93 class locomotives hauled the service. In July 1998, the Wednesday and Saturday night journeys in each direction were cancelled, leaving the service operating five times per week in each direction. In May 1999, a new timetable was introduced but with previous intermediate stops omitted at Stawell, Murtoa, Nhill, Kaniva, Wolseley, Tintinara, Coonalpyn and Tailem Bend. In 1999, the maroon and silver livery was removed and the train was repainted in a new grey and silver scheme, with a new kookaburra logo. In May 2000, the service was reduced to four times weekly. However, with an accelerated journey time of 10 hours 30 minutes, the service was able to be operated by one set of passenger cars, operating to Melbourne in the day and to Adelaide overnight. Some of the largest Overland consists were run during this era; during the 2002 AFL finals, in which both the Adelaide Crows and Port Adelaide Power were competing, The Overland was built up to a record 32 carriages for the Preliminary Final round on 21 September.

Paragraph 25: Theon was a great philosopher of harmony and he discusses semitones in his treatise. There are several semitones used in Greek music, but of this variety, there are two that are very common. The “diatonic semitone” with a value of 16/15 and the “chromatic semitone” with a value of 25/24 are the two more commonly used semitones (Papadopoulos, 2002). In these times, Pythagoreans did not rely on irrational numbers for understanding of harmonies and the logarithm for these semitones did not match with their philosophy. Their logarithms did not lead to irrational numbers, however Theon tackled this discussion head on. He acknowledged that “one can prove that” the tone of value 9/8 cannot be divided into equal parts and so it is a number in itself. Many Pythagoreans believed in the existence of irrational numbers, but did not believe in using them because they were unnatural and not positive integers. Theon also does an amazing job of relating quotients of integers and musical intervals. He illustrates this idea in his writings and through experiments. He discusses the Pythagoreans method of looking at harmonies and consonances through half-filling vases and explains these experiments on a deeper level focusing on the fact that the octaves, fifths, and fourths correspond respectively with the fractions 2/1, 3/2, and 4/3. His contributions greatly contributed to the fields of music and physics (Papadopoulos, 2002).

Paragraph 26: In business, the term long tail is applied to rank-size distributions or rank-frequency distributions (primarily of popularity), which often form power laws and are thus long-tailed distributions in the statistical sense. This is used to describe the retailing strategy of selling many unique items with relatively small quantities sold of each (the "long tail")—usually in addition to selling fewer popular items in large quantities (the "head"). Sometimes an intermediate category is also included, variously called the body, belly, torso, or middle. The specific cutoff of what part of a distribution is the "long tail" is often arbitrary, but in some cases may be specified objectively; see segmentation of rank-size distributions.

Paragraph 27: In November 1997, Australian National was sold and the passenger cars passed to Great Southern Rail Limited, which contracted National Rail to haul the services with NR class locomotives. On occasions, BL and 93 class locomotives hauled the service. In July 1998, the Wednesday and Saturday night journeys in each direction were cancelled, leaving the service operating five times per week in each direction. In May 1999, a new timetable was introduced but with previous intermediate stops omitted at Stawell, Murtoa, Nhill, Kaniva, Wolseley, Tintinara, Coonalpyn and Tailem Bend. In 1999, the maroon and silver livery was removed and the train was repainted in a new grey and silver scheme, with a new kookaburra logo. In May 2000, the service was reduced to four times weekly. However, with an accelerated journey time of 10 hours 30 minutes, the service was able to be operated by one set of passenger cars, operating to Melbourne in the day and to Adelaide overnight. Some of the largest Overland consists were run during this era; during the 2002 AFL finals, in which both the Adelaide Crows and Port Adelaide Power were competing, The Overland was built up to a record 32 carriages for the Preliminary Final round on 21 September.

Paragraph 28: In November 1997, Australian National was sold and the passenger cars passed to Great Southern Rail Limited, which contracted National Rail to haul the services with NR class locomotives. On occasions, BL and 93 class locomotives hauled the service. In July 1998, the Wednesday and Saturday night journeys in each direction were cancelled, leaving the service operating five times per week in each direction. In May 1999, a new timetable was introduced but with previous intermediate stops omitted at Stawell, Murtoa, Nhill, Kaniva, Wolseley, Tintinara, Coonalpyn and Tailem Bend. In 1999, the maroon and silver livery was removed and the train was repainted in a new grey and silver scheme, with a new kookaburra logo. In May 2000, the service was reduced to four times weekly. However, with an accelerated journey time of 10 hours 30 minutes, the service was able to be operated by one set of passenger cars, operating to Melbourne in the day and to Adelaide overnight. Some of the largest Overland consists were run during this era; during the 2002 AFL finals, in which both the Adelaide Crows and Port Adelaide Power were competing, The Overland was built up to a record 32 carriages for the Preliminary Final round on 21 September.

Paragraph 29: The initial lines of "Chinnamma Chilakamma" give a feel of Telugu peppy number, but as Sukhwinder Singh picks up his lines, a Hyderabadi accent is revealed. The lyrics are penned by Sukhwinder Singh. "Rang Hai" is like a rustic mysterious cry of a woman. Alka Yagnik is the main vocalist whilst Lebanese singer Dallinda provided additional vocals. "Dhuan Dhuan" is a sultry and seductive number sung by Asha Bhosle. Additional vocals is by Kunal and percussions by Rahman's usual associate Sivamani. Rahman said about recording of this song at the filmfare: "For one song, we started with no tune and no lyrics either. One afternoon I bumped into Lataji and Ashaji in London. I asked Ashaji if she'd do a song with me the next day. She had to go to Scotland the next day. But she returned in a few days and we finished the track "Dhuan Dhuan" in four hours in London." "Yeh Rishta" is a melody sung by Reena Bhardwaj who has previously worked with Rahman in a chartbuster song for the Tamil movie Baba. It was later reused by Rahman in the Tamil movie Sakkarakatti as "Naan Epodhu" with the same singer which then became a chartbuster. It was picturised as Tabu's solo entrance piece in the film. "Do Kadam" is highly regarded as one of Rahman's best compositions. This song is sung by Sonu Nigam with lyrics provided by Rahat Indori. Planetbollywood referred to this song as the best from Sonu Nigam. The controversial song "Noor-Un-Ala-Noor" is a Sufi style song sung by Murtaza Khan and Qadir Khan, together called Khan brothers. Lyrics for the song were by M. F. Hussain which slightly adapted the Quranic verses honouring Allah to honour the lead character Meenaxi. Husain wrote in The Hindu about this song, "There is a qawwali written by me and sung by classical musicians Ustad Ghulam Mustafa and his son for which Rahman has tuned unusual music. The film opens with this qawwali, the picturisation of which is a major highlight ... The qawwali is exultant about the presence of the light and what a light it is! It is a Sufi thought, a thought that keep us going even when there is pitch darkness."

Paragraph 30: The initial lines of "Chinnamma Chilakamma" give a feel of Telugu peppy number, but as Sukhwinder Singh picks up his lines, a Hyderabadi accent is revealed. The lyrics are penned by Sukhwinder Singh. "Rang Hai" is like a rustic mysterious cry of a woman. Alka Yagnik is the main vocalist whilst Lebanese singer Dallinda provided additional vocals. "Dhuan Dhuan" is a sultry and seductive number sung by Asha Bhosle. Additional vocals is by Kunal and percussions by Rahman's usual associate Sivamani. Rahman said about recording of this song at the filmfare: "For one song, we started with no tune and no lyrics either. One afternoon I bumped into Lataji and Ashaji in London. I asked Ashaji if she'd do a song with me the next day. She had to go to Scotland the next day. But she returned in a few days and we finished the track "Dhuan Dhuan" in four hours in London." "Yeh Rishta" is a melody sung by Reena Bhardwaj who has previously worked with Rahman in a chartbuster song for the Tamil movie Baba. It was later reused by Rahman in the Tamil movie Sakkarakatti as "Naan Epodhu" with the same singer which then became a chartbuster. It was picturised as Tabu's solo entrance piece in the film. "Do Kadam" is highly regarded as one of Rahman's best compositions. This song is sung by Sonu Nigam with lyrics provided by Rahat Indori. Planetbollywood referred to this song as the best from Sonu Nigam. The controversial song "Noor-Un-Ala-Noor" is a Sufi style song sung by Murtaza Khan and Qadir Khan, together called Khan brothers. Lyrics for the song were by M. F. Hussain which slightly adapted the Quranic verses honouring Allah to honour the lead character Meenaxi. Husain wrote in The Hindu about this song, "There is a qawwali written by me and sung by classical musicians Ustad Ghulam Mustafa and his son for which Rahman has tuned unusual music. The film opens with this qawwali, the picturisation of which is a major highlight ... The qawwali is exultant about the presence of the light and what a light it is! It is a Sufi thought, a thought that keep us going even when there is pitch darkness."

Paragraph 31: In business, the term long tail is applied to rank-size distributions or rank-frequency distributions (primarily of popularity), which often form power laws and are thus long-tailed distributions in the statistical sense. This is used to describe the retailing strategy of selling many unique items with relatively small quantities sold of each (the "long tail")—usually in addition to selling fewer popular items in large quantities (the "head"). Sometimes an intermediate category is also included, variously called the body, belly, torso, or middle. The specific cutoff of what part of a distribution is the "long tail" is often arbitrary, but in some cases may be specified objectively; see segmentation of rank-size distributions.

Answer: 5