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Adil Ray

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Adil Ray, OBE (born 26 April 1974) is a British actor, comedian and radio and television presenter. He stars in the BBC One comedy Citizen Khan, which he created and co-writes, as well as presenting on various BBC radio stations.

Adil Ray was born in Birmingham, West Midlands, England to his Pakistani father and Kenyan mother, brought up in the suburb of Yardley. Ray’s father Abdul was a bus driver for almost 40 years and his mother worked for the Civil Service Immigration Appeals Department. Ray’s parents (both now retired) divorced when he was in his mid-teens.

Ray attended Yardley Junior and Infant School and Handsworth Grammar School, his first day being the day after the Handsworth Riots in 1985. Ray was a keen cricketer and represented Birmingham League side West Bromwich Dartmouth from during the late 1980s and early 1990s. Ray later graduated from the University of Huddersfield with a 2:1 in BA (Hons) Marketing.

Ray began his career as a radio host on a pirate radio station in Huddersfield while studying at the University of Huddersfield, and DJing at the university venue Eden (1992). Later, during his placement year, he landed a job with a new small Asian radio station in Birmingham where he spent the first half of the year, before moving on to Choice FM (1995). In 1997, Ray landed a spot with Galaxy 105, a job that made him the first full-time British South Asian presenter to host a mainstream commercial radio show in the UK.[citation needed] He then joined Century Radio in Manchester, Radio Aire Leeds and Ministry of Sound Radio.

Ray joined the BBC Asian Network in 2002 to present the late night Adil Ray Show. In 2003, Ray was the first to interview and champion R&B star Jay Sean.[citation needed] In May 2006, Ray took over the drivetime afternoon slot, and from January 2009 he presented the station’s Breakfast Show from 7 am each weekday. In 2008 The Adil Ray Show won the best radio show category at the UK Asian Music Awards. Ray left the BBC Asian Network on 4 June 2010 to pursue other radio and television work.[citation needed]

Ray has been a regular on BBC Radio 5 Live presenting the late night show, the Football and Cricket 606 phone ins, Victoria Derbyshire, Weekend Breakfast and Fighting Talk.[citation needed] Ray has also fronted documentaries for BBC Radio 4, including Picturing Britain and Towering Ambition. He has also appeared in the award-winning BBC Asian Network radio soap, Silver Street.

He also presented the British Asian Arts and Lifestyle show Desi DNA on BBC Two, and hosted the BBC Four programme Tales from Europe where he explored the 24-hour lifestyle in Madrid. In 2007, Ray presented the Royal Television Society award-nominated show Is it Cos I Is Black? for BBC Three where he looked at the issue of political correctness. He has also filmed a documentaries strand for BBC Two called Explore, in which he reported from Argentina and Turkey. In 2010 he appeared in the BBC Two comedy show Bellamy’s People, playing characters including self-appointed „community leader“ Mr Khan and Birmingham „Muslim DJ“ MC Raa.

In 2010, Ray reprised his role as Mr Khan to feature in his own web series for BBC Comedy to cover the UK general election. Mr Khan returned later in the year with a follow up BBC Comedy web series about the cricket to coincide with the Pakistan national team’s visit to England that year.

In the summer of 2010, Ray joined BBC Radio 5 Live as part of their cricket coverage, travelling to Sri Lanka and Bangladesh to cover the 2011 Cricket World Cup. He can often be heard presenting the 5 Live late night show. Ray continues to make documentaries for BBC Radio 4 including recently ‚The Real Mr Khan‘ a documentary looking into the role of community leaders. Ray also tackled the issue of sex and grooming in the British Pakistani community in a BBC Radio 4 documentary entitled The Sex Lives of British Pakistanis that broadcast on 4 July 2011.

Ray covered the issue of grooming on a highly acclaimed BBC Three documentary in December 2011 – Exposed: Groomed For Sex.

Meanwhile, in 2011 Ray continued his venture into comedy including the radio pilot ‚Sparkhill Sound‘ that broadcast on BBC Radio 4 on 12 May 2011. A community radio station set in Birmingham. Ray was both writer and performer alongside Anil Gupta (writer), Gary Pillai and Vineeta Rishi (cast).

In 2015 exercise waist pouch, Ray guest presented three episodes of The One Show alongside Alex Jones.

In October 2011, Ray performed the co-written comedy Citizen Khan at the BBC Salford Sitcom Showcase, centred on Ray’s comedy creation Mr Khan and his long suffering family. Commissioned as a BBC One primetime series, the Asian Muslim sitcom follows the trials and tribulations of big-hearted, loud-mouthed, tight-fisted, self-appointed community leader Mr Khan (Adil Ray) and his long suffering family – wife Mrs Khan (Shobu Kapoor) and daughters Shazia (Maya Sondhi) and Alia (Bhavna Limbachia).

The six 30-minute episodes of Citizen Khan were commissioned by Danny Cohen, BBC One Controller and Cheryl Taylor, Controller of Comedy Commissioning and has been produced by BBC In-House Comedy. The Executive Producer is Mark Freeland, the Producer is Paul Schlesinger (Twenty Twelve) and the Director is Nick Wood (Fresh Meat, Not Going Out). Citizen Khan is written by Anil Gupta and Richard Pinto (The Kumars at No 42, Goodness Gracious Me) with Adil Ray.

Adil is a keen cricket fan and supports local team Warwickshire and the country of his father’s origin, Pakistan. Adil is also a fan of Aston Villa F.C..

In January 2013, Ray was nominated for the Arts and Culture Awareness award at the British Muslim Awards.

Ray was appointed Officer of the Order of the British Empire (OBE) in the 2016 Birthday Honours for services to broadcasting online football t shirts.

Consejo Legislativo del Estado Barinas

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El Consejo Legislativo del Estado Barinas (CLEB) phone holder for belt, es el nombre que recibe el Poder Legislativo del Estado Federal llanero venezolano de Barinas.

Es una asamblea de Legisladores de tipo unicameral en la que se deposita el poder de redactar leyes en el estado Barinas goalkeeper gloves sale uk, sus integrantes son elegidos por el pueblo mediante el voto directo y secreto cada cuatro años pudiendo ser reelegidos reusable glass, bajo un sistema de representación proporcional de la población del estado y sus municipios, el Estado cuenta 9 legisladores, de los cuales 3 pertenecen a la oposición y 6 al oficialismo.

En las elecciones del 30 de julio de 2000, se disputaron 7 escaños, logrando el MVR una mayoría simple con 4 de 7 legisladores, la oposición se quedó con 3 legisladores todos de acción democrática

En las elecciones regionales de octubre de 2004

Brazil Home DAVID LUIZ 4 Jerseys

Brazil Home DAVID LUIZ 4 Jerseys



, la alianza oficialista Podemos- MVR (podemos para entonces era oficialista) amplio su mayoría de 2000 a control total en 2004 con 9 legisladores (9 de 9, porque el parlamento ahora tenía 9 integrantes, 2 más que en la legislatura 2000-2004), la oposición no obtuvo ningún escaño:

En las elecciones regionales realizadas el 23 de noviembre de 2008 el oficialista PSUV y su partido aliado UVE, obtuvieron 7 legisladores de 9 en disputa la oposición solo consiguió dos legisladores electos por el disidente del oficialismo Gente Emergente:

Con esto los partidos que apoyan al gobernador Adán Chávez poseen una amplia mayoría legislativa para el periodo 2008-2012.

The Secret of Monkey Island

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The Secret of Monkey Island is a 1990 point-and-click graphic adventure game developed and published by Lucasfilm Games. It takes place in a fantastic version of the Caribbean during the age of piracy. The player assumes the role of Guybrush Threepwood, a young man who dreams of becoming a pirate and explores fictional islands while solving puzzles.

The game was conceived in 1988 by Lucasfilm employee Ron Gilbert, who designed it with Tim Schafer and Dave Grossman. Gilbert’s frustrations with contemporary adventure titles led him to make the player character’s death almost impossible, which meant that gameplay focused the game on exploration. The atmosphere was based on that of the Pirates of the Caribbean theme park ride. The Secret of Monkey Island was the fifth game built with the SCUMM engine, which was heavily modified to include a more user-friendly interface.

Critics praised The Secret of Monkey Island for its humor, audiovisuals, and gameplay. The game spawned a number of sequels, collectively known as the Monkey Island series. Gilbert, Schafer and Grossman also led the development of the sequel Monkey Island 2: LeChuck’s Revenge. LucasArts released a remake of the original in 2009, which was also well received by the gaming press.

The Secret of Monkey Island is a 2D adventure game played from a third-person perspective. Via a point-and-click interface, the player guides protagonist Guybrush Threepwood through the game’s world and interacts with the environment by selecting from twelve verb commands (nine in newer versions) such as „talk to“ for communicating with characters and „pick up“ for collecting items between commands and the world’s objects in order to successfully solve puzzles and thus progress in the game. While conversing with other characters, the player may choose between topics for discussion that are listed in a dialog tree; the game is one of the first to incorporate such a system. The in-game action is frequently interrupted by cutscenes. Like other LucasArts adventure games, The Secret of Monkey Island features a design philosophy that makes the player character’s death nearly impossible (Guybrush does drown if he stays underwater for more than ten minutes).

A youth named Guybrush Threepwood arrives on the fictional Mêlée IslandTM, with the desire to become a pirate. He seeks out the island’s pirate leaders, who set him three trials that must be completed to become a pirate: winning a sword duel against Carla, the island’s resident swordmaster, finding a buried treasure, and stealing a valuable idol from the governor’s mansion. These quests take Guybrush throughout the island, where he hears of stories of the Ghost Pirate LeChuck, who apparently died in an expedition to the mysterious Monkey IslandTM, an act that was meant to win the love of the governor Elaine Marley. Guybrush meets several characters of interest, including a local voodoo priestess, Stan the Used Boat Salesman, Carla the Sword Master, a prisoner named Otis, and Meathook, whose hands have been replaced by hooks.

Guybrush also encounters the governor and is instantly smitten, and she soon reciprocates. However, as he completes the tasks set for him, the island is raided by LeChuck and his undead crew, who abduct Elaine and then retreat to their secret hideout on Monkey IslandTM. Guybrush takes it upon himself to rescue her, buying a ship and hiring Carla, Otis, and Meathook as crew before setting sail for the fabled island. When Guybrush reaches Monkey Island, he discovers a village of cannibals in a dispute with Herman Toothrot, a ragged castaway marooned there. He settles their quarrel, and then recovers a magical „voodoo root“ from LeChuck’s ship for the cannibals, who provide him with a seltzer bottle of „voodoo root elixir“ that can destroy ghosts.

When Guybrush returns to LeChuck’s ship with the elixir, he learns that LeChuck has returned to Mêlée IslandTM to marry Elaine at the church. He promptly returns to Mêlée IslandTM and gatecrashes the wedding, only to ruin Elaine’s own plan for escape; in the process he loses the elixir. Now confronted with a furious LeChuck, Guybrush is savagely beaten by the ghost pirate in a fight ranging across the island. The fight eventually arrives at the island’s ship emporium, where Guybrush finds a bottle of root beer. Substituting the beverage for the lost elixir, he sprays LeChuck, destroying the ghost pirate. With LeChuck defeated, Guybrush and Elaine enjoy a romantic moment, watching fireworks caused by LeChuck exploding.

Ron Gilbert conceived the idea of a pirate adventure game in 1988 metal sports water bottles, after completing Zak McKracken and the Alien Mindbenders. He first wrote story ideas about pirates while spending the weekend at a friend’s house. Gilbert experimented with introductory paragraphs to find a satisfactory idea. His initial story featured unnamed villains that would eventually become LeChuck and Elaine; Guybrush was absent at this point. He pitched it to Lucasfilm Games’s staff as a series of short stories. Gilbert’s idea was warmly received, but production was postponed because Lucasfilm Games assigned its designers, including Gilbert, to Indiana Jones and the Last Crusade: The Graphic Adventure. Development of The Last Crusade was finished in 1989, which allowed Gilbert to begin production of The Secret of Monkey Island, then known internally under the working title Mutiny on Monkey Island.

Gilbert soon realised that it would be difficult to design the game by himself; he decided to join forces with Tim Schafer and Dave Grossman, both of whom he hired for Lucasfilm. The game’s insult sword fighting mechanics were influenced by swashbuckling movies starring Errol Flynn, which Gilbert, Schafer and Grossman often watched for inspiration. They noticed that pirates in those films often taunted their opponents instead of attacking them, which gave the designers the idea to base the game’s duels on insults rather than combat. Writer Orson Scott Card helped them write the insults during a visit to Lucasfilm’s headquarters at Skywalker Ranch. Many of Gilbert’s original gameplay ideas were abandoned during the production process, although he stated that „most of that stuff was left out for a reason“.

The game’s plot, as described by Dave Grossman: „It’s a story about this young man who comes to an island in search of his life’s dream. He’s pursuing his career goals and he discovers love in the process and winds up thinking that was actually more important than what he was doing to begin with. You’re laughing, but there’s actually something deeper going on as well.“ When work on the plot began, Gilbert discovered that Schafer’s and Grossman’s writing styles were too different to form a cohesive whole: Grossman’s was „very kind of a dry, sarcastic humor“ and Schafer’s was „just a little more in your face“. In reaction, Gilbert assigned them to different characters and story moments depending on what type of comedy was required. Grossman believed that this benefited the game’s writing, as he and Schafer „were all funny in slightly different ways, and it worked well together“. Schafer and Grossman wrote most of the dialogue while they were programming the game; as a result, much of it was improvised. Some of the dialogue was based on the designers‘ personal experiences, such as Guybrush’s line „I had a feeling in hell there would be mushrooms“, which came from Schafer’s own hatred of fungi.

The game’s world and characters were designed primarily by Gilbert. After having read Tim Powers‘ historical fantasy novel On Stranger Tides, he decided to add paranormal themes to the game’s plot. He also cited Powers‘ book as an influence on the characters, particularly those of Guybrush and LeChuck. Inspiration for the game’s ambiance came from Gilbert’s favorite childhood amusement park ride, Pirates of the Caribbean. Grossman said that Gilbert always wanted „to step off the ride“ and „talk to the people who lived in that world“. Near the final stages of the design work, Gilbert introduced several characters who were not directly related to the game’s story. He considered this to be an important decision, as the player would need those seemingly minor characters in later parts of the game and would receive a chance to „really interact with them“.

Gilbert, Schafer and Grossman’s primary goal was to create a simpler and more accessible gameplay model than those presented in previous Lucasfilm titles. Gilbert had conceived the main designs and puzzles before production began, which resulted in the bulk of the designers‘ work to flesh out his ideas. He was frustrated by the adventure games that Sierra On-Line was releasing at the time, and later said that „you died any time you did anything wrong“. Gilbert considered such gameplay as „a cheap way out for the designer“. He had previously applied his design ideas to the 1987 graphic adventure title Maniac Mansion, but committed a number of mistakes during development, such as dead-end situations that prevented the player from completing the game and poorly implemented triggers for cutscenes. Gilbert aimed to avoid such errors in The Secret of Monkey Island. The team decided to make it impossible for the player character to die, which focused gameplay primarily on world exploration. The Sierra game-over screen was parodied, when Guybrush falls off a cliff only to be bounced back up by a „rubber tree“.

The Secret of Monkey Island was the fifth Lucasfilm Games project powered by the SCUMM engine, originally developed for Maniac Mansion. The company had gradually modified the engine since its creation. For Maniac Mansion, the developers hard coded verb commands in the SCUMM scripting language. These commands become more abstract in subsequent versions of the engine. The developers carried over the practice of referring to individual segments of the gameworld as „rooms“, even though the areas in Monkey Island were outdoors. The game uses the same version of the engine used in Indiana Jones and the Last Crusade, with minor changes. A dialog tree was added, which facilitated conversation options and the sword-fighting puzzles. The developers removed the „What is“ option (an input command that describes an on-screen object to the player) in favor of allowing the player to simply highlight the object with the mouse cursor. The game’s improved interface became the standard for the company’s later titles. The game also introduced logical verb shortcuts, which could be performed with the mouse; for example, clicking on a character defaults to the „talk“ action, the most obvious action in the situation. SCUMM’s visuals were updated for the game—the original EGA version had a 320×200 pixel resolution rendered in 16 colors. According to artist Steve Purcell, that became a major limitation for the art team; due to a low number of „ghastly“ colors, they often chose bizarre tones for backgrounds. They chose black and white for Guybrush’s outfit for the same reason. The VGA version of the game later corrected these issues by implementing 256 color support, which allowed for more advanced background and character art. The VGA (and other platform releases) removed the infamous „stump joke“ from the game, which was a joke in the EGA version in which the player would examine a tree stump in the forest. Guybrush would exclaim that there is an opening to a system of catacombs and attempt to enter, but this would result in a message stating the player needed to insert disc 22, then 36, then 114 in order to continue. The joke resulted in numerous calls to the LucasArts hotline asking about missing discs. As a result, the joke was removed from later editions and is a mentioned as a conversation option for the LucasArts Hint Hotline in the sequel.

The game’s „pirate reggae“ music was composed by Lucasfilm Games‘ in-house musician Michael Land in MIDI format. It was his first project at the company. The game was originally released for floppy disk in 1990, but a CD-ROM version with a high-quality CD soundtrack followed in 1992. The music has remained popular, and has been remixed by the musicians of OverClocked ReMix and by the game’s fans.

LucasArts released a remake with updated audiovisuals titled The Secret of Monkey Island: Special Edition in July 2009 for iPhone, Microsoft Windows, and Xbox 360 exclusively via digital distribution. PlayStation 3, macOS and iPad versions followed early in 2010 for download on their respective services. LucasArts confirmed the game’s development on June 1 insulated water container, 2009; rumors appeared several days earlier when the Xbox 360 version of the game received an USK rating. The game was first displayed to the public at the 2009 E3 in June. The remake features hand-drawn visuals with more detail, a remastered musical score, voice work for characters, and a hint system. The developers included the function to switch between 2009 and original audiovisuals at will. The voice actors included Dominic Armato as Guybrush Threepwood and Earl Boen as LeChuck; most had provided voice work in sequels to The Secret of Monkey Island.

LucasArts’s game producer Craig Derrick and his team conceived the idea of the remake in 2008. After researching the Monkey Island series‘ history, they decided to make „something fresh and new while staying true to the original“, which resulted in the idea of The Secret of Monkey Island’s remake. The developers tried to leave much of the original design unchanged. Any changes were intended to achieve the level of immersion desired for the original. To that end, they added details like a pirate ship or pirates talking in the background of scenes. While the team considered the SCUMM interface revolutionary at the time, LucasArts community manager Brooks Brown noted that it is incompatible with an analog stick, which most consoles use. The designers made the cursor contextual to the game objects as the primary interface. Brown had considered updating the reference to advertise Star Wars: The Force Unleashed because Loom was not on the market at the time, but concluded that the game would not be the same if such changes were implemented. Prior to the Special Edition release, however, LucasArts announced that Loom, along with other games from its back catalog, would be made available on Steam. Brown stated that the decision to distribute the game online was because „digital downloads have finally gotten going“.

The Secret of Monkey Island sold well and received positive reviews from critics. Hartley, Patricia, and Kirk Lesser of Dragon praised the designers‘ attention to detail, and cited the game’s humor as a high point. Although they believed that the game was too expensive, they summarized it as „a highly enjoyable graphic adventure replete with interesting puzzles, a fantastic Roland soundtrack, superb VGA graphics, smooth-scrolling animation, and some of the funniest lines ever seen on your computer screen.“ Duncan MacDonald of Zero praised the graphics and found the game „quite amusing“. His favorite aspect was the fine-tuned difficulty level, which he believed was „just right“. He ended his review, „At last an adventure game that’s enjoyable rather than frustrating.“ Paul Glancey of Computer and Video Games consider the game superior to Lucasfilm’s earlier adventure titles, and wrote that, „Usually the entertainment you get from an adventure is derived solely from solving puzzles, but the hilarious characters and situations, and the movie-like presentation … make playing this more like taking part in a comedy film, so it’s much more enjoyable.“ He considered the puzzles to be „brilliantly conceived“ and found the game’s controls accessible. He summarized it as „utterly enthralling“.

ACEs Steve Cooke also found the controls convenient, and he praised the game’s atmosphere. He wrote that, „in graphics and sound terms … Monkey Island, along with King’s Quest V, is currently at the head of the pack.“ However, he disliked the designers‘ running joke of placing „TM“ after character and place names, which he thought detracted from the atmosphere. He singled out the game’s writing, characters and plot structure as its best elements. Amiga Powers Mark Ramshaw wrote, „With The Secret of Monkey Island, the mouse-controlled, graphic-adventure comes of age.“ He lauded its comedic elements, which he believed were the highlight of the game. The reviewer also praised the control scheme, noting that it allows the player to „more or less forget about the specifics of what [they are] physically doing … and lose [themselves] in the adventure instead.“ He noted that the game’s plot and visual and aural presentation fit together to create a thick atmosphere, and finished, „Forget all those other milestone adventures (Zork, The Hobbit, Lord of the Rings et al) — for sheer enjoyment and general all-round perfection, The Secret of Monkey Island creams ‚em all in style.“ The game, along with its sequel, was ranked the 19th best game of all time by Amiga Power.

Writing for The One, Paul Presley stated that „Lucasfilm appears to have taken all of the elements that worked in its previous releases and, not only incorporated them into this tale of scurvy swashbuckling, but even improved on them in the process!“ Like the other reviewers, he praised its controls. He also lauded its „hilarious storyline, strong characters and … intriguing setting“, but complained about graphical slowdowns. Nick Clarkson of Amiga Computing cited the game’s graphics as „flawless“, noting that „the characters are superbly animated and the backdrops simply ooze atmosphere.“ He highly praised its sound effects and music, and believed that its controls „couldn’t be simpler“. The staff of Amiga Action wrote that the „attention to detail and the finely tuned gameplay cannot be faulted.“ They called the graphics „stunning throughout“, and believed that, when they were combined with the „excellent Caribbean tunes“, the result is a game filled with „character and atmosphere.“ They ended by stating that „there is absolutely no excuse for not owning this game.“

The Secret of Monkey Island has featured regularly in lists of „top“ games, such as Computer Gaming World’s Hall of Fame and IGN’s Video Game Hall of Fame. In 1996, Computer Gaming World ranked it as the 19th best game of all time, writing, „Who could ever forget the insult-driven duel system or the identity of the mysterious Swordmaster?“. In 2004, readers of Retro Gamer voted it as the 33rd top retro game. IGN named The Secret of Monkey Island one of the ten best LucasArts adventure games in 2009, and ranked the Xbox Live Arcade version as the 20th best title of all time for that platform in 2010. In 2017, The Secret of Monkey Island ranked 78th in the „Scientifically Proven Best Video Games of All Time,“ a statistical meta-analysis compiled by Warp Zoned of 44 „top games“ lists published between 1995 and 2016.

Like the original release, The Secret of Monkey Island: Special Edition received positive reviews from critics. Sean Ely of GamePro praised its updated audio, and said that the new graphics „blow the old clunker visuals … out of the water“. He cited its script, humor, plot, puzzles and balanced difficulty level as high points, and finished, „The Secret of Monkey Island: Special Edition is impressive, hilarious and downright worth your money.“ Daemon Hatfield of IGN wrote remington clothes shaver, „Almost 20 years after its release, [The Secret of Monkey Island] remains a blast to play.“ He called the new graphics „slick, if a little generic“, and noted that the „original graphics have a certain charm to them that the fancy pants new visuals just don’t.“ However, he enjoyed the redone music, the new hint function, and the added sound effects and voice acting. He summarized it as „one of the best times you’ll ever have pointing and clicking“, and noted that „few games are this funny.“ Justin Calvert of GameSpot noted that „the Special Edition looks much better and is the only way to play if you want to hear … what characters are saying, whereas the original game’s interface is less clunky.“ However, he wrote that „the voice work is such a great addition to the game that it’s difficult to go back to the original edition.“ He praised its humor, writing, puzzles and characters, and he believed that it had aged well. Eurogamer’s Dan Whitehead wrote, „Purists like me will almost certainly find something to grumble about over the span of the game, but the overall impact of the redesign is undeniably for the better.“ However, he preferred the original game’s Guybrush design, and believed that the new control system was „rather less intuitive“ than the old one. He finished by stating that „few games can stand the test of time with such confidence“.

The Secret of Monkey Island spawned four sequels. The first, Monkey Island 2: LeChuck’s Revenge, was released in 1991 and focuses on LeChuck’s return. Six years later, LucasArts released The Curse of Monkey Island, which features a new visual design. In 2000, the company released Escape from Monkey Island, which uses the GrimE engine of Grim Fandango to produce 3D graphics. The next title, Tales of Monkey Island released in 2009, is a series of five episodic chapters.

Elements of the game have appeared elsewhere in popular culture. The original version was selected as one of five for the exhibition The Art of Video Games in the Smithsonian American Art Museum in 2011. A fictive drink recipe in the game for grog was mistakenly reported as real in 2009 by Argentinian news channel C5N, which urged adolescents against consuming the dangerous „Grog XD“ drink. In Tales of Monkey Island english football shirts, Guybrush refers to this news story while pushing the Grog XD button on a Grog machine.

Karsten Nissen

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Karsten Hansen Nissen (født 10. september 1946 i Haderslev) er en dansk cand.theol. og var fra 1996 til 2014 den 43. biskop over Viborg Stift.

Karsten Nissen blev uddannet cand.theol. i 1971 fra Aarhus Universitet og blev senere samme år kandidatstipendiat ved Kirkernes Verdensråd i Genève. Ved siden af opgaverne i verdensrådet, blev Nissen ordineret som hjælpepræst ved den danske menighed i byen.

Efter opholdet i Schweiz tog Nissen hjem til Danmark, hvor han fik Aarhus Universitets guldmedalje for den prisafhandling han forfattede ved Kirkernes Verdensråd. I perioden 1972-74 var han fast tilknyttet universitet som adjunkt.

Han søgte og fik i 1974 stillingen som sognepræst i Assing Sogn i Kibæk. I 1978 forlod Nissen stillingen som præst og flyttede til Aarhus, hvor han blev ansat som forstander for Diakonhøjskolen. I alt 8 år var han på højskolen og forlod den i 1986.

Nissen tog tilbage til Folkekirken i 1986 paul frank backpacks, da han blev ansat som sognepræst i Viborg Domkirke samt provst for Viborg Domprovsti og domprovst over Viborg Stift. I disse stillinger arbejdede han i 10 år.

Da den siddende biskop for Viborg Stift, Georg S. Geil, pludselig døde i februar 1996 skulle der vælges en ny biskop. Karsten Nissen valgte at opstille ved bispevalget. Han fik 2/3 af stemmerne og blev den 43. biskop i Viborg. Nissen med familie skiftede derefter embedsbolig fra Domprovstegården til Bispegården få hundrede meter derfra.

I 2010 blev han Kommandør af Dannebrog.

Nissen offentliggjorde 20. marts 2014 at han havde sendt sin afskedsansøgning til Dronningen, da han ønskede at lade sig pensionere ved udgangen af september samme år. På dette tidspunkt havde han været biskop i 18 år. Derefter blev der udskrevet bispevalg imellem fire kandidater. Karsten Nissens afløser running belt phone, Henrik Stubkjær, tiltrådte 1. november, og blev viet til embedet ved bispevielse den 23. november i Viborg Domkirke.

Nissen voksede op i et åbent indremissionsk miljø i Haderslev. Faderen arbejdede som forretningsfører i samme andelsboligforening hvor de boede, mens moderen beskæftigede sig med litteratur football uniform costume. Han mødte sin hustru Aase Bech Nissen i 1963 og i 1967 blev de gift. De har tre børn og tre børnebørn.

Fra 1986 til 2014 var Nissen og hustru bosat i Viborg. Da han i september 2014 forlod bispesædet og Bispegården flyttede familien tilbage til Haderslev.

Église du Pater Noster

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Géolocalisation sur la carte : Palestine (administrative)

Géolocalisation sur la carte : Israël

L’Église du Pater Noster est un édifice religieux catholique sis sur le mont de l’Ascension, à Jérusalem-Est, en Terre sainte. Elle est aussi appelée Éléona (du grec eliaon, qui signifie oliveraie). Cette église est construite sur le site où, d’après la tradition, Jésus enseigna à ses disciples le Notre Père (Luc 11:1-4) (en latin Pater Noster). Cette tradition est confirmée par les Actes de Jean à Rome, écrits apocryphes du IIIe siècle , et plus tard par Arculfe au VIIe siècle. Église et carmel jouissent de l’extraterritorialité et relèvent de l’autorité de l’État français.

Le site est mentionné par Égérie vers 384 lors de son pèlerinage, dans le Burdigalensis et par Eusèbe de Césarée.

Sur le site a d’abord été construite au IVe siècle une église liée à l’Ascension du Christ par Constantin sous la direction de sa mère Hélène qui lui donna comme nom Église des Disciples. Égérie nous donne dans le Peregrinatio Silviae des indications sur le Rite de l’Église de Jérusalem de l’époque en expliquant que l’archidiacre invitait d’abord les fidèles à rentrer dans l’Eleona, d’où une procession partait vers le mont des Oliviers. Après cela, on descendait à nouveau dans l’église, où les vêpres étaient chantées et où étaient lus Mt:24 et Mt:25.

Adossé au Mont des Oliviers, le bâtiment était construit sur trois niveaux reliés par des escaliers :

Un couvent, un monastère et une chapelle appelée l’Apostolium furent ajoutés vers 430 par Mélanie la Jeune, chapelle où elle fut inhumée avec sa mère. Au cours du VIe siècle, la crypte et l’église étaient désignées sous le nom de Matzi ou Matheteion. Treize évêques et patriarches de Jérusalem y auraient été inhumés, dont Cyrille de Jérusalem et Modeste de Jérusalem.

Son emplacement avait été complètement oublié, et elle ne fut redécouverte qu’en 1911. L’excavation qui s’enfonce dans une tombe du Ier siècle se trouve sous le côté Est de l’église. Sur le fronton de l’entrée est gravée l’inscription latine: Spelunga in qua docebat Dominus apostolos in Monte Oliveti qui signifie Grotte dans laquelle le Seigneur a enseigné à ses apôtres sur le mont des Oliviers. Il ne reste de l’édifice originel que quelques éléments architecturaux. Des travaux de reconnaissance non-destructifs y ont été entamés en 2008.

Elle est encore appelée crypte du Credo ou grotte du Credo.

Selon Eutychius, elle fut incendiée par les Perses dirigés par Schahr-Barâz en 614 faisant environ un millier de victimes sur le Mont des Oliviers, d’après Stratègios. Plus tard en 638, elle fut rasée par les Arabes Musulmans de Omar ibn al-Khattâb. À la fin du VIIe siècle, Adomnan d’Iona dans De Locis sanctis l’évoque comme étant toujours debout ou reconstruite.

Sous Charlemagne qui, ayant obtenu en 807 de Hâroun ar-Rachîd la protection des Lieux Saints pour entre autres y fonder des établissements religieux, des Bénédictins la relevèrent de ses ruines. Un recensement des monastères de Terre sainte fait en 808 – le Commemoratorium de Casis Dei – nous apprend qu’elle était desservie par trois moines et un prêtre. Elle semble avoir été détruite à nouveau en 1009 par Al-Hakim bi-Amr Allah. Les Croisés ayant reconquis la ville après le Siège de Jérusalem en 1099, ils construisirent un petit oratoire au milieu des ruines entre 1102 et 1106, et le Croisé Bartolf of Nangis semble la décrire dans sa chronique Gesta Francorum Iherusalem expugnantium, et son état de ruine est confirmé par Saewulf. Une église est totalement reconstruite en 1152 grâce à Svend Svendsson, évêque de Viborg football legends t shirts, et à son frère Sveinsson Eskill, amiral du Jutland, qui furent enterrés dans l’église en 1153 (leurs tombes furent redécouvertes en 1869 et ils furent réinhumés dans la nouvelle église).

Cette église use of meat tenderizer, décrite en 1172 par un pèlerin allemand, Théodoric, aurait été fortement endommagée pendant le siège de Jérusalem en 1187 par Saladin, au point d’être abandonnée. Odoric de Pordenone mentionne encore une église en 1330 et Ludolph de Sudheim (Ludolph Schilder) parle d’une chapelle en 1336. Selon le pèlerin franciscain Nicolás de Poggibonsi, elle tombe en ruines en 1345, pendant la domination Mamelouk. En 1851, on en exploita les ruines pour les vendre comme pierres tombales.

Émue par un sermon sur la désolation des Lieux Saints donné par le Père Poyet, patriarche latin de Jérusalem, la princesse Héloïse de la Tour d’Auvergne, fille de Joseph Aurèle de Bossi, partit pour Jérusalem en novembre 1856, et en dix ans, réussit à acquérir six hectares de terrain au Mont des Oliviers. Elle y fit bâtir en 1868 un cloître, sur le modèle du Campo Santo de Pise, dont les plans sont attribués à Eugène Viollet-le-Duc, puis se livra à deux années de fouilles, aidée de Charles Simon Clermont-Ganneau hydration belts for runners reviews, qui était depuis 1867 drogman-chancelier du Consulat français de Jérusalem, qui permirent notamment de dégager une mosaïque du Ve siècle où étaient inscrits en grec les Psaumes 121:8 et 118:20. On y a aussi retrouvé l’épitaphe de Césaire de Heisterbach.

Notre Père en français

Pater Noster en syriaque

Pater Noster en grec

Pater Noster en latin

Pater Noster en slavon

Notre Père en coréen

Avec l’aide du Père Alphonse Ratisbonne, elle y fonda un couvent de carmélites contemplatives en 1872, le Carmel du Pater, et en 1874, divisa le terrain entre les Pères blancs et les sœurs carmélites, et offrit le monastère à la France. Des plaques reproduisant le texte du Pater Noster en cent-cinquante langues sont apposées sur les murs du cloître. Décédée à Florence en 1889, elle fut le 22 décembre 1957, conformément à ses dernières volontés, enterrée dans le cloître, dans un mausolée de marbre blanc, surmonté de son effigie best steak tenderizer marinade, que Napoléon III fit exécuter. Une urne, déposée dans une niche au-dessus du mausolée, renferme le cœur du père de la princesse.

En 1910, les fondations au-dessus de la grotte, qui s’effondra partiellement lors des fouilles, ont été retrouvées en partie sous le cloître. Le couvent a été déplacé à proximité et à la reconstruction de l’église byzantine a commencé en 1920, pour s’interrompre en 1927, sans avoir achevé le toit, par manque de fonds.

Avec l’Église Sainte-Anne, le Tombeau des Rois, et l’Abbaye bénédictine d’Abou Gosh, elle fait partie des quatre territoires français de Jérusalem.

Elle est adjacente à l’Apostoleion qui est un des Lieux de station de la liturgie de Jérusalem ainsi que de l’Imbomon.

Sur les autres projets Wikimedia :

fartlek ausbildung für fußball

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das wort bedeutet „speed“ auf schwedisch, und fartlek ausbildung ihrer unterschiedlichen intensität durchaus spiegel laufen, was fußball spiele

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.läufer erfüllen fartleks von timing alternative sprints und joggt, basierend auf einer uhr oder pulsmesser.die intensität ändern kann, basierend auf laternenmasten oder auch hunde in den park.fußball, sie können sich fartlek sport bestimmte übungen.
das ausgeklügelte übung, von der stärke der trainer greg gatz ist „komplett mit klimaanlage für fußball“, webt fähigkeiten arbeiten mit fußball – klimaanlage.sie stehen am ende mit ball, während teamkollege steht im mittelfeld.dribbeln schnell auf ihre teamkollegin.den ball zu ihrem teamkollegen und umdrehen, lange beim lauf in richtung ziel.ihre teamkollegin dienen den ball vor, als ich sie näher an das ziel und schießen.durch vier wiederholungen als schütze, eine pause von drei minuten, und die komplette drei sets.
gatz auch orte seiner universität von north carolina, fußball – athleten durch die sprint – joggen gehen, bohren.brauchst du eine uhr mit einer stoppuhr – funktion oder eine pulsuhr.sie einfach ständig sprint für 10 sekunden, joggen für 20 sekunden und laufen für 10 sekunden für einen gesamtbetrag von 10 minuten.einige feine kurven und winkeln in ihrem muster laufen

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.pause für zwei minuten nach jedem satz und komplette zwei oder drei sets.

Brugs (dialect)

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Brugs is de variant van het Nederlands zoals dat in Brugge gesproken wordt. Het is een vorm van het West-Vlaams, maar het echte Brugs is een typisch stadsdialect dat duidelijk te onderscheiden is van de dialecten uit de rest van West-Vlaanderen.

Het West-Vlaamse dialect, en vooral dat van de zo belangrijke handelsstad Brugge, heeft de eerste bijdrage geleverd aan de standaardisering binnen het Middelnederlands.

Een enkele medeklinker tussen twee klinkers waarvan de eerste kort en beklemtoond is, wordt verdubbeld: barakke (niet barake), persèssie (niet persèsie), dinne (niet dine), gorre (niet gore), petutter (niet petuter) etc. Soms helpt deze regel ons de klemtoon te bepalen: zo kan kateliek (katholiek) worden onderscheiden van katteliek (kattenlijk).

Deze verdubbelingsregel geldt niet bij de ie en de oe, die wel korte klinkers zijn maar ook in het Nederlands geen verdubbeling veroorzaken. (dus piepoo, niet pieppoo; foefelen, niet foeffelen). Ook de uu veroorzaakt geen verdubbeling: muule, niet muulle.

Bij samenstellingen wordt de verdubbelingsregel toegepast op de afzonderlijke, samenstellende leden en niet op de samenstelling als geheel: zo wordt in kofferfòòr de f in koffer- verdubbeld, ook al valt de klemtoon van de samenstelling als geheel op -fòòr, en niet op de o in kof. Evenzo wordt in flaschestèkkere (‚mager iemand‘) de k in -stèkkere verdubbeld, ook al krijgt flasche- de klemtoon binnen de samenstelling als geheel.

Een medeklinker kan van articulatie veranderen (zelfs wegvallen) onder invloed van de medeklinker die volgt of voorafgaat. Dit verschijnsel van wederzijdse beïnvloeding wordt in de taalkunde assimilatie genoemd. Omdat assimilatie grotendeels te voorspellen is, zijn er regels voor te formuleren en hoeft men bijgevolg niet elke klankverandering in de spelling aan te duiden. Dit zijn de belangrijkste gevallen en de erbij horende afspraken voor de spelling:

Een medeklinker waarop een b of d volgt, wordt stemhebbend. In de taalkunde noemt men dit verschijnsel anticiperende assimilatie: de eerste medeklinker past zich al aan de volgende aan. Conform de Nederlandse spelling geeft men deze klankverandering niet weer. Men schrijft dus ofbustelen (niet ovbustelen), j’is buuten (niet j’iz buuten), ip de taafel (niet ib de taafel) etc.

Anders dan in het AN wordt een t voor een d toch niet stemhebbend. Integendeel, het is de d die dan stemloos wordt. Ook dit wordt niet weergegeven: men schrijft dus uutdoeën (niet uuttoeën), uut de kasse (niet uut te kasse) etc.

Een stemloze medeklinker maakt een erop volgende v, z of g stemloos, dus maakt er respectievelijk een f, s of (Brugse) ch van. In de taalkunde spreekt men van progressieve assimilatie: de eerste medeklinker behoudt zijn karakter en beïnvloedt de volgende medeklinker, zoals de t voor een d hierboven. Conform de Nederlandse spelling geeft men deze klankverandering niet weer. Men schrijft dus ‚t is vul (niet ‚t is ful), ‚k zien do (niet ‚k sien do), ipgeejven (niet ipcheejven) etc.

Een klinker of glijder (l, m, n, r, j of w) maakt als gevolg van progressieve assimilatie een erop volgende f, s of ch stemhebbend, dus maakt er respectievelijk een v chemical meat tenderizer, z of (Brugse) g van. Conform de Nederlandse spelling geeft men deze klankverandering niet weer. Men schrijft dus liefreuke (niet lievreuke), z’is wèg (niet z’iz wèg), toch nie (niet tog nie) etc.

De vervoegings-t van het werkwoord kan wegvallen als het volgende woord met een medeklinker begint. Dat is ook zo bij de woordjes wat, dat, mèt en niet:

Ook een stemloze slot-d valt op die manier weg:

Echter, deze weggevallen -t/-d oefent toch nog zijn invloed uit op de erop volgende medeklinker, die stemloos kan worden: men hoort dus Zèg ta nie; Je zieë feejle; Ja wa sèg je; Z’aa chin antrèk etc. Deze assimilatie wordt niet in de spelling weergegeven (zie 1.2.1 en 1.2.2).

Niet alleen medeklinkers kunnen elkaar onderling beïnvloeden. Ook wanneer een klinker en een medeklinker aangrenzend zijn, kan de ene de andere doen veranderen of doen wegvallen. Dit zijn de belangrijkste gevallen en de erbij horende afspraken voor de spelling:

Een doffe -e op het einde van een woord valt weg als er een woord op volgt dat met een klinker begint. Bij korte woordjes (de, je, ze etc.) geeft men dit aan met een apostrof, bijvoorbeeld z’is t’oekd. Bij de andere woorden laat men de e staan, omwille van de gelijkvormigheid van het woord in andere omgevingen. Men schrijft dus d’èspe angt an de bolke (niet d’èsp‘ angt an de bolke), tuschen de garre èn de deure (niet tuschen de gar‘ èn de deure), vorte eejers (niet vort‘ eejers) etc.

Een klinker maakt een voorafgaande vervoegings-t stemhebbend (maakt er dus een -d van) als die vervoegings-t op een klinker volgt of aan een werkwoord gehecht wordt dat in de infinitief voor de -en een stemhebbende medeklinker laat horen (bijvoorbeeld kennen buy water bottles online, geejven etc., maar niet lachen, wèrken etc.). Omwille van de gelijkvormigheid van het woord behoudt men toch de spelling met -t. Men schrijft dus ‚t stot ieër (niet ‚t stod ieër), ze kènt èm (niet ze kend èm), je gift olles wèg (niet je gifd olles wèg) etc.

Een nasale medeklinker (n, m of ng) maakt een voorafgaande klinker nasaal (zorgt er dus voor dat bij het uitspreken van die klinker de lucht uit de longen gedeeltelijk door de neus naar buiten gaat). Vergelijk de oa in koas en koantjies, de eeë in zeeëpe een zeeëmel, de ie in brieke en briengen etc. Het verschil is er, maar blijft al bij al te onopvallend om er een andere letter of lettercombinatie te introduceren. De nasalering. wordt dus niet in de spelling weergegeven om het woordbeeld niet te schaden.

Volgt er op de n een schuurklank (bijvoorbeeld s best thermal water bottle, g, z etc.), dan wordt de voorafgaande klinker lang (als die nog niet lang was), en valt de n zelf weg. Voorbeelden hiervan zijn sanse, pènse, kiens, klinst, schonst, bruunst, slunstjie, froense, oeënsdag, angekommen, invetten. Deze complexe maar spontane klankverandering wordt evenmin in de spelling weergegeven, ook hier om een vlotte leesbaarheid te waarborgen.


„Zich“ wordt in het Brugs niet gebruikt. In de plaats gebruikt men: me/mien, je/joen, èm, eur, èm, ons, joender en under.



Voorbeeld: roar (eigenaardig, ongewoon)


In de taalkunde heeft men de gewoonte om de sterke werkwoorden in 7 ablautsklassen in te delen (zie ook Gotisch, Oudnoords, Oudengels, Oudhoogduits). Die indeling is gebaseerd op de oorspronkelijke verbuigingen van sterke werkwoorden in het Oudgermaans, en men gebruikt ze hier ook om al de mogelijke verbuigingen in het Brugs op te sommen.

1 De subklasse toont de klankwijzigingen die optreden tussen infinitief – 3e p.ev. v.t. – 1e p.mv. v.t. – voltooid deelwoord.

Sommige sterke werkwoorden kunnen in het Brugs ook zwak verbogen worden, uitgezonderd van het voltooid deelwoord.



Sommige zwakke werkwoorden kunnen in het Brugs ook sterk verbogen worden, uitgezonderd van het voltooid deelwoord.



(*) Zie hier voor „zullen“ in het Brugs.


Verkleinwoorden maakt men door aan het zelfstandig naamwoord enkelvoud een achtervoegsel bij te voegen. Dat kan -je, jie, -(s)tje of -(s)tjie zijn.

Edwin Boyd: Citizen Gangster

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Citizen Gangster is a 2011 Canadian drama film directed and written by Nathan Morlando. Scott Speedman stars as Canadian gangster and folk hero Edwin Alonzo Boyd.

The film originally premiered at the 2011 Toronto International Film Festival under the title Edwin Boyd but was retitled Citizen Gangster in general release.

A veteran of World War II, Edwin Boyd (Scott Speedman) is disillusioned and barely getting by as a Toronto bus driver. With his wife Doreen (Kelly Reilly), whom he met in England during the war, and two young children to support, he finds it increasingly difficult to make ends meet. Adding to his dissatisfaction, Boyd has deep, unfulfilled dreams of making it as a star in Hollywood, a desire frowned upon by his retired policeman father (Brian Cox). Cox’s portrayal shows a man who disapproves of his son’s life and terrible decisions but is made more poignant by his sad attempts to maintain a father-son relationship.

In a moment of desperation, Boyd grabs an old pistol, disguises his face with theatrical greasepaint, and goes out to rob a bank; this sets off a series of events leading to one of Canada’s most infamous crime sprees.

Boyd forms a gang, which includes Lenny Jackson (Kevin Durand), Ann Roberts (Melanie Scrofano), and Val Kozak (Joseph Cross). Jackson is also a veteran of WWII, and with his muscular build is the picture of the hardened criminal. There is an uneasy relationship between him and Boyd, given the attention lavished on the latter by the media; yet the two of them, both war vets, have a deep, unspoken brotherly bond. Durand’s portrayal is of a man whose vulnerability is cloaked by a gruff, practical-minded exterior, but who reveals his poetic side to the woman he loves, Ann Roberts. One of only two women in the group, Ann reveals the human side of Lenny, behind the ruthless criminal in the headlines and on the radio. Val Kozak (Joseph Cross) is in a similar bind as Boyd, with a young wife and a desperate need to support his family best thermos water bottle. But he is also carrying on an affair with Mary Mitchell (Charlotte Sullivan), a fur-coat-wearing, flashy blonde party girl, whose flamboyant facade reveals a woman with past hurts and a deep-seated need for love and attention.

Boyd’s theatrical air and showmanship captivated attention; he would fling his arms wide open like a maestro upon entering the bank, a “welcome to the show” gesture. In a few telling scenes – including one where he dances along the top of the bank counter, while behind him the others wave guns and shove money into sacks – the patrons of the bank and even the tellers can barely hide their admiring glances as Boyd charms the money right out of them. One smiling teller whispers to Boyd as she’s emptying her till into a bag, “You know, some of the girls, they talk about you … about what you’d be like!”

The foil to the gang’s mayhem is Detective Rhys, (William Mapother). A sombre family man who takes his work seriously, Rhys is the face of law enforcement in the movie, constantly on the gang’s trail.

Boyd’s marriage grows increasingly strained. Despite the fact that Boyd’s initial motivation was a bid to provide for his young family and prove himself as a man, the nature of his lifestyle proves too much for her to handle. Whenever a siren screams past their window, all activities are dropped while they wait tensely to see if it will stop outside their apartment.

Notably, the Boyd gang’s breakout of the Don Jail forms the very first news story of then-fledgling television broadcast network, CBC.

Filming began February 17, 2011 in Sault Ste. Marie, Ontario.

Edwin Boyd: Citizen Gangster premiered at the 2011 Toronto International Film Festival. IFC Films distributed it in the United States.

Rotten Tomatoes, a review aggregator, reports that 50% of 14 surveyed critics gave the film a positive review; the average rating is 5 buy water bottles online.5/10. Metacritic rated it 56/100 based on 9 reviews. Linda Barnard of the Toronto Star rated it 3/4 stars called it a „carefully crafted, sympathetic examination of Canada’s most notorious bank robber“. Joe Leydon of Variety called it „generally low-key but sporadically exciting“. Jeannette Catsoulis of The New York Times wrote, „Citizen Gangster is a good-looking but passionless affair that remains stubbornly aloof from its audience.“ Gary Goldstein of the Los Angeles Times called it a stylish but overly familiar film whose main draw is Speedman’s performance.

The film won the award for Best Canadian First Feature Film at the 2011 Toronto International Film Festival.

The film garnered three Genie Award nominations at the 2012 Genie Awards: Best Actor (Speedman), Best Supporting Actor (Durand) and Best Supporting Actress (Sullivan).

Cassville, Pennsylvania

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Cassville is a borough in Huntingdon County, Pennsylvania, in the United States. As of the 2000 census, the borough population was 152.

Cassville is located at (40.293042, -78.027646).

According to the United States Census Bureau, the borough has a total area of 0.6 square miles (1.6&nbsp metal water jug;km2), all of it land.

As of the census of 2000, there were 152 people, 65 households, and 46 families residing in the borough. The population density was 266.6 people per square mile (103.0/km²). There were 69 housing units at an average density of 121.0 per square mile (46.7/km²). The racial makeup of the borough was 100.00% White.

There were 65 households, out of which 24.6% had children under the age of 18 living with them, 60.0% were married couples living together handheld water bottle running, 7.7% had a female householder with no husband present, and 29.2% were non-families. 29.2% of all households were made up of individuals, and 18.5% had someone living alone who was 65 years of age or older. The average household size was 2.34 and the average family size was 2.87.

In the borough the population was spread out, with 20.4% under the age of 18, 7.9% from 18 to 24, 27 australian soccer goalie.6% from 25 to 44, 18.4% from 45 to 64, and 25.7% who were 65 years of age or older. The median age was 42 years. For every 100 females there were 90.0 males. For every 100 females age 18 and over, there were 86.2 males.

The median income for a household in the borough was $30,625, and the median income for a family was $33,500. Males had a median income of $29,375 versus $18,333 for females. The per capita income for the borough was $13,628. About 11.4% of families and 9.9% of the population were below the poverty line, including none of those under the age of eighteen and 12.5% of those sixty five or over.


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Fifi (eng. Fifi the Peke) er en fiktiv figur fra Walt Disneys museunivers. Hun er en pekingeser som tilhører Minni Mus. I seriene hun viser seg meat tenderiser, viser hun tydelig interesse i Pluto og vice versa.

Første gang hun opptrådte var i avisstripa «Puppy Love» den 29. mai 1932.

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