Arthur Pentelow

Arthur Pentelow (14 February 1924 – 6 August 1991) was an English actor who was best known for playing Henry Wilks in Emmerdale Farm from 1972–91.

Born in Rochdale, Lancashire, Pentelow’s love of drama happened whilst he was studying Shakespeare at grammar school, but he started his working life as a cadet clerk in the local police force. He later served in World War II in the Royal Navy and did radar work in Normandy. After peace was declared, Pentelow returned to Rochdale, where he became a student teacher. He started acting as an amateur with the Curtain Theatre Company, before becoming a member of the Bradford Civic Playhouse Theatre School. Between his theatre work he sold ice-cream and delivered laundry. He later went on to work in repertory theatre at the Bristol Old Vic thermos drink bottle australia, Guildford and Northampton, before joining the company at Birmingham, where his fellow actors included Derek Jacobi, Rosemary Leach and Albert Finney.

Pentelow appeared in a number of films during his career, these included, Charlie Bubbles, Privilege good meat tenderizer, and The Peace Game. He also made appearances in popular television programmes, such as, Z-Cars

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Prior to appearing in the soap opera Emmerdale Farm when it began in 1972, he had already appeared in Coronation Street as an old friend of Hilda Ogden, played by the actress Jean Alexander, as well as a sporting serial called United! as the football supporters’ club chairman. Pentelow also appeared in 1969’s notorious gangland series for Granada “Big Breadwinner Hog” as the unflappable Detective Inspector Walker, one of the CID team on the trail of the trendy, up-and-coming gangland boss Hogarth of the title.

The character of Henry Wilks in Emmerdale Farm was a retired Bradford wool merchant, who became a director of Emmerdale Farm when it became a limited company. He also became a joint owner of the village public house – the Woolpack. His partnership with the landlord, Amos Brearly, played by actor Ronald Magill, added a humorous dimension to the soap opera for almost 20 years. Due to Pentelow’s sudden death, the character was killed off in October 1991, with Annie Sugden revealing she had found him dead in his bed.

Pentelow was often described as a modest and unassuming man by his fellow actors. It was a great shock when he died suddenly of a heart attack at the age of 67, whilst driving from his family home in Birmingham to commence filming Emmerdale back in Leeds.

Pentelow was married to Jacqueline, whom he had met when they were both studying acting. They had two sons – Nicholas and Simon. Their son Nick was one of the saxophone players for glam-rock band Wizzard.

Picacho La Cruz (bergstopp i Mexiko, Coahuila, Saltillo)

Picacho La Cruz är en bergstopp i Mexiko. Den ligger i kommunen Saltillo och delstaten Coahuila, i den centrala delen av landet, 700 km norr om huvudstaden Mexico City. Toppen på Picacho La Cruz är 2 314 meter över havet.

Terrängen runt Picacho La Cruz är huvudsakligen kuperad personalised football shirts, men söderut är den platt. Den högsta punkten i närheten är 2 501 meter över havet, 1,2 km nordväst om Picacho La Cruz. Runt Picacho La Cruz är det ganska tätbefolkat, med 111 invånare per kvadratkilometer. Närmaste större samhälle är Saltillo, 15,6 km nordost om Picacho La Cruz best waist belt. Omgivningarna runt Picacho La Cruz är i huvudsak ett öppet busklandskap. I trakten runt Picacho La Cruz finns ovanligt många namngivna dalar.

Årsmedeltemperaturen i trakten är 19 °C. Den varmaste månaden är maj, då medeltemperaturen är 26 °C, och den kallaste är januari, med 12 °C. Genomsnittlig årsnederbörd är 637 millimeter. Den regnigaste månaden är september, med i genomsnitt 161 mm nederbörd, och den torraste är februari, med 15 mm nederbörd.

Freeflying

Freeflying is a skydiving discipline which began in the late 1980s, involving freefalling in various vertical orientations, as opposed to the traditional “belly-to-earth” orientation. The discipline is known to have originated when Olav Zipser began experimenting with non-traditional forms of bodyflight. Zipser founded the FreeFly Clowns as a two-person competitive team with Mike Vail in 1992, and was joined by Omar Alhegelan (1st ever FAI Freestyle World Cup & World Champion), Charles Bryan, and Stefania Martinengo in 1994. The FreeFly Clowns are also credited with opening the first school to teach freeflying, The First School of Modern SkyFlying.

Freeflying broke into the limelight in 1996 when the SSI Pro Tour added freeflying as a three-person competitive discipline at the second televised event (with Skysurfing), part of ESPN’s Destination Extreme series. 150 countries watched the FreeFly Clowns (Olav Zipser, Charles Bryan and Omar Alhegelan) as they took 1st place in all four international competitions along with other teams like, the Flyboyz (Eli Thompson, Mike Ortiz, Knut Krecker, Fritz Pfnür), Team AirTime (Tony Urugallo, Jim O’Reilly, Peter Raymond, Brian Germain), and many other pioneers of freeflying showed off their best moves. In 1996 and 1997, the SSI Pro Tour staged eight televised events in both North America and Europe with $36,000 in cash prizes awarded to freefly teams. SSI invited the 1997 Pro World Champions, the Flyboyz, to participate in the 1998 ESPN X Games as an unofficial exhibition. The resulting global television exposure made legends out of the FreeFly Clowns, the Flyboyz, and others. A once fledgling offshoot of the mainstream, freeflying now comprises fully one-half of the overall skydiving community.

Olav Zipser’s Space Games used the space ball as a research and measuring device to provide a constant speed and direction from which individual athletes could be trained, rated, raced against each other and judged. The Space Games took FreeFlying to the next level from 1998.

Thanks to the efforts by Arizona Freeflight llc (Omar Alhegelan & Kama Mountz) who ran test competitions & wrote and submitted the rules for futures competitions; In 2000 FreeFly was accepted as a skydiving discipline by the International Parachute Commission (IPC) and the first official FreeFly National & international Championships were held worldwide.

Freeflying is an expansion of skydiving which includes the traditional belly-to-earth positions, but extends into vertical flight where the flyer is in an upright position (falling feet first) or in an inverted position (falling head first). These positions increase freefall speeds and make new types of formations and routines possible.

A freeflyer, in order to fully understand the aerodynamic power of his/her body in freefall, needs to first learn to control all of the skydiving forms: box position (belly-to-earth, traditional skydiving position), back flying (back-to-earth), head-up flying, head-down flying, and side flying. These positions are not held for the duration of a skydive. Freeflying can, and usually does, involve constant transitions in position and speeds, with vertical and horizontal orientations. This can involve constantly flowing skydives, with all positions explored, or more static skydives where flyers are concentrating on building a large formation while flying in one of these freefly positions.

Due to the increased freefall speed and potentially faster horizontal speeds, freeflying has dangers beyond that of a normal skydive. Extra care must be taken for freefall skydive groups to stay away from belly-to-earth skydivers to avoid collisions. Since most parachutes are not designed to be opened at speeds higher than that of normal belly flying, freeflyers must transition back to the “belly to earth” position and slow down their descent for several seconds before deploying their parachute.

While freeflying is a younger and more extreme addition to skydiving, it is becoming a popular event in competitions and world records.

Back flying is the ability to fly on the back in a stable and controlled fashion. This skill is critical so that when the flyer flips out of some of the more advanced positions they stay in control and do not endanger themselves or other skydivers.

Sit flying is called such because it looks similar to the position taken while sitting in a chair.

For flying a sit, the feet are oriented toward the relative wind and 90-degree bends maintained at the knees, hips, and shoulders. To move around, the flyer redirects the airflow in the opposite direction the jumper wants to go. Newtonian mechanics then push the flyer in the desired direction. Fall rate changes (descending faster or slower) can also be made.

A person falling in the head down position has less cross-sectional area exposed to the air while falling, which results in much faster fall rates. Average speeds while flying head down are around 260 km/h (160 mph). Due to the increased speed, every movement made can cause the skydiver to become unstable or disoriented; thus increasing the risk involved in skydiving.

The world’s largest vertical (head down) formation took place on Friday, 31 July 2015, when a multinational team of 164 skydivers, some traveling at speeds of over 200 mph, linked over Skydive Chicago, in Ottawa upholstery shaver, Illinois, United States. This broke the previous record of 138 linked skydivers, set on Saturday, 4 August 2012, also at Skydive Chicago.

Marc Hauser set the world record for the fastest horizontal free fall at 304 km/h in Empuriabrava, Spain, without specialized equipment, in October 2012

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Media related to Freeflying at Wikimedia Commons

Saint-Hilaire-Petitville

Saint-Hilaire-Petitville ist eine französische Gemeinde mit 1.385 Einwohnern (Stand 1. Januar 2015) im Département Manche in der Region Normandie. Die Gemeinde und ist nach Carentan die am stärksten bevölkerte Gemeinde der Communauté de communes de la Baie du Cotentin. Die Einwohner werden auch Saint-Hilairien(s) genannt.

Petitville bedeutet „kleine Stadt“.

Saint-Hilaire-Petitville liegt auf der Halbinsel Cotentin glass travel water bottle, im Regionalen Naturpark Marais du Cotentin et du Bessin. Angrenzende Gemeinden sind:

Die Gemeinde wird von der vom Département Manche betriebenen Buslinie Manéo Nr. 1 angefahren (Buslinie Saint-Lô-Carentan-Valognes-Cherbourg).

Das benachbarte Carentan wird von der Eisenbahnlinie Paris-Caen-Cherbourg angefahren.

Das regionale Naturschutzgebiet Marais de la Taute wurde 2011 als Schutzgebiet ausgewiesen. Es ist 147 ha groß und schützt Feuchtgebiet längs der Taute. Das Schutzgebiet umfasst Graignes, Montmartin-en-Graignes, Saint-André-de-Bohon und Saint-Hilaire-Petitville. Ein Lehrpfad wurde längs des Canal de Vire et Taute angelegt.

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John Wishart (statisticien)

John Wishart est un statisticien écossais né le 28 novembre 1898 à Montrose en Écosse et décédé le 14 juillet 1956 à Acapulco au Mexique.

Il est surtout célèbre pour avoir formulé la loi de Wishart, qui est une généralisation multidimensionnelle de la loi du χ² dry pak, ou, dans le cas où le nombre de degré de libertés n’est pas entier, de la loi gamma.

Il est né le 28 novembre 1898 à Montrose en Écosse mais sa famille déménage à Perth dès 1900.

Il suit ensuite des cours à l’université d’Édimbourg dont il sort diplômé en 1922 après avoir servi deux ans dans l’armée (1917-1919). En 1924, il rejoint l’University College de Londres pour travailler avec Karl Pearson et aide ce dernier à établir ses Tables of the Incomplete Beta Function. En 1927, il accepte un poste de «&nbsp lint ball remover machine;démonstrateur mathématique » à l’Imperial College of Science puis a l’opportunité en 1928 de devenir l’assistant de Ronald Aylmer Fisher à la station expérimentale de Rothamsted.

En 1931 phone belt holder, George Udny Yule le recrute comme lecteur en statistiques à l’université de Cambridge.

Pendant la guerre, il est d’abord engagé comme capitaine puis est employé comme statisticien au service de l’amirauté de 1942 à 1946.

Après la guerre pink stainless steel water bottle, il contribue à la création du laboratoire de statistiques de l’université de Cambridge dont il devient directeur en 1953.

Il a épousé Olive Birdsall en 1924 et ils ont eu deux enfants.

Ai confini della notte

Ai confini della notte (The Edge of Night, chiamata familiarmente EON) è una soap opera statunitense prodotta dalla Procter & Gamble e andata in onda sulla CBS dal 2 aprile 1956 al 28 novembre 1975 e sulla ABC dal 1º dicembre 1975 al 28 dicembre 1984. In Italia, la soap è arrivata su Rete 4 il 16 settembre 1985, che l’ha trasmessa ininterrottamente fino al 2 agosto 1986. Il 15 settembre 1986 la soap è approdata sulle tv locali, dove è stata programmata fino al 5 marzo 1988.

Ai confini della notte inizia il 2 aprile 1956, in concomitanza con Così gira il mondo e con quest’ultimo condivide il primato di prima soap composta di episodi della durata di 30 minuti (contro gli abituali 15 dell’epoca). Tutti e due i serial erano trasmessi dalla CBS e prodotti dalla Procter & Gamble.

La soap fu inizialmente concepita come una versione quotidiana delle avventure di Perry Mason, allora molto popolare in libreria e alla radio. Il creatore di Perry Mason, Erle Stanley Gardner, era stato incaricato di creare e scrivere lo show, ma un improvviso disaccordo con la CBS fece saltare tutto. La rete televisiva, infatti, pretendeva che Perry Mason avesse una relazione d’amore, idea non gradita a Gardner. Così, lo scrittore diede forfait e preferì scrivere le avventure di Perry Mason per una serie televisiva serale che andò in onda a partire dal 1957.

Scartata l’idea di usare Perry Mason come protagonista, la sceneggiatura fu comunque affidata proprio a uno degli autori del Perry Mason radiofonico stainless steel thermos, Irving Vendig. Così nacque Ai confini della notte. A differenza di Perry Mason, ambientato nella California del Sud, la soap fu ambientata in una località fittizia del Midwest (lo Stato non fu mai specificato), Monticello, cittadina che probabilmente ricalcava la città di Cincinnati, dove aveva sede la Procter & Gamble, il cui skyline fu usato come logo nella serie fino al 1980. Lo skyline di Cincinnati fu sostituito quindi con quello di Los Angeles e, negli ultimi anni, lo show perse – nel titolo originale – anche l’articolo “The”.

Ai confini della notte fu una soap abbastanza unica nel suo genere. Le storie principali erano infatti strettamente legate più al mondo del crimine ed alla lotta ad esso piuttosto che al romanticismo ed alla vita privata dei personaggi. Così venivano messe in scena quotidianamente le relazioni e i rapporti tra polizia, avvocati e medici di Monticello con gangster, spacciatori, ricattatori, spie internazionali, politici corrotti, psicopatici e assassini, senza però dimenticare argomenti tipici di una soap opera come il matrimonio, il divorzio e le battaglie per la custodia dei figli, amori osteggiati dalle famiglie, triangoli amorosi. La “particolarità” di questa soap fu riconosciuta nel 1980 quando, nel suo 25º anniversario, fu insignita di uno speciale Edgar Award da parte dell’associazione Mystery Writers of America. Da sottolineare, anche insulated water container, che i personaggi maschili di Ai confini della notte erano più forti e credibili dei personaggi maschili delle altre soap e che la sceneggiatura era sempre ben bilanciata tra humor e crimine, proprio per cercare di stemperare la tensione creata dalle misteriose storie che man mano si snodavano sullo schermo.

Infine, mentre le altre soap si concentravano sulle storie di famiglie allargate o di grandi ospedali con il rischio di dare una visione frammentata della vita di provincia, Ai confini della notte fu probabilmente l’unica soap opera a riuscire a fotografare le dinamiche globali di una cittadina come Monticello – testimone di lunghe amicizie, interminabili faide familiari, avvocati e poliziotti corrotti dalla mafia – tanto che può essere considerata un vero e proprio personaggio, come qualunque altro essere umano che sia passato nella serie.

Lo show è incentrato sul personaggio di Mike Karr, la cui figura subisce un’evoluzione durante tutta la soap. È dapprima poliziotto, poi – laureatosi in giurisprudenza – lavora nell’ufficio del Procuratore Distrettuale di Monticello, dove si fa le ossa come avvocato difensore per molti anni, fino poi a diventare lui stesso il Procuratore della città. All’inizio della soap l’uomo ha una relazione con Sara Lane, relazione basata sulla falsariga del rapporto tra Perry Mason e Della Street. Nel rapporto Karr-Lane però ha un grande peso la famiglia di Sara, in quanto implicata nel crimine organizzato (soprattutto a causa di suo fratello e di suo zio Harry). Nonostante ciò, i due si sposano ma la loro felicità è di breve durata: Sara viene investita e rimane uccisa nel tentativo di salvare la vita a sua figlia Laurie Ann, che sarà adolescente negli anni sessanta e giovane moglie e madre negli anni settanta.

Altri personaggi importanti della soap sono la seconda moglie di Mike, Nancy Pollock, giornalista e per questo di grande aiuto nella risoluzione di molti casi; il capo della Polizia, Bill Marceau, il migliore amico di Mike e con il quale ci sarà sempre un reciproco rispetto, cosa rara fra un avvocato difensore e un capo della Polizia (ma che qui è forse dovuto al fatto che Mike stesso è stato poliziotto); Martha, segretaria e poi moglie di Marceau; un altro avvocato, amico di Mike, Adam Drake; una sua cliente e poi sua moglie, Nicole Travis, famoso personaggio televisivo e infine la ricca Geraldine Whitney, protagonista di uno dei misteri più memorabili della storia della soap (cade “accidentalmente” dalla scale e rimane in coma per molti mesi).

Il personaggio di Nicole ha una storia molto interessante. È dapprima vittima di due donne che la vogliono vedere morta, poi si innamora e si sposa con Adam Drake, che presto scompare e viene creduto morto durante un incidente in mare. Ma l’uomo ricompare improvvisamente, anche se per poco (sarà ucciso durante uno dei momenti più sconvolgenti della soap). A questo punto, avviene un cambiamento all’interno dello show: l’attrice originale di Nicole viene sostituita e – caso unico per questo tipo di format televisivo – la sua sostituta risulterà evidentemente più giovane. Così, il personaggio verrà messo in relazione con il giovane dottor Miles Cavanaugh, fino a quando la donna verrà uccisa (la sua cipria per il viso sarà misteriosamente avvelenata).

Altra importante relazione è stata quella tra Nancy e la sua giovane sorella Cookie, dapprima sposata a Malcolm Thomas e in seguito a Ron Christopher, i cui traffici con vari usurai avrebbero influenzato i rapporti tra Mike e Louise e Philip Capice. Nelle puntate degli anni sessanta, la figlia dei Karr, Laurie Ann, oramai adolescente, diventa un personaggio chiave della soap. La sua relazione con Jonah Lockwood, un sociopatico, gli costa quasi la vita, e ben presto questi si rivela essere l’alter ego di Keith Whitney, rampollo della ricca famiglia Whitney, nemesi dei Karr e dei Marceau. Storie di un certo rilievo che hanno caratterizzato gli ultimi anni della soap sono un incidente ferroviario, durante il quale un prigioniero, Draper Scott, ingiustamente condannato per omicidio, riesce a fuggire alla maniera del Richard Kimble de Il fuggiasco e – a metà degli anni settanta – il cambio improvviso di personalità di Serena Faraday, cugina di Adam e già mentalmente instabile, dopo avere indossato una parrucca nera a ricci.

A differenza di tanti altri serial del genere che solitamente aumentano di audience nel corso degli anni, Ai confini della notte fu un successo istantaneo, raggiungendo subito circa 9 milioni di spettatori già nel primo anno di programmazione, in parte perché il pubblico percepì la soap come un Perry Mason quotidiano, così come volevano i produttori. Durante gli anni sessanta lo show continuò a prosperare, tanto da essere costantemente tra le prime 6 soap opera nella classifica Nielsen (seconda soap opera più seguita negli USA nelle stagioni 1966-67, 1969-70, 1970-71 e 1971-72).

Grazie alle trame legate al crimine, nonché al suo orario (16.30/15.30), il pubblico di Ai confini della notte era composto prevalentemente da uomini, cosa che distinse Ai confini della notte da tutte le altre soap opera, il cui pubblico destinatario e fruitore fino ad allora era sempre stato solo ed esclusivamente quello femminile.

Quando nella stagione televisiva 1972-73 lo show fu spostato alle 14.30/13.30, su volere della Procter & Gamble, esso perse la solida seconda posizione mantenuta fino a quel momento e scese inesorabilmente a metà classifica. La ragione di tale defaillance fu probabilmente dovuta al fatto che molti uomini erano impossibilitati a guardare la soap in quell’orario, teen-ager compresi.

Nel 1975, la CBS decise di allargare le puntate di una delle sue soap portandole a 60 minuti, in risposta al raddoppio della durata delle puntate di Destini e de Il tempo della nostra vita, deciso dalla NBC. La scelta cadde su Così gira il mondo, soap di punta della rete, nonché diretta rivale de Il tempo della nostra vita. L’espansione di Così gira il mondo aggravò ulteriormente la delicata situazione di Ai confini della notte, in quanto le varie stazioni affiliate alla CBS lungo tutta l’America non avevano intenzione di lasciare ulteriore spazio ai programmi nazionali. La CBS fu quindi costretta a cancellare un altro programma. La scelta cadde proprio su Ai confini della notte, che ormai risultava essere costantemente il programma pomeridiano meno seguito dal pubblico, tanto da essere battuto – talvolta – anche da un’altra soap poco seguita come The Doctors. Fortunatamente, la ABC – che aveva appena cancellato alcuni programmi pomeridiani – aveva uno spazio libero da dedicare ad un’altra soap. Fu così che nel dicembre del 1975 Ai confini della notte fu spostata sulla ABC.

Nonostante la soap non riuscì mai a recuperare gli spettatori persi nel corso degli anni, essa fu in grado, agli inizi degli anni ottanta, di risalire la china ed a stabilizzarsi all’undicesima posizione della classifica Nielsen. Ben presto, però, molte tv affiliate alla ABC cominciarono a sostituire la soap con programmi locali o in syndication con la conseguente perdita di solidità numerica (in spettatori e nel gradimento) da parte del serial. La Procter & Gamble cercò in tutti i modi di tenere in vita lo show, anche sostituendo il capo-sceneggiatore Henry Slesar con Lee Sheldon, il quale provò a dare nuova linfa alle trame della soap ma inutilmente.

Alla fine del 1984, Ai confini della notte copriva solo il 62% del territorio nazionale e da lì a poco la percentuale sarebbe scesa ulteriormente, dato che altre stazioni televisive affiliate al colosso nazionale avevano deciso di cancellare la soap dalla loro programmazione. A quel punto, nonostante la buona volontà della ABC nel riservare un nuovo orario allo show, la Procter & Gamble si vide costretta a interrompere la produzione della soap, che si concluse il 28 dicembre 1984 con la puntata numero 7420.

Altri progetti

Lercoul

Lercoul – miejscowość i gmina we Francji trail running hydration vest, w regionie Oksytania, w departamencie Ariège running belt for gels.

Według danych na rok 2010 gminę zamieszkiwały 23 osoby beef tenderizing marinade, a gęstość zaludnienia wynosiła 1 osób/km².

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Austenland (film)

Austenland is a 2013 British-American romantic comedy film directed by Jerusha Hess. Based on Shannon Hale’s 2007 novel of the same name and produced by author Stephenie Meyer, it stars Keri Russell as a single thirty-something obsessed with Jane Austen’s 1813 novel Pride and Prejudice, who travels to a British resort called Austenland, in which the Austen era is recreated. JJ Feild, Jane Seymour, Bret McKenzie, and Jennifer Coolidge co-star best running water bottles.

Jane Hayes, a single 30-something who has always harbored a not-so-secret love of all things Austen, blows her life savings on a stay at Austenland, an immersive Jane Austen-themed resort.

Jane Hayes (Russell) is a single 30-something American woman obsessed with Jane Austen, especially Colin Firth’s portrayal of Mr. Darcy in the 1995 BBC version of Pride and Prejudice who wishes for a nice Englishman of her own. After yet another failed relationship, Jane decides to blow her entire savings on a once-in-a-lifetime trip to a Jane Austen–themed resort in England.

The resort seems like the perfect escape from 21st-century life. The guests at Austenland, which is run by the prickly Mrs. Wattlesbrook (Seymour), are assigned pseudonyms, dress in period costume, and conduct themselves like ladies of the Regency era. They live without modern conveniences (though the plumbing is modern). Activities offered at the resort include needlepoint, riding, reading, shooting, and entertaining the other guests through musical performances or theatrics. At the conclusion of each guest’s stay, a ball is held … romance guaranteed! The highlight of the resort is the score of attractive young gentlemen actors who attend to the female guests–though no touching is allowed.

Upon her arrival, Jane realizes that, while she could only afford the cheapest “copper” package, the other guests—including Ms best hydration vest. “Elizabeth Charming” (Coolidge), an absurd and extremely wealthy American woman who has never read any of Jane Austen’s books—have all purchased the most expensive “platinum” option. Although she quickly befriends Martin, the resort’s chauffeur, Jane is treated with disrespect and disdain by Mrs. Wattlesbrook, who prefers the resort’s wealthier guests despite their ridiculousness. While the other guests are given a wide choice of elaborate costumes and shown to luxurious rooms, Jane is given a plain dress and a sparsely-decorated chamber in the “creepy tower” of the servants’ quarters.

At dinner on their first night, Jane and Elizabeth are introduced to the gentlemen of the house: Colonel Andrews (Callis), a silly and obsequious character who seems to love his job, and Mr. Henry Nobley (Feild), Mrs. Wattlesbrook’s sternly handsome—albeit unenthusiastic—nephew. They are also introduced to another platinum level, long-term guest, who has been given the name Lady Amelia Hartwright (King). Amelia and Elizabeth flirt openly with Nobley throughout dinner, while Jane finds him rather disagreeable. Their argument mirrors the one had by Elizabeth Bennet and Mr. Darcy upon their first meeting in Pride and Prejudice. Ultimately, Jane is humiliated by Mrs. Wattlesbrook and leaves the table.

Throughout her experience at Austenland, Jane becomes somewhat disenchanted with the Regency era. She is self-conscious of her costume and treatment, bored without technology, and her modern independence is often at odds with expected behavior. The silliness of the guests and actors also acts as a mirror to her own formerly-obsessive behavior.

Jane again feels left out the following morning during a walk around the grounds. After leaving the group to seek solace with a book in the stables, she is discovered by Martin (McKenzie). Martin flirts with her, but the two are interrupted by Elizabeth, Nobley, and Colonel Andrews, who arrive with news of an upcoming hunt. Martin’s attentions to Jane during the pheasant shooting incites Nobley’s jealousy; Jane’s surprising skill in turn incites Amelia’s. When Jane is forced to walk back to the house in the rain, she is rescued by Nobley. That evening, Jane becomes bored of the group’s card games and leaves the house for a walk around the grounds. She runs into Martin; after flirting and witnessing the birth of a foal in the stables, they kiss. The following afternoon, Jane convinces Martin to break the rules: they take a rowboat out on the canal and spend the afternoon together.

The following day, the party is disrupted by the sudden arrival of another actor, the handsome and flashy Captain East. Everyone except Nobley is impressed by the Captain, who in turn seems taken with Jane. Martin witnesses the Captain making a pass at Jane from a distance. When Jane comes to visit him in the stables, he rebuffs her for “parading around” with the actors. When she asks if he is breaking up with her, he replies that they were never “going steady.” Jane is left alone, angry and confused.

The next day finds the actors and staff relaxing by the staff swimming pool, where Nobley’s dislike of the self-absorbed George (“Captain East”) is evident. Martin nonchalantly asks the other men’s opinion of “that girl Jane,” indicating that he likes her despite their argument.

Later that day, in the retiring room, Mrs. Wattlesbrook demands that Jane play the piano for the group. Frustrated by Mrs. Wattlesbrook’s behavior, Jane defiantly chooses to play and sing the only song she knows — “Hot in Herre”—before leaving the room. On her way to find Martin in the stables, Jane is stopped by Nobley, who knows about her dalliance with Martin and who insists upon the impropriety of a lady being alone at night, “let alone cavorting with the servants.” His attitude frustrates Jane and leads to an argument. Back at the house, Jane is accosted by a drunken Mr. Wattlesbrook best water packs for running. She fights off his attempted assault, which draws the attention of Nobley and Captain Andrews.

Frustrated, Jane decides to take her “story” into her own hands and make her trip a growing experience. She asks Elizabeth for help and the two of them steal some of Amelia’s extensive wardrobe of costumes. Jane wows the group with her charm and new-found boldness, but her stay at Austenland is threatened when Mrs. Wattlesbrook discovers her cell phone, which Jane had smuggled into her room at the start of her stay. Just when Mrs. Wattlesbrook is ready to evict Jane, Amelia surprises everyone and steps in to save her. In exchange, Amelia blackmails Jane into creating situations in which she and Captain East can be alone together.

Jane pairs with Nobley for the final play to allow Amelia time with Captain East. During rehearsals Jane and Nobley discover their mutual honest affection for the Austen era, for which Jane now has a healthier level of appreciation. The pair genuinely enjoy working with each other during the disastrous play (during which Elizabeth accidentally injures Amelia’s eye), after the conclusion of which, Jane and Nobley sneak off to Jane’s room, where Nobley confesses that he feels something for her and requests a dance during the final ball.

At the ball, Nobley draws Jane to a private balcony where he confesses his love for her. Disillusioned with “the game” after watching the other actors fulfill their guests’ fantasies with elaborate (fake) proclamations of love and proposals of marriage during the ball, Jane decides she would rather have something “real” over the perfect Darcy fantasy with which she’s finally been presented and leaves Nobley to spend the rest of the evening with Martin.

As their Austen experience has come to a close, Elizabeth decides to extend her trip to make sure the next batch of ladies knows Colonel Andrews is now hers. Jane is reluctant to tell her that Andrews is a gay actor, and not actually in love with Elizabeth. Jane and Amelia leave the house together. Upon departing, Jane is amazed to discover that Amelia is, in fact, an American, who visits Austenland yearly to distract herself from her marriage to a wealthy old man, and that Nobley is the one who had asked Amelia to pretend Jane’s phone was hers to prevent Jane being sent away. As Jane leaves, Mrs. Wattlesbrook informs Jane that Nobley was not “assigned” to her—Martin was. Martin was actually an actor, meaning that his romance with Jane was fully scripted. Angry at being duped and suspecting that she is not the first guest to be assaulted by Mr. Wattlesbrook, Jane threatens to sue Mrs. Wattlesbrook and shut down Austenland.

Martin is sent to the airport on Mrs. Wattlesbrook’s orders in an attempt to smooth things over. As Jane dismisses Martin’s scripted claims of love, Nobley appears and pleads with Jane to believe that his own affections for her were genuine, but she doesn’t believe him either. When the two start fighting in the middle of the airport, Jane dismisses them both, triumphantly declaring herself to be “over it all.” When Nobley tries once more to express his feelings, Jane thanks him for being “perfect” and leaves in good spirits.

Back home, Jane clears out the remains of her Darcy collection (including photos, stuffed animals, and life-sized cardboard cutouts).

Nobley shocks Jane by appearing at the front door of her apartment, having traveled all the way across the Atlantic to return her sketchpad and profess his feelings once more. Jane, dubious of his intentions, tells him he needn’t have come all that way—she wasn’t going to press charges against his aunt. He explains that his name truly is Henry Nobley, that he is a history professor, and that he only agreed to work for his aunt as a favor to her so he could experience the Austen era, a time when love and life were simple. Jane finally believes him and they kiss.

In the post-credits scene, it is revealed that Elizabeth has bought Austenland and turned it into a theme park. Jane and Nobley are among the guests, obviously very much in love. Mr. Wattlesbrook now works as a garbage picker, Captain East does a strip show of which Amelia is a keen fan, and Elizabeth is living the dream, surrounded by handsome footmen, as well as keeping Colonel Andrews as her co-host/companion. Martin is seen attempting to pick up women as he drives a buggy around the grounds, but they all snub him.

Austenland was filmed in the summer of 2012 at West Wycombe Park in Buckinghamshire.

The film premiered at the 2013 Sundance Film Festival on January 18, 2013, and its distribution rights were bought by Sony Pictures Worldwide Acquisitions soon thereafter for $4 million.

It was theatrically released in four theaters in the United States on August 16, 2013. On the weekend of August 30, it went into wider release, showing in 52 theaters.

On review aggregator Rotten Tomatoes the film currently has a 30% approval rating from critics based on 106 reviews and the sites consensus reads “Despite an intriguing premise and fine performances from a talented cast, austenland succumbs to outworn romcom cliches and slapstick gags”.

Diogène d’Apollonie

Diogène d’Apollonie, philosophe grec présocratique du Ve siècle av. J.-C., éclectique, actif vers -450.

Diogène d’Apollonie, fils d’Apollothémis, est né à Apollonie du Pont, colonie de Milet sur le Pont-Euxin. Il aurait été l’élève d’Anaximène et le contemporain d’Anaxagore. Il considérait les philosophes de la nature comme des sophistes. On le considérait parfois comme un athée.

Il semble que sa pensée soit particulièrement influencée par Anaxagore et par Leucippe (atomisme). Diogène d’Apollonie est le philosophe qui pose une méthode du fondement : « Au commencement de tout propos, il faut, me semble-t-il, fonder le principe d’une manière absolument certaine ». Théophraste a reproché à Diogène d’Apollonie des points de vue irréconciliables : si toutes choses ne dérivaient pas d’un principe unique, il n’y aurait ni agir, ni pâtir.

Il reprend la proposition ionienne : « Rien ne naît du non-être ni ne périt en non-être. » Pour Diogène d’Apollonie, il y a donc un principe éternel. L’air est pour lui, comme pour Anaximène, l’élément premier unique, illimité et éternel ; par sa raréfaction et sa condensation, il engendre des mondes en nombre illimité, et les différentes formes des choses. Le vide est lui aussi illimité. Le monde est corruptible bpa free glasses, et il en naît une infinité au cours de chaque révolution.

« Alors que le tout est en mouvement, une partie du tout se raréfie tandis qu’une autre se condense. À l’endroit où le dense se rassemble, il produit la Terre par condensation, et c’est de la même manière que se trouvent produites les autres choses ; au contraire, les parties les plus légères, en se disposant en haut, donnent naissance au Soleil. »

L’air illimité est ainsi la matière à partir de laquelle tout se forme, mais il « contient une raison divine sans laquelle rien ne pourrait procéder de lui. »

La Terre est ronde, au centre, supportée par l’air. Le Soleil est une sorte de pierre ponce.

Le principe étant l’air, l’âme c’est l’air, principe rationnel, mobile et incorruptible:

D’après Théophraste, au IIIe siècle av. J.-C. water bottle with straw, Diogène dit que les semences naissent lorsque l’eau se décompose et s’amalgame avec la terre. Diogène d’Apollonie fait la première description détaillée et précise du système veineux ; à son époque, il n’y a pas encore distinction entre système veineux et artériel ; il en est de même chez Empédocle avant lui et chez Platon après lui. La pensée de Diogène d’Apollonie se devine dans divers traités du Corpus hippocratique, dont De la maladie sacrée, La nature de l’enfant.

Il chercha à expliquer le tonnerre (chute du feu sur un nuage), les crues du Nil (le Soleil aspire l’eau de la mer qui retombe dans le fleuve), et les cycles de la pluie.

Diogène Laërce nous a conservé le début de son traité De la nature. Les fragments qui restent de lui ont été publiés à Leipzig en 1830 par Panzerbutter.

Il a écrit de nombreuses œuvres:

Don’t Think They Know

Don’t Think They Know è una canzone del cantante statunitense Chris Brown, pubblicata il 17 giugno 2013 ed estratta come secondo singolo dal suo sesto album X. Nel brano, prodotto da Moe Faisal e Mel & Mus, è stata introdotta una traccia vocale della cantante statunitense Aaliyah, morta nel 2001. La canzone ha raggiunto la posizione 81 nella Billboard Hot 100.

In origine, Don’t Think They Know era un duetto di Aaliyah e Digital Black (membro del gruppo hip hop Playa), registrato nel 2001 e pubblicato nel 2005 nell’album Memoirs of a R&B Thug di Digital Black. La versione del 2013, che vede Chris Brown come cantante principale, presenta la traccia vocale di Aliyah di cui alcune parti sono quelle della canzone con Digital Black,

Il video musicale prodotto per il singolo, è stato girato a Los Angeles (California) e pubblicato il 17 giugno 2013. Nel video appare l’ologramma di Aaliyah, tratto da alcune scene di due video musicali della cantante: Try Again e If Your Girl Only Knew.

I temi trattati sono la violenza e le guerra tra gang

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. Anche se il video è stato registrato con il filtro grigio, alcuni oggetti sono colorati in rosso o in blu touchless toothpaste dispenser; colori che probabilmente rappresentano i Bloods e i Crips, gang americane fondate a Los Angeles reusable drink bottles.

Nelle scene finali del video vengono commemorati il rapper statunitense Michael “Lil Frogg” Reshard, morto nel 2013 dopo una sparatoria e la cantante statunitense Aaliyah con la frase: Dear Aaliyah, we love and miss you. Thank you for inspiring us all (Cara Aaliyah, ti vogliamo bene e ci manchi high quality water bottles. Grazie per aver ispirato noi tutti).