Arque

Arque ist eine Ortschaft im Departamento Cochabamba im südamerikanischen Anden-Staat Bolivien.

Arque ist Sitz der Verwaltung der Provinz Arque und zentraler Ort des Landkreises (bolivianisch: Municipio) Arque. Die Ortschaft liegt auf einer Höhe von 2742 m im Tal des Río Arque, einem der Oberläufe des bolivianischen Río Grande, in der bolivianischen Cordillera Central nike footaball Strumpf und Kappe Auslass.
Arque liegt in einem der nördlichen Ausläufer der bolivianischen Cordillera Central. Das Klima ist semi-arid und ein typisches Tageszeitenklima, bei dem die mittleren Temperaturunterschiede zwischen Tag und Nacht deutlicher ausfallen als zwischen den Jahreszeiten.
Arque weist einen durchschnittlichen Jahresniederschlag von 600 mm und einer Jahresdurchschnittstemperatur von 11 °C auf 2016 fußball trikots online. Die Trockenzeit dauert von Mai bis September und weist niedrigere Temperaturen auf, ist aber frostfrei. Die Regenzeit dauert von Dezember bis Februar und ist wärmer als der Jahresdurchschnitt (siehe Klimadiagramm Arque).
Die Einwohnerzahl der Ortschaft war in den vergangenen beiden Jahrzehnten deutlichen Schwankungen unterworfen:
Durch Arque verläuft eine wichtige Verbindungsstraße zwischen den beiden Großstädten Oruro und Cochabamba, parallel zu der weiter nördlich verlaufenden Fernstraße Ruta 4. Sie verbindet die Provinzhauptstädte Bolívar Wellensteyn Sale 2016, Arque und Capinota und folgt zwischen Arque und Capinota dem Flusslauf des Río Arque ted baker deutschland.

Mebon occidentale

Il Mebon occidentale (in lingua khmer:ប្រាសាទមេបុណ្យខាងលិច) è un tempio situato ad Angkor, in Cambogia. Si trova su un isolotto artificiale al centro del baray occidentale e si ritiene sia stato costruito durante il regno di Suryavarman I o del suo successore Udayadityavarman II.

In origine il tempio comprendeva una piscina quadrata di circa 100 metri di lato attorniata da una recinzione con tre ingressi per lato, di cui sopravvivono in buone condizioni solo quelli orientali. Al centro svettava una piattaforma in arenaria di circa 9 m di lato, collegata all’ingresso centrale del lato est da una strada rialzata in laterite e arenaria. Gli ornamenti delle torri di ingresso, sormontate da un loto a otto petali, sono bassorilievi di animali entro piccole cornici quadrati caratteristici anche del Baphuon. In alcuni periodi dell’anno il tempio può essere raggiunto anche a piedi

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, in quanto il baray è quasi secco.
Il tempio venne ricostruito parzialmente per anastilosi nel 1941-42 dal soprintendente di Angkor Maurice Glaize. Glaize nel 1936 vi ritrovò anche i frammenti di una grande statua di Vishnu seguendo le indicazioni di un contadino

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, che disse di averne sognato il ritrovamento. Si ritiene possa trattarsi di quello che Zhou Daguan descrisse come un grande Buddha di bronzo nelle sue cronache, che in origine doveva essere lungo 6 metri. Parte della statua oggi chiamata “il Viśnu adagiato”, che comprende viso e porzione superiore del corpo, è esposta al Museo nazionale di Cambogia.
Altri progetti
Coordinate: 13°26′04.69″N 103°48′00.4″E / 13

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Afterbirth (American Horror Story)

“Afterbirth” is the twelfth episode of the first season of the television series American Horror Story and the season finale, which premiered on FX on December 21, 2011. The episode was written by Jessica Sharzer and directed by Bradley Buecker. Due to a very aggressive production schedule it was previously announced that the show’s first season would be cut short. This was the last episode to feature the Harmons

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. Murphy announced that a new cast will return for the second season.
In the aftermath of family tragedy, Ben (Dylan McDermott) tries to take his child out of the Murder House. Meanwhile, Violet (Taissa Farmiga) and Vivien (Connie Britton) accustom themselves to their new living arrangements, Constance (Jessica Lange) raises Tate’s child as her own and a new family buys the house. Kate Mara and Charles S. Dutton guest star as Hayden McClaine and Detective Granger Karen Millen Outlet.
The episode was well received by the majority of television critics and viewership and ratings for the episode reached a season high with 3 karen millen christmas.22 million. It garnered a 1.7 rating in the 18–49 demographic, according to Nielsen Media Research. This episode is rated TV-MA (LSV).

In Boston, after Vivien (Connie Britton) catches Ben (Dylan McDermott) cheating on her, he begs for her forgiveness, and says he would do anything to save their marriage. This includes getting out of Boston and relocating to a different city. He shows her pictures of a great house in an older district of Los Angeles, claiming Vivien loves old houses. He tells her the price of the house is strangely lower than those around it, and that it would be a great place for the family to start over.
Days after Vivien’s death, Ben attempts to find Violet (Taissa Farmiga) in the house. He goes to see Constance (Jessica Lange), who has been taking care of the baby since Vivien’s death. He discovers that she is Tate’s mother, argues with her, and threatens her before leaving with the child. Back at the house, Moira (Frances Conroy) reminds Vivien that she can show herself to Ben at will, allowing Vivien to ease his sadness, but Vivien notes she’d rather not give Ben reason to stay.
Ben starts drinking and plans to commit suicide, but Vivien appears to stop him. He then reconciles with Vivien and Violet’s ghosts, who encourage him to take the child and start a new life away from the house. Before he can leave, Hayden (Kate Mara), with the help of Dallas and Fiona, hangs him from a chandelier, killing him and making it appear like a suicide. Hayden takes the baby, but Constance reclaims the baby with Travis’ (Michael Graziadei) assistance. Later, she tells the police that she found Ben after he hanged himself and that Violet must have run off with the baby.
Moira explains that while some ghosts in the house only wish for the living to suffer the same fates they did, other ghosts are innocent and do not wish to see any more bloodshed. The Harmons realize the house is a danger to those living in it and resolve to protect future residents by scaring them away. Both of Moira’s ghostly forms (Conroy and Alexandra Breckenridge) and other ghosts, including nurse Gladys (Celia Finkelstein)

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, Beau (Sam Kinsey), the exterminator (W. Earl Brown), and the Black Dahlia (Mena Suvari), join the Harmons to protect the Ramoses, a new family that moved in, against malicious ghosts.
Meanwhile, Tate, still in love with Violet, is concerned that she is lonely. He attempts to kill Gabriel (Brennan Mejia), thinking he might be a better boyfriend for Violet, but she stops Tate, and gives him a goodbye kiss, allowing the boy to escape. Gabriel and his family flee the home, while the Harmons happily watch them drive off.
Tate seeks counsel from Ben, who wants nothing to do with him. Tate finally takes responsibility for his actions and apologizes, before asking for Ben’s friendship,
In the basement, Vivien discovers that the other twin had actually lived for a brief moment before dying, and its ghost is being taken care of by Nora (Lily Rabe), who finds that she does not have the constitution to be a caring mother and returns the baby to Vivien. Vivien asks Moira to join their family as the baby’s godmother, which she happily accepts. Together, as one happy family, they all celebrate Christmas by decorating a tree in the abandoned house with various ornaments found in the attic. Watching from outside, Hayden tells Tate that Violet will never forgive him for what he did and that he should get over her, but he resolves to wait for her “forever”.
Constance returns home from the hairdresser to find that her grandson Michael has killed his nanny. She smiles and remarks, “Now what am I going to do with you?” as Michael gleefully smiles back, while swinging back and forth in his rocking chair.
What you saw in the finale was the end of the Harmon house. The second season of the show will be a brand-new home or building to haunt. Just like this year, every season of this show will have a beginning, middle and end. [The second season] won’t be in L.A. It will obviously be in America, but in a completely different locale.”
The episode was written by consulting producer Jessica Sharzer and directed by Bradley Buecker. Due to a “very aggressive” production schedule and the series’ pilot shoot having to wait for co-creators Ryan Murphy and Brad Falchuk’s other show, Glee, to wrap its second season production, it was announced that the show’s first season finale would be thirty minutes shorter than planned. An option was given to Murphy by the network to drop the thirteenth episode altogether and air an hour-long finale, but Murphy came up with a plan for a ninety-minute episode.
After the episode aired, Murphy spoke of his plans to change the cast and location for the second season. He did say, however, that some actors who starred in the first season would be returning. “The people that are coming back will be playing completely different characters, creatures, monsters, etc. [The Harmons] stories are done. People who are coming back will be playing entirely new characters,” he announced.
In an interview with Entertainment Weekly, Murphy commented on the structure of the series’ first season. “I loved how it began. I loved it in the middle and I loved the end. The only thing really frustrating for me, to be honest with you, is that sometimes people would write this idea that we were making it up as we went along and I wanted to say, ‘Really?’ But I think now people are writing and saying, ‘Oh yeah!’ I’m excited for people to see it on DVD, because now that they know how it ended, [they can] go back and see all of the little things, like people who have no reflections in mirrors. When you go back, you will see everything was set up.” When asked if the House “pulled” the Harmons to it, Murphy responded: “I don’t know if they were targeted. I don’t think the Internet site had any supernatural pull to it…although that would have been hilarious. I thought it was two things: it was house porn because I think that house really is extraordinary. And also I think there’s always that allure in American lives of the fresh start, moving West, starting fresh.”
In its original American broadcast, “Afterbirth” was seen by an estimated 3.22 million household viewers and earned a 1.7 rating share among adults aged 18–49, according to Nielsen Media Research, its highest numbers of the season. The first season tied with the TNT series Falling Skies as the biggest new cable series of the year among adults 18-49.
James Queally from The Star-Ledger commented about the season and its finale: “After a wildly uneven first nine episodes… and two red-hot episodes leading up to the finale… “Afterbirth” starts out flying high at the way too fast pace that has made American Horror Story an enjoyable ride these past two weeks. But somewhere in the final 30 minutes of this episode, “Afterbirth” turns into a wandering epilogue.” Todd VanDerWerff of The A.V. Club stated: “Part of the fun of those early episodes – even when I really didn’t like them – was that you never quite had a good sense of what the hell kind of show you were watching. The finale sticks us into what seems to be a pretty basic setup for season two.” Tim Stack of Entertainment Weekly called “Afterbirth” “an exhilarating shocker.” Matt Fowler at IGN gave the episode a score eight out of ten, signifying a “great” rating. He stated: “”Afterbirth” was a very odd finale and I’m pretty sure that it was nothing like most of us thought it would be.”
The Horror Writers Association gave “Afterbirth” the 2011 Bram Stoker Award for Superior Achievement in a Screenplay.

Mercedes-Benz W142

The Mercedes-Benz W 142 was a six-cylinder passenger car launched in February 1937, as a successor to the Mercedes-Benz Typ 290 (Mercedes-Benz W 18). The car was launched using the name Mercedes-Benz Typ 320, but is in retrospect commonly referred to using its Mercedes-Benz works number, “W142” which gives a more unambiguously unique nomenclature.

The standard-wheelbase version of the W142 shared its 2,880 mm (113 in) wheelbase with the standard lengthened versions of its predecessor, but a more streamlined form with longer overhangs meant that even in this form the W142 was substantially longer and indeed wider than the earlier car. The front grill was gently raked backwards, and there was no longer a bar in front of it to carry lights, all of which gave the car a more sporting look than the model it replaced.
Power came from a newly enlarged straight six 3,208 cc side-valve engine with a listed maximum output of 78 PS (57 kW; 77 hp) at 4,000 rpm, supporting a claimed top speed of 130 km/h (81 mph). This was delivered to the rear wheels via a four-speed manual transmission which 2016 maje clothing, unusually in the 1930s, incorporated synchromesh on all four ratios. The footbrake used a hydraulic control mechanism and operated on all four wheels. The suspension set-up was carried over from the W18 with a swing axle at the rear and the front axle suspended with a central transverse leaf spring and coil springs beside the wheels.
Customers wishing to make their own arrangements in respect of bodywork could buy a standard-wheelbase W142 in base chassis form at the manufacturer’s listed price of 6,500 Marks. Otherwise the choice of standard bodies was restricted to a three-seat cabriolet (known as the “Cabriolet A”) or a coupé-bodied equivalent with a removable roof, priced respectively at 11

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Longer-bodied cars came with an extra 420 mm (17 in) of wheelbase, and Mercedes-Benz offered a choice from a wide range of standard body options for the longer cars.
Customers happy to make their own arrangements in respect of bodywork could buy a longer-wheelbase W142 in base chassis form at the manufacturer’s listed price of 6,800 Marks, or 300 Marks more than the price of the shorter chassis. The entry level model with a Mercedes-Benz body included in the price was the four-door ”Limousine” (sedan/saloon) at 8,950 Marks. There were no fewer than four cabriolet-bodied versions of the longer-wheelbase car offered, being a two-door 2/3-seater (“Cabriolet A”), a two-door 4-seater with four side-windows (“Cabriolet B”), a four-door 4-seater (“Cabriolet D”) and a very substantial-looking four-door 6-seater with three rows of seats (“Pullman-Cabriolet F”). Other soft-topped standard-bodied versions were a Torpedo-bodied 6-seater “Tourenwagen” and a sporty 2-seater Roadster. There was also a six-seater “Pullman-Limousine” with three rows of seats and six side windows under a conventional steel roof. The rear seat of the Pullman-bodied cars was above the back axle, and an extra luggage locker at the back left the overall length of the Pullman-Limousine at 5,250 mm (207 in), still using the 3,300 mm (130 in) wheelbase. The highest listed price for a Mercedes-Benz-bodied W142 was 14,500 Marks for a “Stromlinien-Limousine” featuring a strikingly modern exceptionally streamlined steel body.
The short-wheelbase version of the car was also the basis for a “Wehrmachtskübelwagen” (military vehicle), one of several such vehicles which may have provided inspiration for the subsequent (1941) Jeep. The W142 “Kübelwagen” retained the frontal style of the car on which it was based

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, but with a horizontal bar ahead of the front grill on which to mount lights. It had four front-hinged doors, a canvas top and wide-tread tyres for rough terrain. In this form the vehicle came with a listed top speed of 118 km/h (73 mph).
In 1938 the manufacturer increased the cylinder bore to 85 mm (3.3 in) Green Cup toothpaste dispenser, thereby increasing the engine capacity to 3,405 cc. Nevertheless, the cars retained the “Typ 320” designation. There was also no change in the power output, still listed at 78 PS (57 kW; 77 hp) at 4,000 rpm, and there were no claims of improved performance. Instead the compression ratio was lowered in anticipation of future shortages enforcing the use of fuel synthesized from coal which was expected to have a lower octane rating than the “normal” fuel used at the time. The larger-engined car also came with an overdrive ratio (1 : 0.73) added to the hitherto four-speed gear box which the car had featured since launch.
In 1939 the larger engine also found its way into the W142/III Kübelwagen, this time accompanied by a small increase in maximum output to 80 PS (59 kW; 79 hp) and an accompanying reassurance that the top speed was undiminished.
Between 1937 and 1942 Mercedes-Benz produced 4,326 of the 3,208 cc cars and 885 of the 3,405 cc cars.
Production of a further 1,806 W142 based military Kübelwagen between 1938 and 1940 is also recorded.
This entry incorporates information from the equivalent German Wikipedia entry.

Smithereens (film)

Smithereens is a 1982 film directed by Susan Seidelman and starring Susan Berman, Brad Rinn, and punk rock icon Richard Hell. The film follows a narcissistic young woman from New Jersey who comes to New York City to join the punk subculture, only to find that it’s gravitated towards Los Angeles; in order to pay her way across country, she engages in a number of parasitic relationships, shifting her allegiances to new “friends” in an ongoing effort to ultimately endear herself to someone who will finance her desired lifestyle.
Smithereens marked the debut of Oscar-nominated screenwriter Ron Nyswaner (Philadelphia) and features a score by The Feelies. It was the first American independent film invited to compete for the Palme d’Or at the 1982 Cannes Film Festival.

Smithereens is the story of Wren (Susan Berman), an independent spirit from New Jersey promoting herself into the New York punk scene. She meets Paul (Brad Rijn), who ran away from Montana and lives out of his van in a parking lot. Paul seems to offer genuine friendship, however, Wren is only interested in forming meaningless relationships in hopes of bolstering her nonexistent career. She has no musical talents or industry skills, yet she aggressively pursues a pathetic spot for herself in places like the Peppermint Lounge. She drops Paul for Eric (Richard Hell, who also performs on the musical score), who has a record deal, and they work out a plan to escape to California, which requires Wren to pose as a prostitute in order to scam money from a prospective john. Things don’t work out, and Wren finds herself hitting one wall after another, eventually getting kicked out of her apartment. With no place to go Billige Nike Fotball Jerseys online 2016, Wren seeks out everyone she knows in the city, only to find herself left alone rabatt Puma fotballsko cleats utløp 2016.
This film was one of the first American independent films to be selected for the Cannes Film Festival. Lead actress Susan Berman had no prior experience acting in a film. She was picked out of a theater crowd of an off-Broadway play by director Susan Seidelman to be in this film. In the words of Berman, “The only ones in the crowd were friends of the actors, or someone who knew someone who was involved. After the performance, these two people walked up to me and offered me a role in a feature length movie.” For preparation Billige Nike Fotball Jerseys online 2016, director Susan Seidelman told her actress Susan Berman to see the Federico Fellini film Nights of Cabiria before beginning to research her role. Seidelman used friends from her days as a student at NYU as a crew.
Janet Maslin of The New York Times said of the film, “Smithereens gets off to a fast start, thanks to Susan Berman’s feisty performance and the vitality with which her story is told.” and “Although willful inactivity seems a crucial part of the characters’ way of life, it’s carried too far; everyone here stays put a little longer than is believable, particularly Paul, who remains parked by the highway for what feels like weeks, with nothing to do but wait for Wren to appear 2016 Adidas fotball utstyr online.”
Dave Kehr of the Chicago Reader said, “Wren, in her self-delusion, manipulativeness, and superficiality, easily ranks as one of the most obnoxious characters in film history, and she exerts a strange fascination. Yet Seidelman doesn’t offer a very interesting perspective on her: her dislike of her character is so evident and uninflected that you soon start to wonder why she wanted to make the film at all.”

Schwungrad-Speicherkraftwerk

Ein Schwungrad-Speicherkraftwerk benutzt zur Energiespeicherung ein Schwungrad und kann als vergleichsweise kleines Speicherkraftwerk mit Spitzenleistungen von bis zu 20 MW bis zu einem gewissen Grad Stromnetze in der Netzfrequenz stabilisieren und als kurzfristiger Ausgleichsspeicher dienen. Im Gegensatz zu üblichen Speicherkraftwerken, wie den Pumpspeicherkraftwerken mit Leistungen bis über 1000 MW, bewegen sich die Leistungen von Schwungrad-Speicherkraftwerken im Bereich von einigen kW bis zu einigen 10 MW. Sie sind in diesem Anwendungsbereich mit Batterie-Speicherkraftwerken vergleichbar.
Mögliches Einsatzgebiet sind Orte, an denen elektrische Energie gespeichert und wieder abgegeben werden muss, um beispielsweise Schwankungen im Sekundenbereich bei Windkraft- und Solaranlagen auszugleichen. Diese Speicheranlagen bestehen aus einzelnen Schwungradspeichern in modularen Aufbau. Pro Schwungrad können Spitzenleistungen um die 150 kW aufgenommen oder abgegeben werden. Durch Kombinationen von mehreren solcher Schwungradspeicher, welche einzeln in im Erdreich vergrabenen Vakuumtanks untergebracht sind, können so Gesamtleistungen bis zu einigen 10 MW erzielt werden. Die elektrische Anbindung der mit Niederspannung betriebenen Motoren erfolgt über einen Gleichstromzwischenkreis und die Stromrichteranlagen sind vergleichbar mit Anlagen wie sie auch bei der Hochspannungs-Gleichstrom-Übertragungen Anwendung finden.
Manchmal werden Batterie-Speicherkraftwerke zusammen mit Schwungrad-Speicherkraftwerken gebaut, um die Akkus zu schonen Discount Puma Fußballschuhe mit hoher Qualität. Schwungräder können schnelle Schwankungen besser verarbeiten.

In Fahrzeugen werden kleine Speicherkraftwerke aus Schwungrädern als Zusatzmodul zu Akkus eingesetzt, um die Bremsenergie durch Rekuperation zu speichern. Es können so sehr große elektrische Ströme kurzfristig gespeichert und dann in der Beschleunigungsphase eines Fahrzeuges wieder abgegeben werden. Dies schont die Akkus.
Insbesondere bei Straßenbahnen kommen Speicherkraftwerke aus Schwungrädern zum Einsatz. Beim Bremsen werden hohe Energiespitzen frei, die sich nicht immer ins Stromnetz zurück speisen lassen wegen Überlastungsgefahr. Die Schwungradspeicherkraftwerke stehen in Containern am Schienenrand und nehmen die überschüssige elektrische Energie auf. In Zwickau werden so beispielsweise jährlich bis zu 200 000 kWh Bremsenergie pro System zurückgewonnen.
Die Firma BEACON Power betreibt in Stephentown, etwas außerhalb von New York ein Schwungrad-Speicherkraftwerk mit 200 Schwungrädern zu je 25 kWh Kapazität und 100 kW Leistung also zusammen 5 MWh Kapazität und 20 MW Leistung Billig Bogner Skijacke. Die Einheiten arbeiten in der Spitze bei 15.000 U/min . Der Rotor der Schwungräder besteht aus gewickelten CFK-Fasern Bogner Skijacke Damen 2016, die mit Harz ausgegossen werden. Der Park dient zu Frequenzregelung. Dieser Service wird an das New Yorker Netz verkauft.
Die Stadtwerke München (SWM) setzen ein Schwungrad-Speicherkraftwerk zur Stabilisierung des Stromnetzes ein, sowie als Regelenergie und zum Ausgleich von Prognoseabweichungen aus erneuerbarer Energieerzeugung. Das Kraftwerk stammt von der Jülicher Stornetic GmbH. Das System besteht aus 28 Schwungrädern und hat eine Kapazität von 100 kWh und eine Leistung von 600 Kilo Volt Ampere (kVA). Die Schwungräder drehen sich in der Spitze mit 45 000 U/min.
In Ontario, Kanada wird seit 2014 ein Schwungrad-Speicherkraftwerk der Firma Temporal Power Ltd. eingesetzt. Es besteht aus 10 Schwungrädern aus Stahl. Jedes Schwungrad wiegt vier Tonnen und ist 2,5 Meter hoch. Die maximale Umdrehung liegt bei 11.500 U/min. Die Maximalleistung beträgt 2MW . Das System dient zur Frequenzregulierung. Nach einer erfolgreichen dreijährigen Versuchsphase soll das System auf 20MW bzw. 100MW ausgebaut werden.
Auf der Insel Aruba wird derzeit ein 5MW Schwungrad-Speicherkraftwerk der Firma Temporal Power Ltd. gebaut. Die Insel Aruba möchte seine Energieversorgung auf 100 Prozent erneuerbare Energien bis 2020 umstellen.
Die Stadt Fresno in Kalifornien wird Schwungrad-Speicherkraftwerke der Firma Amber Kinetics einsetzen, um Solarenergie, die am Tag in Übermenge produziert wird, für den Verbrauch in der Nacht zu speichern.
Es ist heute möglich 2016 billige Fußball Nike Strumpf, Schwungradspeicherkraftwerke zu bauen, die nur 5 Prozent Energie pro Tag verlieren (Selbstentladung).

Stefania Barr

Stefania Noelle Barr (born December 4, 1994) is an American actress, singer, songwriter, composer, and lead vocalist of indie-alternative rock band Shrink the Giant. She is perhaps best known for her role as Maysilee Donner in The Hunger Games: Second Quarter Quell.

Barr started her acting career in 2003 (age 7) with Disney Channel Original Movie Right On Track.
She was praised for her work ethic and maturity on set. Producer Jason Nacey of The Doorstep stated that she “stuck out like a sore thumb”, among other actors her age, after booking the lead role as a walk-in on the final round of auditions. Her roles in 2005’s The Doorstep, 2006’s Unrest and 2007’s The Last Sin Eater and The Dance established her as a serious, mature-beyond-her-years actress.
She started her first indie-alternative rock band in early 2010 (age 14) (called Metanoia) with two high school friends. Barr sang lead vocals and played lead guitar, with Alyssa Kennington as backup vocals and rhythm guitar, and Thomas Flinders on drums. The trio played local venues together, including the Deer Valley Concert Series of Park City, Utah. After a few short months, they disbanded.
Under the direction of manager/producer Jean-Marc Barr, Barr joined with Aaron Hurt to form Shrink the Giant in the fall of 2010. They immediately began recording an album.
Barr’s fame was established in 2011 by playing Maysilee Donner in The Hunger Games: Second Quarter Quell. Fans around the world immediately accepted and embraced her as the face of Maysilee, and a part of The Hunger Games “fandom.”
Shrink the Giant released their first album worldwide on May 15, 2012. The album received great reviews from press and fans alike. SLUG Magazine heralded it as “polished and ready for the masses.”
Barr was cast in 2012’s Life According to Penny
As a composer, Stefania completed her first musical score in December, 2012 for the film Life According To Penny, in which she also starred as the lead character “Penny.” Post-production on the short was completed January, 2012, and it is currently touring festivals across the country. After just one film festival screening, Stefania was nominated for the Best Original Score (which she won) and Best Lead Actress, in the Filmed in Utah Awards. The film itself won Best Short Film and the People’s Choice Award

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, and will likely be made into a feature length film within the next few years. She was also nominated for Best Original Score in the Filmbreak awards, in May 2012.
Through her online work with Mainstay (including another short film she was featured in for the book Unwind by Neal Shusterman), HarperCollins asked specifically for Stefania to act in a book trailer for Kat Zhang’s recently released novel What’s Left of Me. The trailer was featured exclusively on Entertainment Weekly upon its release, and is now available on HarperTeen’s YouTube channel.
Since the release of their album, Shrink the Giant turned their attention to playing shows. Barr and band mate Aaron recruited a local drummer (Alex Larsen), bassist (Marisa Wilde), and Stefania’s brother (Sebastian Barr, a violinist and percussionist) to fill in the parts they recorded on the album. The full performance band began playing local venues together on August 1, 2012.
In September 2012 2016 bolsos chanel, they submitted one of their songs to a Salt Lake City radio station, X96, in the “Put Your Band Where Our Bash Is” competition. They were chosen as finalists, and after competing against twelve other bands in an online competition, and then the top five groups in a “battle of the bands”, they won.
On September 29, 2012, Stefania and the band played at the 17th-annual X96 Toyota “Big Ass Show” as one of nine bands, including Neon Trees, Imagine Dragons, Awolnation 2016 bolsos chanel, Grouplove, The Used, The Wombats, Eve 6, and Dead Sara.
November 16, 2012 marked the release of the Summit Land Conservancy’s 2nd Edition book, Summit County: Witness, which used a photograph taken by Barr as the cover image. The same photograph was also printed in Photographer’s Forum “Best of High School and College Photography: 2012

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,” earlier in the year, and accepted into the Springville Art Show, of Springville Utah, the previous year.
Shrink the Giant recently won the “Best Alternative” UTA Award for their first album.
Shrink the Giant also recently completed their second album “Faceless”. It was released worldwide on December 4, 2014 in both digital download and CD format.

Opus Cars

Opus Cars war ein britischer Hersteller von Automobilen.

Das Unternehmen aus Ringwood in der Grafschaft Hampshire begann 1998 mit der Produktion von Automobilen und Kits 2016 fußball trikots. Der Markenname lautete Opus. 1999 endete die Produktion. Insgesamt entstanden etwa zwei Exemplare billig Puma Fußballschuhe Steckdose 2016. Die Verbindung zu Sculptural Engineering ist unklar MCM Rucksack 2016.
Es bestand keine Verbindung zu Opus Cars aus Bristol bogner jacken 2016, die einige Jahre zuvor Automobile herstellten und ebenfalls unter der Marke Opus vermarkteten.
Das einzige Modell war der Sprint. Dieses Modell war ein offener Zweisitzer im Stil des Lotus Seven. Die Basis bildete ein Spaceframe-Rahmen. Die Karosserie bestand überwiegend aus Paneelen aus Metall. Lediglich die Front und die mitlenkend ausgelegten vorderen Kotflügel waren wahlweise aus Fiberglas oder Karbonfiber. Der Motor kam von der Honda Fireblade.
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Go-Stop

Go-Stop (고스톱) is a Korean card game. Go-Stop is also known as Godori (고도리) (ゴドリ), the name of a winning move in the game, as Matgo (맞고) when only two players are playing, and as Hwatu (화투), the name of the cards themselves. A deck of Korean hwatu cards usually includes bonus cards. Typically, there are two or three players, although there is a variation where four players can play. The object of this game is to score a minimum predetermined number of points, usually three or seven, and then call a “Go” or a “Stop”, where the name of the game derives. When a “Go” is called, the game continues, and the amount of points or money is first increased, and then doubled, tripled, quadrupled and so on. A player calling “Go” risks another playing scoring the minimum and winning all the points themselves. If a “Stop” is called Billige Nike Fotball Jerseys online 2016, the game ends and the caller collects their winnings.

In order to select a dealer, each player picks random cards from the deck and the person with the latest month becomes the dealer. Before the cards are dealt, the dealer shuffles the cards by holding the deck in the left hand with the cards face-down and pulling out random stacks of cards with the right hand to stack them on top. The dealer must repeat this process several times in order to shuffle the cards sufficiently. After shuffling, the dealer holds the deck out to the player to their left in order for them to cut the deck. If there are only two players, the opponent cuts the deck.
The remaining cards are placed face down on top of the cut portion of the deck in the center of the table to form a draw pile. Before the play begins, the players check for sets of two, three or four cards of the same month on the table. If there is a set, they pile it up on top of each other, usually leaving space on each of the top part of the cards.
There are several ways to collect points in Go-Stop.
Bright cards (gwang): One way to accumulate points in Go-Stop is to collect Bright cards (gwang). When three gwang other than that of the month of December (referred to as bi gwang, bi meaning “rain”) are collected, this is known as “Three Brights” (sam gwang) and is worth three points. However, if the Three Brights include bi gwang, this is called “Wet Three Brights” (bi sam gwang), and is worth two points. When four gwang are collected, this is called “Four Brights”(sa gwang) and is worth four points. It does not matter whether ‘bi gwang’ is included in “Four Brights” or not. When all five gwang are collected, this is called “Five Brights” (o gwang) and is worth fifteen to fifty points depending on house rules.
Ribbon cards (tti): Another way to accumulate points is through Ribbon cards. A set of any five Ribbon cards is worth one point, and each additional Ribbon card after five is worth one additional point. For example, a set of six Ribbon cards is worth two points and a set of seven Ribbon cards is worth three points. In addition to this, points may also be accumulated by collecting three matching Ribbon cards. There are three blue Ribbon cards (cheong dan), three red Ribbon cards with poetry (hong dan), and three red Ribbon cards without poetry (cho dan) (this excludes the Ribbon card for the month of December, which is also red and without poetry). Each of these combinations is worth three points. Moreover, the two methods of accumulating points via Ribbon cards are combined. If a player collects six Ribbon cards, including all three red Ribbons and all three blue Ribbons, the player can claim three points for hong dan, three points for cheong dan, and an additional two points for having six Ribbon cards, for a total of eight points.
Animal cards (kkeut): A third way to accumulate points is by collecting Animal cards. The scoring system of Animal cards is quite similar to that of Ribbon cards. A set of any five Animal cards is worth one point, and each additional Animal card after five is worth an additional one point. For example, a set of six Animal cards is worth two points, and a set of seven Animal cards is worth three points. In addition to this, if among the Animal cards, a special set of three cards made up of the Geese, the Cuckoo and the Nightingale is collected, this set is called godori (meaning “five birds”) and is worth five points (even though the Animal card from the month of December also features a bird, it is excluded as with the Bright cards and the Ribbon cards). Both methods of scoring are combined, as with the Ribbon cards. Thus, if a player collects six Animal cards, including godori, the player can claim five points for godori, and two additional points for having six Animal cards, for a total of seven points.
Junk cards (pi) The fourth and most common way to accumulate points is by collecting junk cards 2016 Adidas fotball utstyr online. Any set of ten junk cards is worth one point and each additional card after ten is worth an additional one point. In addition, there are special junk cards called Double Junks (ssang pi), which are counted as two junk cards. Also, the bonus cards mentioned above are also usually counted as two junk cards.
When a player accumulates at least three (for three players) or seven (for two players) points, the player must decide if they will continue that hand by calling “Go,” or end the hand by calling “Stop.” If a player says “Go” once, the player must increase their score by at least one point in order to be given another opportunity to call “Go” or “Stop.” A player who calls “Go” once has one point added to their final score. With two “Go”s, two points are added. With the third “Go,” the score is doubled. After the third “Go” (in which the score is multiplied by two), the score is multiplied by the number one less than the number of times the winner has called “Go.” However, before calling “Go,” the winner must consider whether another player may increase their score to at least three or seven points within the next turn.
When “Stop” is called, any non-winning players who have called “Go” will have their penalty (calculated from the winning player’s total points) doubled Billige Nike Fotball Jerseys online 2016. This is called go bak rabatt Puma fotballsko cleats utløp 2016. If a non-winning player has no Bright cards when the winner has accumulated points by collecting Bright cards, the player without Bright cards will have their penalty doubled. This is known as gwang bak. Further, if a non-winning player has fewer than six junk cards and the winner has accumulated points by collecting junk cards, the non-winning player will have their penalty doubled. This is known as pi bak. All of these are cumulative.
As an example, if a player accumulates seven or more points through only Ribbon cards and Animal cards, the player may then call “Go.” If, however, before the first player is given another opportunity to call “Go” or “Stop” another player accumulates at least seven points through both Bright cards and junk cards and subsequently calls “Stop,” the first player would be subject to go bak, gwang bak and pi bak. Thus, the player’s penalty would be doubled three times, in other words, multiplied by eight.
The game is commonly used as a light form of gambling. Though the game can be played without money being involved, the game is considered more entertaining with the gambling aspect included, with households commonly playing at 100 Won (~0.09 USD) per point. However, any amount can be assigned to the point.
The game is played with great caution outside of the family household, if ever played, as the gambling aspect brings in distrust through cheating, including the hiding of cards and the introduction of foreign cards to improve a hand, as common examples.

Allen Eager

Allen Eager (January 10, 1927 – April 13, 2003) was an American jazz tenor and alto saxophonist who also competed in auto racing and took part in LSD experiments.

Allen Eager was born in New York City on January 10, 1927. He grew up in the Bronx. According to Denise McCluggage, Eager could read aged 3, and learned to drive at the age of 9 with the help of his mother, after she caught him driving a garbage truck near the hotels that his parents owned in the Catskill Mountains. He took clarinet lessons with David Weber of the New York Philharmonic at the age of 13.
Eager briefly played with Woody Herman at the age of 15. At the same age, he took heroin for the first time. Aged 16, he played in the band of Bobby Sherwood, then went on to play with Sonny Dunham, Shorty Sherock, and Hal McIntyre. Eager was then with Herman again in 1943–44, Tommy Dorsey, and Johnny Bothwell in 1945. After World War II he became a regular on the scene around 52nd Street in New York; he led his own ensemble there from 1945–47. His recording debut as leader was for Savoy Records in February 1946. His band consisted of Ed Finckel (piano), Bob Carter (bass), and Max Roach (drums); two of the tracks formed Eager’s first release as leader. His playing style on tenor saxophone was, along with contemporary saxophonists Zoot Sims, Stan Getz, Al Cohn and others, strongly influenced by Lester Young; Eager appears to have been the first of this group to follow Young’s light sound on tenor, and was the best known and most respected of them at that point. Young’s assessment was that “Allen Eager is […] the best of the grey boys [white players]”. At the same time as following Young in sound, Eager also adopted the musical forms pioneered in bebop. He also adopted the drug dependency of a lot of the bebop players in the 1940s.
Unusually for a white saxophonist of the time, Eager was a member of several bands led by black musicians. These included Coleman Hawkins, with whom he recorded in 1946, and beboppers Fats Navarro and Charlie Parker in 1947. Eager recorded with trumpeter Red Rodney for Keynote Records in 1947.:91 Also in the late 1940s, Eager recorded with saxophonist Stan Getz. Eager also played with Tadd Dameron at the Royal Roost in New York in 1948. Some of these concerts were broadcast on the radio. Critic Ira Gitler commented positively on the concerts: “Whatever he played swung with a happy, light-footed quality and pure-toned beauty”.:218
From around this period, some rich women “sought out jazz musicians for a connection to a way of life otherwise denied them”. One of these, heiress Peggy Mellon Hitchcock, became associated with Eager, and the pair often appeared in newspaper gossip columns. One instance was much later, when a court case that highlighted the fact that Eager had borrowed $48,500 from her attracted publicity skater dress.
Eager played with Gerry Mulligan in 1951, with Terry Gibbs in 1952, and shortly after with Buddy Rich. He then briefly abandoned music and became a ski and horse riding instructor. Eager’s drug addiction could clearly be linked to his music career, as Ira Gitler noted: “when he was skiing or horseback riding and completely away from music, he was healthy, but every time he returned to his tenor, the demon that pursued Bird [Charlie Parker] found him again”.:218 From 1953 to 1955 he again led his own ensemble as a saxophonist. He frequently played with Howard McGhee, including in Chicago in early 1956. He lived in Paris from 1956 to 1957, and continued playing there. Back in the U.S. in 1957, Eager recorded The Gerry Mulligan Songbook under Mulligan’s leadership

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, which was his last recording for 25 years. After this, he essentially retired from jazz. Eager mentioned the death of Charlie Parker (in 1955) and his own problems with drug addiction as reasons for his withdrawal from the scene. Eager appears in Jack Kerouac’s 1958 book The Subterraneans as the character Roger Beloit.
Eager went on to pursue other activities such as skiing, competitive auto racing, and LSD experiments with Timothy Leary. He became a ski patroller when the Hunter Mountain ski resort opened, and was there introduced to racing car driver Denise McCluggage. After some instruction from McCluggage, the pair raced in the 12 Hours of Sebring in 1961 in a Ferrari 250 GT, finishing tenth overall, first in GT and first in class. Encouraged by their success, they flew the car to Europe and took part in the 1000 km Nürburgring; Eager crashed. They entered an O.S.C.A. for the 1962 Sebring race, in which Eager and Ken Miles collided, and for a race at the Bridgehampton Race Circuit ted baker uk outlet, at which McCluggage crashed. In July 1963 a serious crash left Eager with broken bones.
Eager occasionally dabbled in music again, playing alto saxophone with Charles Mingus at the rival Newport Jazz Festival in 1960. Ira Gitler noted that “The years away from his horn had made him rusty; moreover, the old fire and fine timing were heard only in fleeting moments”.:218 In the late 1960s he settled in Florida with his family. He played with Frank Zappa in the 1970s. In 1982 Eager made a comeback with an album for Uptown Records, entitled Renaissance.:190–92 The pianist for this quartet session, Hod O’Brien, remembers Eager making a very slow start: “it was as though he had never blown a sax before [… but] slowly and surely, the lines got clearer and longer. It was as though he learned to play again in the space of half an hour”.:190 O’Brien described Eager as “a temperamental guy”:190 who stainless steel thermos, during a first-night concert around the time of their recording, fired the rhythm section that had been hired to play with him, because he wanted to change from playing straight-ahead jazz to free.:191 Eager toured with Dizzy Gillespie in 1983. Eager played in England in May of the same year, playing jazz standards in his familiar 1940s style that included “terse, sidelong phrases”. Some other tours in Europe were with Chet Baker.
He died from liver cancer on April 13, 2003, in Daytona Beach, Florida. He was survived by his ex-wife, Nancy, two daughters, a son, and two granddaughters.
This section contains only albums, some of which were made up in part of tracks previously or simultaneously released as singles. Tracks and albums have often been reissued and repackaged; where possible, only an early release is listed.
An asterisk (*) indicates that the date is that of release.

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