Tele Aruba

Die Tele Aruba N.V. ist ein Rundfunk- und Fernsehunternehmen auf der Karibikinsel Aruba.

Tele Aruba nahm im September 1963 seinen Sendebetrieb auf. Der Rundfunksender wurde unter dem Namen Radio Victoria bekannt. Das Fernsehprogramm wurde zuerst auf Kanal 12 ausgestrahlt. Nachdem es Probleme mit dem Relaissender aus dem nahen Venezuela gab, wechselte Tele Aruba auf Kanal 13, der heute noch immer der offizielle Kanal des TV-Senders von Tele Aruba ist.

Am 14. September 2004 erwarb SETAR das nationale Telekommunikationsunternehmen Tele Aruba. In kurzer Zeit wurde Tele Aruba neu organisiert und Teile des Sendegebäudes ausgebaut. Der Name blieb bestehen.

Im Einklang mit dem neuen Investor startete Tele Aruba im November 2010 den HD-Kanal von Aruba – Kanal 313 – mit neuem Logo (Eigenschreibweise: Telearuba).

Telearuba sendet vor allem lokal produzierte Programme in der Aruba-Papiamento Sprache, wie Live-Berichterstattung von kulturellen Veranstaltungen und Unterhaltung sowie umfassende nationale und internationale Nachrichten. Live-Talkshows, Kinderprogramme, Sportberichterstattung, Spielshows ergänzen das Programm.

Tele Aruba ist auch im Internet mit Live-Video-Streaming 24 Stunden, 7 Tage die Woche zu sehen.

Jerry Trainor

Gerald William „Jerry“ Trainor (born January 21, 1977) is an American actor and musician. He is known for his roles in the Nickelodeon shows Drake & Josh („Crazy“ Steve) and iCarly (as Spencer Shay).

Trainor was born and raised in San Diego, California, the son of Bill Trainor and Madelyn (née McNenly) Trainor. Trainor studied improv at the Groundlings school in Los Angeles. Trainor also studied theatre at the University of California, Santa Barbara.

His first television role was in the MTV series Undressed as Eric. Some of his other television credits include Law & Order, Angel, and Malcolm in the Middle. His first recurring TV role was as Brian „the A.V. guy“ on Crossing Jordan. He has had a number of small roles in films such as the science fiction drama Donnie Darko and the cheerleader comedy Bring It On Again. He appeared on the web series Hungry Girl. He is known for his work on the Nickelodeon television network. He had a recurring role on Drake & Josh as „Crazy“ Steve, a movie theater worker from 2004 to 2007. He starred in iCarly as Spencer Shay, the older brother and guardian of Miranda Cosgrove’s title character from 2007 to 2012. He completed the 2008 music-themed comedy Wreckless Epic, in which he stars. Trainor starred in the animated series T.U.F.F. Puppy as the voice of the title character Dudley Puppy. He also starred alongside iCarly co-star Jennette McCurdy in the Nickelodeon television movie Best Player. He played Quincy Johnson, a video game enthusiast whose main competition in a video gaming contest is McCurdy’s character. In 2013, Trainor starred in the short-lived show Wendell & Vinnie as Vinnie, the uncle and guardian to Buddy Handleson’s character Wendell.

Trainor was involved in a World of Warcraft video series titled Project Lore, playing the Draenei shaman, Goggins. He was replaced by Jeff Cannata after leaving the series in February, 2009. In 2015, Trainor played Commander Michael Sullivan for both seasons of the Halo in-universe podcast, Hunt the Truth.

In October of 2015, Trainor formed the band Nice Enough People with guitarist/vocalist Mike O’Gorman, drummer Andrew Zuber, and guitarist Allison Scagliotti, who also happened to be a co-star of Trainor’s in Drake & Josh as the character Mindy Crenshaw. Trainor plays bass for the group. The group released their first EP, Hanover Hideaway, on June 22nd, 2016.

Thirsty (song)

Thirsty“ is a song by American singer and songwriter Mariah Carey from her fourteenth studio album, Me. I Am Mariah… The Elusive Chanteuse. It was co-written by Carey in collaboration with Hit-Boy, Denesia Andrews and MaryAnn Tatum. Carey and Hit-Boy also produced it, with co-production from Rey Reel. The alternate version of „Thirsty“, featuring one rap verse from American rapper Rich Homie Quan, received its radio premiere on Power 105.1 on May 13, 2014, a day before the album version featuring just Carey was made available to stream. It has been described as a „club-friendly“ R&B song influenced by hip hop, which makes use of a minimal synth beat.

The song was met with a mixed reaction from music critics; some were complimentary of her decision to work with Hit-Boy and Rich Homie Quan, while others felt that Carey was trying too hard to appeal to a mass audience by doing so. Electro pop band Purple Crush also claimed that Carey used the hook from their 2013 song of the same name. Following the release of the album, „Thirsty“ debuted on the South Korean International Gaon Single Chart at number 78 due to strong digital download sales. The song was included on Carey’s 2014 tour, The Elusive Chanteuse Show.

During an interview with Power 105.1 radio in a segment called The Breakfast Club, the host asked Carey if she had made a „bounce, gentleman’s club“ song due to the recent popularity of artists choosing to record „strip-club“ songs, such as „Drunk in Love“ by Beyoncé and „Pour It Up“ by Rihanna. She confirmed that she had recorded a song for Me. I Am Mariah… The Elusive Chanteuse called „Thirsty“, which embodies the same feel. Carey revealed that she had collaborated with Hit-Boy on the track.

„Thirsty“ was co-written by Carey in collaboration with Hit-Boy, Denesia „Blu June“ Andrews, and MaryAnn Tatum. Production of the song was carried out by Carey and Hit-Boy. It was co-produced with Rey Reel. Jeremy Cimino, Nico Essig, Rob Katz, Rob Suchecki, Matt Weber assisted in the song’s recording, at Rapture Studios, Metrocity Studios, Studio at the Dunes, Beach House Studios, Henson Recording Studios, Studio at the Palms and Jungle City Studios, with mixing from Hazebanga and assistant mixing from Kevin Matela, Dave Rowland and Kenta Yonesaka at Germano Studios. The vocals were arranged by Carey, who also added background vocals along with Kaylana Tatum and Maryann Tatum. Tatum carried out additional background vocal production.

An alternate version of „Thirsty“, featuring one rap verse from American rapper Rich Homie Quan, was released first and received its official radio premiere on Power 105.1 on May 13, 2014, while the solo album version featuring only Carey was made available to stream a day later. The single artwork for „Thirsty“ was released on May 13, 2014. In the colourful picture, Carey is making a „sultry“ pose in a strapless bikini top with matching lower half wrapped around her, with her midriff on show. Brett Maloc for E! thought that Carey looked „skinnier than ever“. Despite Carey and Def Jam both confirming „Thirsty“ as the fourth single to be released from the album, no release date was set. „You Don’t Know What to Do“ featuring Wale was released to urban contemporary radio on June 30, 2014 and rhythmic contemporary radio on July 1, 2014, as the fourth single instead.

„Thirsty“ is a „club-friendly“ R&B song with an influence of hip hop music, which lasts for a duration of three minutes and 26 seconds. „Thirsty“ is about how Carey’s lover has a thirst for fame which causes her to drown in her own misery. Billy Johnson, Jr. for Yahoo! Music described the track as „[dissing] those desperate for attention.“ The singer is „taking center stage as she takes aim at a starfucker“ as she performs her „nonchalant“ verses over a „skittering“ minimal synth beat. The songs begins with the sound of a drink being poured into a glass, after which the instrumental begins to play and Carey sings line „You used to be Mr. All About Me, now you’re just thirsty for celebrity“ in her upper register, then continues to ask her suitor „Why you try so damn hard?“ During the chorus, Carey repeatedly sings the hook „Uh, you’re Thirs-tay/ Uh, you’re Thirs-tay“.

Rich Homie Quan performs background chants on „Thirsty“, although he is not credited on the album track list. He does, however, appear as a featured artist on an alternate version of the song, and performs one rap verse. For his part, he adds a „comedic element“ by performing the line „Somebody get this girl a class of water/ I say she six nickels, not a dime past a quarter.“ The minimalist synth line of „Thirsty“ has garnered comparisons to that of „Niggas in Paris“, a song performed by Kanye West and Jay-Z, which was also produced by Hit-Boy in 2011. Critics have noted that although it is Hit-Boy’s signature style to include a „steering background“ beat in his production, that „Thirsty“ is too „busy“ compared to „Niggas in Paris“ and that it comes off as „less appealing“ and „watered-down“ in comparison. Gerrick D. Kennedy for the Los Angeles Times wrote that „Thirsty“ lacks the „heft“ of a song that Hit-Boy produced called „Flawless“ for Beyoncé’s self-titled album in 2013.

While some critics thought Mariah was trying too hard with „Thirsty,“ the song has garnered mostly positive reviews from contemporary music critics. Christina Lee for Idolator was complimentary of the song, describing it as a single which her record label most probably wanted to release from the album in the first place. She went on to say that it is „tailor-made“ for radio airplay „right now.“ Writing for the same publication, Mike Wass wrote that he thought the solo version was better than the alternate version featuring Rich Homie Quan’s rap verse, writing „It’s an improvement on the original. Not that there’s anything wrong with the slick Hit-Boy production—I just don’t like being distracted from Mimi’s mesmerizing vocals, not even for a verse.“

Writing for Yahoo! Music, Bill Johnson, Jr. praised Carey for collaborating with Rich Homie Quan and for „working with rappers who are on the cusp of going mainstream.“ He explained that it is her „consistency and emphasis“ on exposing up and coming rappers who are yet to release their own album that allows her to appeal to younger audiences, noting that they both benefit from the exposure. MTV writer Nadeska Alexis commented that it was „unexpected“ to hear a song whereby Carey, Hit-Boy, and Rich Homie Quan featured on the same song, but continued to write that it „sounds like a blend of classic Mariah-pop.“

Slant Magazine’s Alexa Camp described the track as a „corrective of sorts“ to her 2012 urban single release „Triumphant (Get ‚Em)“, a collaboration with Rick Ross and Meek Mill, noting that „Thirsty“ is not „littered“ with guest features. She continued to write that although it does not possess the memorability of some of her past releases, such as „Fantasy“ or „Emotions“, it serves as „a reminder of the pop gold Mimi can mine when she’s on top of her game.“ Gerrick D. Kennedy for the Los Angeles Times was less impressed with „Thirsty“, writing that although the song is not a „dud,“ he believes that Carey deserves better considering that it was her „who set the blueprint for mashing ethereal pop-R&B melodies with speaker-rattling hip-hop beats.“ He continued to criticize Carey for being too „desperate“, writing:

Inspired by street lingo—“thirsty“ for the unaware, is someone who is eager, verging on desperate—it seems laughable that Carey opted to pen such a gimmicky tune. She’s delivered some of the best pop songs of the last two dozen years, and she certainly knows her way around a club groove (Need proof? Spin „It’s Like That,“ which is almost a decade old). So why do an uninspired jam about a scrub if you’re not going to deliver a sassy, melisma-soaked banger like those that came so effortlessly in the past (see „Obsessed,“ „Shake It Off,“ „Heartbreaker“)? Why not remind the many contemporaries you’ve inspired, who are owning radio with more interesting spins off your blueprint, what makes you Mariah Carey?

A couple of days after „Thirsty“ premiered, Los Angeles based pop duo Purple Crush posted a picture on their Instagram account which showed a picture of themselves on the left and a picture of Carey on the right, claiming that the song bares similarities to a single they released of the same name in 2013. Mike Wass from Idolator noted that the only similarity appears to be the name of the song and two words used in the hook. Purple Crush have previously sued Lady Gaga and her manager Rob Fusari for allegedly using their work without the duo’s permission for Gaga’s debut studio album, The Fame (2008).

Upon the release of the album, „Thirsty“ debuted at number 78 on the South Korean International Digital Singles chart, and number 50 on the Download chart, with sales of 3,679 units. It also charted at number 42 on the U.S. Top Twitter Tracks.

Marion Township, Marion County, Ohio

Marion Township is one of the fifteen townships of Marion County, Ohio, United States. The 2000 census found 44,908 people in the township, 9,590 of whom lived in the unincorporated portions of the township.

Located in the center of the county, it borders the following townships:

Most of the city of Marion, the county seat of Marion County, is located in central Marion Township.

It is one of twelve Marion Townships statewide.

The township is governed by a three-member board of trustees, who are elected in November of odd-numbered years to a four-year term beginning on the following January 1. Two are elected in the year after the presidential election and one is elected in the year before it. There is also an elected township fiscal officer, who serves a four-year term beginning on April 1 of the year after the election, which is held in November of the year before the presidential election. Vacancies in the fiscal officership or on the board of trustees are filled by the remaining trustees.

Helen Allingham

Helen Allingham RWS (née Helen Mary Elizabeth Paterson; 26 September 1848 – 28 September 1926) was an English watercolour painter and illustrator of the Victorian era.

Helen Mary Elizabeth Paterson was born on 26 September 1848, at Swadlincote in Derbyshire, the daughter of Alexander Henry Paterson, a medical doctor, and Mary Herford Paterson. Helen Paterson was the eldest of seven children. The family moved to Altrincham in Cheshire when she was one year old. In 1862 her father and her 3-year-old sister Isabel died of diphtheria during an epidemic. The family then moved to Birmingham, where some of Alexander Paterson’s family lived.

Paterson showed a talent for art from an early age, drawing some of her inspiration from her maternal grandmother Sarah Smith Herford and aunt Laura Herford, both accomplished artists of their day. Her younger sister Caroline Paterson also became a noted artist. She initially studied art for three years at the Birmingham School of Design (founded 1843). From 1867 she attended the National Art Training School in London, which had a separate division for women; her aunt Laura Herford had previously studied there. The School is presently the Royal College of Art.

While studying at the National Art Training School, Paterson worked as an illustrator, eventually deciding to give up her studies in favour of a full-time career in art. She painted for children’s and adult books, as well as for periodicals, including The Graphic newspaper. One highlight was her commission to provide twelve illustrations for the 1874 serialisation of Thomas Hardy’s novel Far from the Madding Crowd in Cornhill Magazine. Her illustrations from this era were signed „H. Paterson“. She became a lifelong friend of Kate Greenaway whom she met at evening art classes at the Slade School of Fine Art.

While Vincent Van Gogh was developing as an artist by studying English illustrated journals he was struck by Patterson’s work in The Graphic.

On 22 August 1874 she married William Allingham, Irish poet and editor of Fraser’s Magazine, who was almost twice her age. After her marriage she gave up her career as an illustrator and turned to watercolour painting. In 1881 the family moved from Chelsea to Witley in Surrey. Helen started to paint the beautiful countryside around her and particularly the picturesque farmhouses and cottages of Surrey and Sussex for which she became famous. To her critics, however, despite elements of protest in ‚The Condemned Cottage‘ for example, hers was an overly sentimental, conservative vision of the area. She went on to paint rural scenes in other parts of the country – Middlesex, Kent, the Isle of Wight and the West Country – and abroad in Venice, Italy. As well as landscapes, she completed several portraits, including one of Thomas Carlyle. In 1890, she became the first woman to be admitted as a full member of the Royal Watercolour Society.

There is a Helen Allingham Society, founded in 2000. Her time in Altrincham is commemorated by blue plaques at 16 Market Street, Altrincham and at Levenhurst, St. John’s Road, Bowdon.

Burgh House, Hampstead, has the world’s largest archive and collection of her work.

William Allingham 1876

Irish Cottage

A Herbaceous Border

Harvest Moon

A Cottage With Sunflowers At Peaslake

The Lady of the Manor

Morning at the Quay in Venice

Thomas Carlyle, historian and essayist (1795–1881)

Yves Mirkine

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Yves Mirkine (né le à Bois-Colombes et mort le (à 59 ans) à Saint-Paul-de-Vence dans les Alpes-Maritimes) est un photographe de plateau et assistant opérateur français.

Il a travaillé notamment sur les films Fanfan la Tulipe de Christian-Jaque, Le Testament d’Orphée de Jean Cocteau, L’Aveu de Costa-Gavras, La Scoumoune de José Giovanni.

Âgé de 10 ans, alors qu’il est caché dans le petit presbytère de Seranon (Alpes Maritimes), le 22 avril 44 Yves est capturé par la Gestapo avec six autres enfants. De cette rafle, il sera le seul survivant. En effet, c’est au camp relais de Drancy que son père Leo intervient et réussit à sauver son fils.

De ces moments douloureux, Yves (dit Siki) conservera une endurance à toute épreuve et un sens aigu du « système D », qualités nécessaires aux métiers du 7e art.

À peine sept années plus tard, alors que son père, photographe de plateau, tombe malade sur le tournage de Fanfan la Tulipe de Christian-Jaque, Siki prend le relais avec brio pendant quelques jours. C’est là que débute sa carrière dans le cinéma.

S’il travaille tout d’abord comme photographe de plateau des films tournés dans les Studios de la Victorine[réf. nécessaire], très rapidement Yves souhaite découvrir autre chose que la photographie, art si dominé par son père Léo Mirkine. Il décide ainsi de se faire un prénom ailleurs.[réf. nécessaire] S’inspirant des grands chefs opérateurs de l’époque, il travaille très dur pour maîtriser la caméra et devenir un incontournable des équipes de la Victorine[réf. nécessaire].

Fort en gueule, professionnel reconnu[réf. nécessaire], Siki aime travailler en équipe, donner de lui-même et trouver les solutions techniques là où les autres abandonnent.

I Wouldn’t Normally Do This Kind of Thing

I Wouldn’t Normally Do This Kind of Thing“ is the third single from Pet Shop Boys‘ fifth album Very. It was released in the UK by Parlophone Records on 29 November 1993 (1993-11-29) where it eventually reached #13 in the chart. It reached #2 in the US Club chart where it was released in January 1994 (1994-01). It appears to describe a person, normally hesitant to unwind and show his feelings, who—because of some event in his life (possibly a love interest)—suddenly becomes willing to let it all hang out. It is the 20th best-selling Pet Shop Boys single.

The song was extensively remixed by the Beatmasters for its release as a single, with a new intro replacing the house piano of the album version. Tennant and Lowe came to prefer aspects of this remix and particularly the new intro, playing it on their Electric tour and including a version of the song with it on their PopArt greatest hits compilation (see below).

The single release was bolstered by a large amount of bonus material available across a wide range of formats, on top of the nine remixes commissioned. The main B-side is „Too Many People“ (which itself was featured over the credits of the Daria episode entitled „Lane Miserables“), but the single also featured remixes of Please tracks „Violence“ and „West End Girls“.

In the UK, the first CD single came in a rubber sleeve, that held both CD one and two. This was very similar to the packaging for Very Relentless.

As with the previous singles from Very, the duo donned new outfits for the single’s promotional campaign. Chris featured in a blonde wig with a pink and white costume, while Neil was adorned in a brunette wig and darker clothing.

A cover version of „I Wouldn’t Normally Do This Kind of Thing“ by Robbie Williams appeared as the B-side to his single „Let Me Entertain You“ in 1998. His version of the song can also be heard in the US sitcom Friends in the episode entitled „The One with the Routine“.

Another remix of the song, using the structure of the beatmasters 7″ but also incorporating elements from the album version was released on the PopArt compilation in 2003.

Brett Rumford

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Brett Michael Rumford (né le 27 juillet 1977) est un golfeur professionnel de nationalité australienne qui évolue actuellement dans le Tour européen PGA et auparavant dans le PGA Tour et PGA Tour of Australasia.

Rumford est né et a grandi à Perth. Il commence à jouer au golf dès l’âge de 10 ans.  Il représente l’Australie au sein du golf amateur, en équipe avec les futurs membres du PGA Tour Aaron Baddeley, Brendan Jones et Kim Felton. Il intègre le programme d’élite de l’AIS. Il est reconnu pour sa personnalité calme et une grande éthique dans le sport qui l’a aidé à rebondir au cours de sa carrière. 

En 1999, Rumford gagne le championnat ANZ des joueurs amateurs du PGA Tour of Australasia et il passe joueur professionnel l’année suivante. Il est membre du Tour européen depuis 2001. Depuis cette date, il est tenant de 5 titres dans cette compétition: en 2003 au Aa St Omer Open, en 2004 à l’Irish Open, en 2007 à l‘ Omega European Masters, en 2013 au Ballantine’s Championship et enfin, en 2013, au Volvo China Open. . Sa meilleur année au classement de l’Ordre du mérite est 2004 en se positionnant 37e

Rumford évolue dans le PGA Tour en 2008, après avoir gagné sa carte aux qualifications, finissant la saison au 149e rang de la FedEx Cup. L’année suivante,il revient jouer dans le Tour européen.

En avril 2013, Rumford gagne pour la quatrième fois un tournoi du Tour européen et, pour la première fois depuis six ans, au  Ballantine’s Championship en Corée du Sud. En playoff, Rumford a vaincu Marcus Fraser et Peter Whiteford en réalisant un eagle au premier trou supplémentaire.,Pendant le playoof, après que ses deux adversaires ont échoués à atteindre le green de ce par 5 en deux coups, Rumford réussie son approche en placant la balle très près trou, permettant de réaliser un eagle et d’emporter la victoire. La semaine suivante, il continue sur cette performance en remportant le  Volvo China Open, son cinquième titre dans le Tour européen avec un score de -16, 4 coups devant Mikko Ilonen. Avec cette victoire, il devient alors le 31e joueur à gagner deux tournois consécutifs et le premier depuis Branden Grace en janvier 2012. Il se classe dés lors aux premières places du classement de la Race to Dubai .

1 Inscrit également au Challenge Tour 2 Inscrit également à l‘ Asian Tour 3 Inscrit également à l‘ OneAsia Tour

Playoffs dans le Tour européen (2–0)

1 Inscrit également au Tour européen

1 Inscrit également au Tour européen

1 Inscrit également au Tour européen

DNP = N’a pas joué CUT = n’a pas passé le cut „T“ = a passé le cut En jaune, classé dans les 10 premiers.


Agujero analógico

El agujero analógico, también denominado como problema de reconversión analógica, es una vulnerabilidad fundamental e inevitable en los esquemas de prevención de copia para contenido digital no interactivo que está pensado para ser reproducido empleando métodos analógicos. Cuando la información es convertida a una forma analógica perceptible, desaparecen las restricciones y el contenido puede ser reconvertido a una forma digital carente de restricciones.

Debido a que este proceso permite reproducir un objeto digital sin restricciones a partir de una versión con restricciones, los editores que emplean gestión digital de derechos (DRM, de la sigla en inglés Digital Rights Management) para imponer restricciones sobre la forma de uso de una obra pueden ver esta posibilidad como un «agujero» en la protección o en el control que el DRM les ofrece. Aunque la posibilidad técnica de hacer grabaciones digitales a partir de salidas analógicas ha existido desde hace mucho tiempo, no se la ha contemplado necesariamente como un agujero hasta que el empleo de sistemas de DRM se generalizó a finales de la década de 1990. El término «agujero analógico» fue empleado por primera vez por la Asociación de Distribuidores y Productores de Películas Estadounidense (MPAA) y algunos de sus miembros en 2002; este término ha perdido popularidad en la industria, siendo sustituido por «problema de reconversión analógica» y otros términos similares.

Electra (teletext)

Electra was a teletext service in the United States that was in operation from the early 1980s up until 1993, when it was shut down due to a lack of funding, and discontinuation of teletext-capable television sets by the only US television manufacturer offering teletext capability at the time, Zenith. It was owned, operated and maintained by Cincinnati-based Taft Broadcasting (specifically at their flagship station, WKRC-TV, which had debuted the service in their area first) and Tulsa, Oklahoma-based Satellite Syndicated Systems (SSS), in cooperation with cable/satellite TV station Superstation WTBS (now TBS), who carried Electra’s data on their VBI (WTBS was in turn owned by Turner Broadcasting System, which would purchase the Hanna-Barbera animation studio, and most shows from sister company Ruby-Spears, from Taft successor Great American Broadcasting in 1991; Turner is now part of Time Warner).

Electra was America’s answer to the British Ceefax or ORACLE systems, providing news headlines, weather, entertainment/lifestyle info, and other information. Electra used the World System Teletext (WST) protocol, the same protocol used by Ceefax and ORACLE, as well as by other teletext services in the rest of the European continent.

Electra was one of the very few American teletext services in operation. A few other services were offered by some large-market TV stations in the US throughout the 1980s, such as Metrotext from KTTV in Los Angeles and KeyFax from WFLD in Chicago.

Electra also carried another teletext service on its higher-numbered pages, a service called Tempo. Tempo mainly carried sports (and other miscellaneous) information on its pages.

At the time of Electra’s closing in 1993, it was the only existing teletext service in the USA.