Bar Grips of ODI, Ergon, ESI Grips, BBB, CUBE Equipment, Ritchey, DMR, Reverse Components, Syncros, Sixpack-Racing, Specialized Equipment, Brooks England, Lizard Skins, CHROMAG, Procraft, WTB, Bontrager, RFR, PRO, Octane One, Fabric, NS Bikes Parts, Funn, Easton, Azonic, Clarks, Prologo, Oury, Answer, KCNC, Dartmoor Parts, Hope, Mounty Special, ACROS, SRAM, NC-17, Spank, Supacaz, Race Face, XLC, Cannondale Equipment, SDG, Deity Components, Renthal, Electra, Giant Equipment, SQlab, Wolf Tooth, Hebie, Sportourer, Brave, Sella Italia, La Spirale, Cinelli, Brave Classics, Salsa Parts, Carbonice, Syntace, Contec, Selle San Marco, Crankbrothers, absoluteBLACK, Schmolke Carbon, 3T, 66sick, AVS Racing, Selle Royal, Selle Italia, FSA, Straitline and MVTE - Page 4 - Bike24 Online Shop\nSelection: 1086 of 1086 Item(s)\n31. Oury Mountain Grips - white\n32. Oury Mountain Grips - pink\n33. Oury Mountain Grips - purple\n34. Oury Mountain Grips - transparent\n35. Oury Mountain Grips - brown\n36. Oury Mountain Grips - black\n37. Brooks Plump Leather Grips Bar Grips - black\n38. Cinelli Mike Giant Art Grips - Red Velvet\n39. Cinelli Bar Plugs\n40. ESI Grips Extra Chunky MTB Grips - Black\nThe thickest ESI grips available, for riders looking for one of the best shock absorbing grips.\nwith Screw Clamping 586\nwith Flange 120\nRubber / Plastic 776\nBar End Plugs 55\nLocking Rings 19


Maestros Comic Series Reviews at ComicBookRoundUp.com\nPublisher: Image Comics Release: Oct 2017 - Aug 2018 Issues: 7 Collected Volumes: 1 Critic Reviews: 42 User Reviews: 109\n"MAESTROS is a masterpiece, with one of the best first issues I've ever read. Steve is somehow an even greater writer than he is an artist. Get ready for your new favorite comic." -BRIAN K. VAUGHAN more\nPulled By (65)\n#7 Steve Skroce Steve Skroce\n#6 Steve Skroce Steve Skroce\n#5 Steve Skroce Steve Skroce\n#4 Steve Skroce Steve Skroce\n#3 Steve Skroce Steve Skroce\n#2 Steve Skroce Steve Skroce\n#1 Steve Skroce Steve Skroce\nTior Added: Oct 2, 2017\nsovereignsfall18 Added: Oct 18, 2017\nTheImageIsStrong Added: Oct 18, 2017\nUndoubtedness Added: Oct 23, 2017\nzacpeck Added: Nov 28, 2017\nAesperus Added: Jan 2, 2018\nLuke1405 Added: Jan 7, 2018\nTheAdventurer Added: Jan 10, 2018\nFearless0610 Added: Jan 18, 2018\nNess Added: May 10, 2018\neducoffee Added: Oct 15, 2018\nTree Fingers Added: Oct 16, 2017\nGabriel Valões Added: Oct 17, 2017\nKamahl88 Added: Oct 18, 2017\ndaveisthemusic Added: Oct 18, 2017\nDarth Skyguy Added: Oct 19, 2017\nTomZiiG Added: Oct 21, 2017\nPhil B. Added: Oct 22, 2017\ngeweide Added: Oct 22, 2017\nu3ihtam Added: Oct 23, 2017\nGhostHero76 Added: Oct 27, 2017\nDevin708 Added: Oct 28, 2017\nJabberwocky_Superfly Added: Nov 7, 2017\nT8cott Added: Nov 8, 2017\nCharlie Wentling Added: Nov 11, 2017\ndyltho Added: Nov 16, 2017\nMonné Added: Nov 17, 2017\ntee8ch Added: Nov 17, 2017\nJFARR Added: Nov 18, 2017\nSeanG Added: Nov 22, 2017\nCD Added: Nov 24, 2017\nChellovate Added: Nov 26, 2017\nsrqwho Added: Dec 1, 2017\nMordimer Added: Dec 5, 2017\nselcukXIII Added: Dec 6, 2017\nKitsilog Added: Dec 6, 2017\nAnnette Marie Added: Dec 12, 2017\nNobodyisemo Added: Dec 13, 2017\nDaredevol Added: Dec 14, 2017\nBlackBeard Added: Dec 19, 2017\nSevsouv Added: Dec 20, 2017\nShpanky Added: Jan 4, 2018\nendangered Added: Jan 8, 2018\nScampi64 Added: Jan 23, 2018\nProf. Lumpcicle Added: Jan 23, 2018\nDreadocto Added: Feb 25, 2018\nPostal5382 Added: May 5, 2018\nSwampsifter Added: May 13, 2018\nGarglebuns Added: May 13, 2018\nRheckenkamp Added: May 13, 2018\nHerptydoo Added: May 31, 2018\nBoomtube Added: Jul 12, 2018\nGrape Ape Added: Aug 7, 2018\nBJlaDulVluP Added: Aug 10, 2018\nUptownBobby87 Added: Aug 12, 2018\nDMRunner Added: Oct 3, 2018\nhealthZERO Added: Nov 5, 2018


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Dirk Sytsma: Spinder Genealogy\n1909 - 2001 (91 jaar)\n1. Dirk Sytsma was born on 29 dec 1909 in Marum, Westerkwartier, Groningen, Nederland; stierf on 29 jan 2001inAthens, Ontario, Canada.\nDirk getrouwd Wytske Nicolai on 18 aug 1938inAchtkarspelen, FryslÃ¢n, Nederland. Wytske (dochter van Tjalling Annes Nicolai en Elisabeth Dijkstra) was born on 13 jun 1911 in Drogeham (Droegeham), Achtkarspelen, FryslÃ¢n, Nederland. [Gezinsblad]


Friduwih Riemersma - Fers2 6.6, 23 desimber 2020\nCut the crap, hat it diktaat west yn dizze dichtbondel dy’t útkaam yn in knisperjende oktober en alles dat de middenklassewiven kochten rûkte nei spekulaaskrûd—basta! De neakene condition humaine is fol mei “mar” en “dochs?”, de demoanen fan in oerspand gewisse, en dreamen oer twa zorro’s dy’t komme te fertellen dat jo gedichten min binne, en dy’t jo oeral efterfolgje om jo leafdes te feroarjen yn glibberige muzen sadat dy jo opnij ferlitte sille. Dit binne beslist fersen dy’t de bern bang meitsje. Mar inkeld al it iepeningsliet is in Gysbert wurdich en ik sil jo sizze wêrom.\nWat ik weromkrij\nkoarje ik like leaf\nIk bin gjin do\nyn it krop.\nen ha spyt\ndat ik hjir\nivich en altyd\nSa’t it slotwurd ‘toarkje’ weromliedt nei ‘koarje’, sa slút ‘ivich en altyd’ oan by ‘weromkrij’. It fers rint yn in einleaze tiidludze. Gean werom nei ôf: jo kinne der net út nei de lêste punt. Noch benearjender is dat jo der net wis fan binne wat ‘do’ yn ‘ik bin gjin do’ betsjut. Ommers, ek al giet it wierskynlik oer de fûgel dy’t útfine moast oft wetter sakke wie nei de sûndfloed, en ek al sjit it troch jo hinne dat ‘ik’ en ‘do’ miskien gearfalle—sadat de ‘ik’ praat tsjin himsels—‘do’ docht likegoed in berop op de lêzer. Njonken him stiet de ferteller dy’t ek de hanneljende figuer is, yn de notiid, “ik hjir”; mar it wurd ‘ik’ komt hieltyd mei wurden dy’t knoopt binne oan—passive—lilkens. Allinnich al de konklúzje ‘spyt’: de siizjende s en de ploflûden p en t jouwe it in feninige lading. Tagelyk tink-rymt ‘spyt’ op ‘koarje’: spije.\nPassyf-agressyf praten is in ferdigeningsmeganisme, leard om te oerlibjen yn de wrâld, mei dêrby stiltes om situaasjes út de wei te gean of behearskjen dy’t konfrontearjend binne of hege easken stelle oan it gefoel, lykas lyts sear en oergeunst. Dan komme der ynkongruïnsjes lykas\nIk kin neat mear (ta)sizze.\nHa ik dat alfêst mar sein.\nwylst noch lang net sein alles is. Der komt noch in lape tekst. In kûplet letter brekt just it moed. Nei it opbouwend werheljen fan ‘leaf’ - ‘leaver’ komt op it plak dêr’t jo ‘leafst’ ferwachtsje ynienen it wurd ‘spyt’: it stout troch it krop nei bûten, mei wytrigels mar no sûnder punten, yn ien klap.\nHoesa dy spyt? It kin jo fansels wol spite dat it reint, mar echte spyt hat altyd te meitsjen mei kontrafeitlik tinken: dwaan as hawwe jo noch in kar yn in libben dat al efter jo leit, mei ‘Wat as?’ en ‘As ik inkeld mar…’ Dochs is der dúdlik gjin kar “dat ik hjir/ ivich en altyd/ wer omtoarkje”, as “hjir” ‘it libben’ betsjut. Is ‘Spyt’ dan in parody op de narsistyske fijannichheid fan de hjoeddeiske popmuzyk, of op de selsfoldienens, it selsbegrutsjen en it suïsideferhearlikjen fan country music? Mar der is gjin spoar fan houlikse rúzjes, alkohol, drugs, ferfrjemding of—al stiet der acht kear ‘ik’ yn ‘Spyt’—in heechboarstich ego. Boppedat stiet der “hjir … wer”: ‘hjir’ betsjut dus simpelwei wat oars as it libben.\nElmar Kuiper syn poëzy bout wis syn momentum yn de konkrete wrâld: “harke nei it gehammer/ en geboar en Jannes’/ zevende hemel op radio NL”, giet it yn in oar fers. It wie en is net obskuer. Dochs, al hâldt it de tradisjonele beneiering fan betsjutting, der is wat yn de ûnderwerpen slûpt. Djipper lok en leed faaks, mar is dat net dêr’t alle dichters it oer hawwe? “Ha ik dat alfêst mar sein” is de kearn. Dêrnei kin de ‘ik’ nimmen mear teloarstelle. Net dat der immen is: de ‘ik’ kin syn eigen wrâld net út. Yn “alfêst mar” is ‘mar’ gjin bynwurd, it is in bywurd, it is it ‘mar’ dat jo mei in lichte fersuchting uterje, folle lichter as “a-sighing,—/ Sighing, sighing” yn Sir Roberts syn ‘Song of regret’; in ‘mar’ yn de sin fan ‘inkeld en allinne’: safolle is der net te sizzen. Krekt oarsom liket ‘alfêst’ fuort te kommen út de twivel oft de ‘ik’ in nije kâns krijt om, tsja, himsels of syn eigen hanneljen fierder te ferklearjen.\nEn wêrom soe er? Yn ’e werklike wrâld is immen oaren echt gjin ferantwurding skuldich, op syn heechst himsels, mar wat is it foar soart selsferklearring? Wêrom alle stridichheden: “Ik krûp leaver/ yn ’e dop” mar dat dan dochs net dwaan? Wat is dit foar wrâld? Neat jout dat priis. En tink derom, dit is it ynliedende fers. Syn trije trije&hsy;rigels en fjouwer kûpletten fan ûngelikense rigellingte belichemje de wegering om de stream fan bylden en meidielingen in arbitrêre foarm op te lizzen. Wat wol de ‘ik’ dan dy’t nei eigen sizzen in wierheid ken dy’t er net “mei in/ wurd kamûflearje” kin mar tagelyk neat ûntriedselet? Genede? Rêst? Dat de spûken fan it gewisse nachts net mear komme?\nWant “The songs I have not sung to you/ Will wake me in the night”, seit Rittenhouse. Ek oare klassike spytlitayen komme jo yn ’t sin. Dickinson har “[Remorse] ’s past set down before the soul” giet net oer it salonfähige sauske kristenspyt: “Remorse is cureless.” Mar it ferskil is dat de ‘ik’ yn Wite mûle, swarte molke it net oerjout, wiswol genêzing siket, en tagelyk net ien op ’e ierde of derboppe hat dy’t him rêde kin. Dat makket dat ‘Spyt’ trillet it fan ynholden emoasje, mei de moaie kontrasten yn lûd, ritme en boadskip. It fers is prachtich yn balâns. De sekuerens is as in waarm bad: alle rymjende lûden en bylûden komme krekt op it goeie plak, de tiidwurden binne mei Fingerspitzengefühl keazen en posisjonearre—it lange, swiere “kamûflearje” slacht de doar ticht nei in strofe fol koarte wurdjes—en de enzjambeminten en wytrigels ûnderstypje hieltyd it ritme. Wat boppe-al opfalt is dat Kuiper gjin belang hat by in beslút, in “dop” op it fers. Syn poëzy is iepeneinich wurden.\nIn stikmannich fan Kuiper syn deugden komme dúdlik nei foaren yn ’e bondel: yn ’t foarste plak syn konkrete, fysike, kakofonyske diksje: “Bliuw, as de ieren iisgriis kleurje, it waarm yn ús siperet,/ ús wurden net mear omheukerje as snieguozzen op ’e pôle.” Opnij is der syn leafde foar boereferbylding: “Dat sis ik no as in man dy’t batse wol/ troch machtige puozzen, as in man / (…) dy’t harkje wol nei it greide-/ orkest, nei in orgy fan lûden.” Der is hjir en dêr in sabeare ferheven toan en in ferwizing nei de popmuziek—“flústere se, sêft as in simmer-/ reintsje”—en ek bliuwt it berongen detail: “mei ien hân op ’e rêch en de oare hân los,/ as in reedrider dy’t slach meitsje woe”. Fansels binne der de tsjinstellingen, al binne dy mear matter of fact fan toan as earder:\nal woe ik noch efkes bliuwe\nNij liket, as ik oan de foargeande bondels Hiemsiik en Stienkeal tink, it oerhingjen nei it útrekken fan de eksposysje fan de—as fanâlds—ferhaaleftige fersen: “De sinne boppe Arundhathi’s wynbrauwen/ is Prusysk blau, as ús plezierboat ôfset”. Nij ek, en it yninoar skowen fan alle technyk liket hjirop rjochte, is de linichheid om de lêzer dalik nei dy tiid en dat plak te bringen en sekeur yn it karakter fan dat momint, sûnder syn ôfstân op te offerjen. It dreechste fan lyryk en spesjaal fan frij fers, dêr't de wurking faak fan nei binnen rjochte is, is in autoriteit fan lyktidigens, sadat it perspektyf fan de sprekker dy fan bern en folwoeksene tagelyk is. En dêr draait it allegearre om; dat is dêr’t ‘Spyt’ ta ynliedt. It skikken yn trije skiften is wat de poëzykeaper ferwachtet, mar heakket neat ta oan it belibjen fan de bondel. Wite mûle, swarte molke is ien kompakt ferhaal oer hoe’t in man efterfolge wurdt troch de grouwels fan syn bernetiid yn in disfunksjoneel húshâlden, sadat er altyd wer it jonkje is dat net goed genôch op heit en mem past. Oeral en sels op in boatreis oer de Ganges efterfolgje de skimen fan heit en mem de ‘ik’.\n7500 km fan hûs, stoarje ik oer de reling\nyn it wetter en sjoch heit ûnder it kowejaar, knipend\nen lûkend oan ’e oeren.\nDan komt der opnij in apostrofe, ‘mem’, en in bewissiging dat er in goeie jonge is: “No flean ik werom en breidzje in ein oan dit fers/ mem”. De jonge wurdt observearre en de ‘ik’—of de dichter—is de observator, mar yn ’e stim fan it gefoel wolle de aktor fan doe en de ferteller no deselde wêze. Just har skieding yn ’e tiid fersterket it tebektinken, as soe it stribjen om byinoar te kommen, werom yn ’e tiid of just foarút nei de takomst, wat feroarje kinne. Tebektinken makket de tiid floeiber. Ien kin, as er it ferline oanskôget, it ferjaan, mar hy kin it net feroarje: “ferwachtsje net dat ik dy genêze sil.”Ien kin op syn heechst, yn goeie hannen, it no in bytsje feroarje, troch beskate ferbannen te lizzen en de lytse opjeften fan ’e wrâld út te fergrutsjen. “Drink my (…) as in nachtswel, soargeleas ûnder it útspansel.”\nAs jo sykje wêr’t dy genereuziteit, minsklikens of it ferjaan sit, dus wa’t de ferfoarmingen yn de notiid ûndergiet, en watfoar gefoel ferskoot, dan stjitte jo op sûchdierlike eigenskippen en helpmiddels: it liket as nimme deistige objekten de memmerol oan. Fan de “houten hûn” binne wy samar by de akseptaasje fan mem har molke: “Ik drink har boarne leech.” De ‘ik’ wol him tsjin it “oer” oan lizze, fart oer “Mem Ganges” en fynt syn earste aai “yn in nêst dat mei soarch en leafde opmakke wie.” As jo sjogge wêr’t de kear yn ’e narrative leit, dan is dat faak hielendal op it ein, as it al te let fielt. Soms komt er wol kreas in stikje nei it midden. Bygelyks keart de oerdriuwing fan it bern, “ik wie in rôffûgel dy’t alles seach” nei de rite de passage fan it earste aai fine, de ûnskuld út, de folwoekenens yn; of keart de “tit” nei it werwurd fan de opwoeksen man: “Krekt as soe ’k dat net witte,/ heit. Krekt as kin ik it bist tsjinkeare.” Mar dat is—alwer—in ferwar tsjin skuld en opjeien en tagelyk it weromstappen yn ’e berneskuon, njonken it folwoeksen bist; hoe nimt de man dy’t ea direkte tsjûge wie dan ôfstân?\nYn ‘Myn earste aai’ liket dat troch it beneamen fan de bekende dingen, “de hûn fan Aalberts (…), de hoanne fan Sietsema” ensafuorthinne. It fers is, foaral op it ein, in blok massive tekst, as proazapoëzy doe’t men dat ûnderskied noch makke; lange rigels dogge minder yntym oan, dus minder lyrysk, deagewoan om’t wy leard ha dat koarte rigels stean foar privaat en lange foar publyk. It hat in ashberyaanske simpelheid en direktheid fan taal en sinsbou. It is earder ekspressyf as narratyf, it woartelet—noch; want nei dizze bondel leit de wrâld iepen foar Kuiper—yn de romantyske tradysje. Mar al rint it oer fan natuer- hertstochtbylden, it fers slingeret himsels sels net foarút. It hat gjin wurd tefolle. Alles is like krekt pleatst as yn ‘Spyt’ en ek einje rigels gauris mei in punt: as wol de ‘ik’ net echt fierder prate. Dêrtroch beweecht it fers mei hoarten en stuiten fan byld nei byld, sûnder dat de ‘ik’ foarút komt, sa’t dat bart yn dreamen.\nIk draaide, as in folleard koereur, oan ’e hângreep.\nIn ferskuorrend lûd woeks yn ’e kiel.\nIk karke nei de dongbult, myn griene gazelle\nwie it bist dat brûze woe.\nIk ried mei in rotgong de planke op\nen rôp hi ha hoe.\nKuiper syn lyrysisme is net prûzich, want dêr is it te krekt foar. Rigels as “Skaden glieden as slachskippen oer de Miensker” komme ynienen út in oar register, fan in jongesboek faaks, dreamend by slachskippen yn in flesse, en opmerklik is de diksje: beferzen, hast bibelsk, net yntym. De dreamerige sfear bliuwt oant de slotsin komt: “yn in nêst dat mei soarch en leafde opmakke wie.” Patsboem is de lêzer wekker en tinkt sûnder erch oan syn eigen nêst: mei hoefolle leafde wie dat opmakke? Mar it rottichste is dat alle fêste dingen dy’t de ‘ik’ neamt samar feroarje: sa “die in oare protter in skries nei.”\nHieltyd skrikke jo op, fan in tè oandwaanlik soan-en-heitportret, fan de bloedtoarstige, 3-wurdliddige rym fan “myn/ feintekiel” op “Se reitsje my” wat jo weromliedt nei “fral op ’e naal”, fan symboalen lykas de sniegoes dy’t hjir meastal wer gau fuortfljocht—fûgel symbolisearret wier gjin frijheid; betink dat Kuiper syn protter in iesiter is lykas Poe syn raven—en fan in medias res dy’t jo kâld mei in unheimlich “famyljewurd” konfrontearret. Kjel meitsje jo de leafdeslieten dêr’t de ‘ik’ as god optrede moat, de pseudo-sonnetten, shakespeareaansk, dêr’t de ‘ik’ bûge of barste moat ûnder krityk, de delslach fan in dei op Facebook, en op it ein de leagen “ik ha/ de fijân sa’n pak op ’e bealch jûn, dat er net weromkomt, mem.// Do kinst no lekker koese.” Wy witte al dat dat net bart: mem komt hieltyd werom te spûkjen, niis noch, mei senuwslopende ferbylding, yn ‘In kamp fan ienen’.\nAmper better is it as mem weibliuwt, as se net komt te treasten dat alles feilich is. De fabel ‘Zorro’ is in “dream – sûnder fûgel diskear” hat twa zorro’s. Dy seure beide dat “Dyn fers” net goed is, want it hat in “te moai behang” en it “hynder is in bonkerak.” Tiid en plak binne ûnbestimd, lykas faak yn de bondel hielendal net oanjûn, sadat de hanneling delset is op ien of oar plak yn it ûnthâld. Kuiper syn briljante each en sekuere diksje tille it fers boppe de autobiografy út nei de universele nachtmerje. De inketswarte maskere bandyt—wrachtjes in held út de pulpfiksje—krûpt nachts oer de naal fan it dak, as de fûgel fan wroech, de geast dy’t nachts op de keamerdoar kloppet, ús efterfolget mei beskuldigingen, him spjaltet yn twa demoanen dy’t efterbliuwe: efterfolge net troch de deaden—mem en heit—mar troch it ferline sels. Jo ha jo tiid fergriemd en alle nachten pikt no selsferwyt it fleis fan jo bonken.\nElmar Kuiper, Wite mûle, swarte molke , Hispel, Loenen a/d Vecht, 2020.\n‘Dream’ en oar arbitrêr barren\nDe romte is keal. In pop draacht in pak fan Gucci. Eva sûget …


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Hard Eight @ Feelgoods night club 9-18-2010\nDecember 24, 2010 // Posted by: admin // Category: METAL THRASHING MAD\nShadows Fall @ Area 702 Skate Park 07-15-2010\nDouble Barrel Diplomacy @ Cheyenne Saloon Las Vegas NV 12-17-2010\nDecember 23, 2010 // Posted by: admin // Category: METAL THRASHING MAD\nRock the block 07-23-2010\n2010 Focus on the Music . WordPress . Bulk email software


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Eardere minister fan toerisme Dr. Walter Mzembi net skuldich by in UNWTO-relatearre misdiedjacht yn Simbabwe\nThús » Lêste nijs artikels » African Tourism Board » Eardere minister fan toerisme Dr. Walter Mzembi net skuldich by in UNWTO-relatearre misdiedjacht yn Simbabwe\nAfrican Tourism Board • Breaking International News • Breaking Reisnijs • Breaking Zimbabwe News • Government News • Nijs • Toerisme • Toerisme Oerlis • Reisbestimmingsupdate • Travel Wire Nijs • Trending no • Ferskate nijs\nDr. Walter Mzembi wie ien fan 'e langst tsjinjende ministers fan toerisme yn' e wrâld. Hy tsjinne ek as minister fan Bûtenlânske Saken yn Simbabwe. Hy waard beskuldige fan korrupsje op falske oanklachten relatearre oan in Algemiene Fergadering fan 'e UNWTO yn Simbabwe - Sambia. Hy is no wiske fan alle misdieden.\nTwa jier lang yn ballingskip twongen waard eardere minister fan toerisme Dr. Walter Mzembi út Simbabwe fan alle oanklachten yn in Heechgerjochtshôf yn Simbabwe wiske.\nDit is in geweldige dei foar gerjochtigheid en lit ek nochris it dubieuze ferkiezingsproses bleat by de World Tourism Organization (UNWTO), dat Zurab Pololikashvili yn 'e macht sette.\nMzembi hat yn 'e hjoeddeiske COVID-19-diskusje ynstrumintaal west efter de skermen. Wiskjen fan syn namme kin Dr. Mzembi de kâns jaan om syn ûnderfining ta te foegjen oan 'e takomst fan' e reis- en toeristyske sektor as miskien oan syn leafste lân, Simbabwe.\nDr. Mzembi is altyd aksepteare en bewûndere ûnder syn leeftydsgenoaten fan oer de heule wrâld. Hy waard sjoen de wrâld reizgje en sprekke op in protte wichtige barrens yn syn termyn as minister.\nUt it publike each fertelden syn freonen him faaks dat hy ien fan 'e bêste toeristyske ministers yn' e wrâld wie, mar spitigernôch út it "ferkearde" lân.\nDr. Mzembi is in wrâldwiid man. Hy wie twadde as kandidaat as sekretaris-generaal fan 'e Wrâldtoeristyske Organisaasje yn 2017. Hy focht foar dizze post en joech it alles en mear - hy einige eins syn frijheid op.\nHy begriep de manipulaasje fan 'e hjoeddeiske sekretaris-generaal Zurab Pololikashvili om de ferkiezing te winnen. Tsjin alle oermacht wûn Mzembi de UNWTO-ferkiezing op it twadde plak. Mzembi focht oant it ein en neamde de aktiviteiten fan Zurab mei syn wiere namme - fraude.\nHy joech Zurab ta op 'e Algemiene Fergadering yn Chengdu, Sina, mei tasizzingen dat as hy syn beswier weromlûkt, hy de lieding soe wurde steld oer in kommisje tawiisd om it ferkiezingssysteem by UNWTO te feroarjen. It barde noait, om't de regearing fan Mzembi waard oernommen yn in militêre operaasje.\nYnstee fan in patriottyske thúskomst te ûntfangen waard Mzembi beskuldige fan kriminele aktiviteiten oangeande syn rol as gasthear foar de Algemiene Fergadering fan 'e UNWTO yn 2013 yn Sambia en Simbabwe.\nHoe dit barde, en hoe't dit kin relatearre hawwe oan 'e UNWTO-ferkiezings fan 2017 doe't Mzembi konkurrearde mei de hjoeddeiske UNWTO-sekretaris-generaal is nea dúdlik iepenbier makke en is fol geroften.\nDe 57-jierrige, dy't no yn Súd-Afrika wennet, waard arresteare nei't de lette presidint Robert Mugabe yn novimber 2017 waard ôfset yn in militêre steatsgreep.\nNo 4 jier nei de omkearing fan 'e regearing fan Mzembi, is hy einlings yn Simbabwe troch de Hege Rie skjinmakke, wat oanjout dat de eardere minister fan toerisme Walter Mzembi' hannen "sa wyt bliuwe as snie." Hy waard ferwidere fan alle beskuldigingen oer korrupsje.\nOanklagers beskuldigen him en fjouwer oaren, wêrûnder de doetiidske sekretaris foar toerisme Magret Mukahanana Sangarwe fan it konvertearjen nei eigen gebrûk fjouwer Ford Ranger-auto's kocht foar gebrûk yn 'e planning en tidens de konferinsje fan' e World Nations Organization fan 'e Feriene Naasjes, hoste troch Simbabwe yn 2013.\nFerfolgens tsjinne oanklager-generaal Kumbirai Hodzi in oanfraach fan 'e heule rjochtbank oan om de ferlizzing fan' e auto's te sykjen, dy't hy sei dat se oan 'e ein fan' e UNWTO-konferinsje oan 'e minister fan toerisme soene wêze moatte.\nMar justysje David Mangota fan it Heechgerjochtshôf yn Harare, yn in oardiel dat dizze wike beskikber steld waard, oardiele dat de oanklager-generaal gjin ridlik belang hie yn 'e auto's dy't "nea it eigendom fan' e regearing" wiene en feitlik eigendom wiene fan in fertrouwen dat in mandaat om bestean te bliuwen lang neidat it UNWTO-barren foarby wie.\nDe rjochter oardiele: "De ferklearring fan 'e oanklager-generaal, dat is fan doel dat de respondinten de regearingproseduere hawwe skeind doe't se de motorvoertuigen net oerjoegen oan it ministearje fan toerisme en horeka nei de konferinsje, is lestich te begripen, lit stean akseptearje ...\n"Hy siteart de sirkulêre, regeljouwing, regel as wet net wêr't hy op oanstiet dat de respondinten har moatte foldwaan hawwe. Hy produseart gjin bewiis dat de bewearing stipet dat de respondinten de motorauto's nei it barren moasten oerjaan. "\nMangota sei dat it dúdlik wie út 'e fertrouwenakte dat de regearing donaasjes oan it fertrouwen dúdlik skiede woe fan it ministearje foar toerisme. It fertrouwen - dat acht trustees hie - soe fûnsen ûntfange en útbetelje as tarieding op 'e konferinsje, bliuwt nei de konferinsje op syn plak en behâldt it residu fan alle donaasjes dy't it sammele foar de konferinsje om as reservoir te tsjinjen foar it folgjen fan it fertrouwen fan takomstige aktiviteiten dy't binne besibbe oan toerisme en gastfrijens, konstatearre de rjochter.\n“It wie eins nea de bedoeling fan 'e regearing om it fertrouwen te ûntbinen oan' e ein fan 'e konferinsje. It wie ek net de bedoeling om donaasjes dy't it krige as tarieding op 'e konferinsje te hawwen oer te jaan oan' e regearing nei it barren. It liket eins de bedoeling te wêzen fan 'e oanklager-generaal om it fertrouwen fan har motorauto's te stripen,' sei de rjochter.\nMangota sei dat it "lestich wie om goed te meitsjen, lit stean akseptearje" Hodzi's "ûngelokkige" beslút om Mzembi en de oaren dy't begunstigden fan it fertrouwen binne te bestimmen as "dieven" doe't "hy har sabeare ûngeunstige gedrach net koe bewize."\nMangota foege ta: "De respondinten hawwe, it is evident, gjinien it guod stellen. Har gebrûk fan 'e auto's nei de konferinsje is nearne by de misdied fan stellerij as stellerij fan fertrouwenbesit. Se lieten de motorauto's registrearje bliuwe yn 'e namme fan it fertrouwen dat se hat. Harren gedrach is net konsistint mei dat fan in dief. De eleminten fan stellerij besteane hielendal net ...\n"Oer de objektive analyze fan 'e omstannichheden fan dizze oanfraach kin der dus net sein wurde dat gjin ien fan' e respondinten in misdriuw hat begien. It gedrach fan elk fan har is goed boppe board. Gjin elemint fan in misdriuw hechtet oan ien fan har. Harren hannen bliuwe sa wyt as snie. Se binne skjin. De oanfraach wurdt, yn it resultaat, ûntslein mei kosten. ”\nFoardat ferfolgingsprosedueres ferfolge, foel de oanklager-generaal strafrjochtlike oanklachten ôf tsjin Mzembi, Sangarwe, Sussana Makome Kuhudzayi, Aaron Dzingira Mushoriwa en Gray Hama. Neffens justysje Mangota 'hie hy gjin oare opsje dan werom te lûken lykas hy wiis die.'


Struiwein sjit los by Broek | Omrop Fryslân (advertinsje)\nStruiwein sjit los by Broek 02 jul 2008 - 09:55\nTwa fytsers út de Jouwer binne tiisdei ferwûne rekke, doe't se by Broek oanriden waarden troch in karre. Dy siet achter in trekker, mar skeat los en fleach it fytspaad oer. Dêr waarden in 72-jierrige man en in 68-jierrige frou rekke, de fytsers fûlen dêrby. Se binne mei ûnbekende ferwûnings oerbrocht nei it sikehûs. De plysje ûndersiket hoe't it ûngelok gebeure koe. De sjauffeur fan de trekker wie dwaande mei it struien fan sân.\nKorreksje meldeTrefwurden: argyfLês foarView the discussion thread.Diel dit berjocht op: 02-07Zuiverloon ferlit Hearrenfean 02-07Ljouwert moat monuminten toane Besjoch ek...


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04:33 PM on 11/16/12#1pillbox remedyRegistered UserOfflineUser Info.wow. impressive! pillbox remedyView Public ProfileSend Private MessageWrite on WallView All Posts in ThreadInside AP.net View Profile Picture View Signature Posts: 41VitalsJoined: Jun 2010Location: san diegoMale


GameFAQs User Profile: IksarMonk\nGameFAQs User Profile: IksarMonkMore about IksarMonkProfileBoardsAnswersMy GamesOwnedPlayedRated\nBoard User InformationUser NameIksarMonkUser ID3602445Board User Level35: IdolAwarded to users with at least 1500 Karma. Account CreatedSaturday, June 10, 2006 8:04 AMLast VisitSunday, May 29, 2016 10:06 AMSignaturePSN: Seepuh (ESO V16 AD Mag. Templar) PVE focusGM for AFK Our massive NA trade guild across all alliancesKarma1768Active Messages Posted119


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Ralph Arthur Roberts - Wikipedia\nIn addition, he played several supporting rôles in films. Wearing a monocle was part of his image, and in film he generally played men of substance: directors and industrialists. He is remembered especially for his tendency to portray characters as more or less eccentric, which rose to ironic self-commentary in rôles such as the public prosecutor in Der Maulkorb (in which according to his relative and biographer Hansjoachim Schönherr he proved himself "one of the best character actors of his generation") and King Charles X of France in Tanz auf dem Vulkan (de).\n1928: Der Raub der Sabinerinnen (1928)\n1930/31: Der wahre Jakob\n1931: Hurrah - ein Junge!\n1931: So 'n Windhund\n1933/34: Abenteuer im Südexpreß\n1938: Tanz auf dem Vulkan (de)\n1934: Spiel mit dem Feuer (Director, co-scripted)\nRalph Arthur Roberts on Internet Movie Database\nBNF: cb136117109 (data)\nRetrieved from "https://en.wikipedia.org/w/index.php?title=Ralph_Arthur_Roberts&oldid=783478663"\tCategories: 1884 births1940 deathsPeople from MeeranePeople from the Kingdom of SaxonyGerman male film actorsGerman male silent film actors20th-century German male actorsHidden categories: Articles with German-language external linksPages using infobox person with unknown parametersArticles with hCardsInterlanguage link template link numberWikipedia articles with VIAF identifiersWikipedia articles with LCCN identifiersWikipedia articles with GND identifiersWikipedia articles with BNF identifiersPages using ISBN magic links\tNavigation menu\nDeutschEspañolSvenska\tEdit links\tThis page was last edited on 2 June 2017, at 15:43.


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