Junior gold forum. White gold puzzle rings.
Junior Gold Forum
- a third-year undergraduate
- Of, for, or denoting young or younger people
- Of or for students in the third year of a course lasting four years in college or high school
- Denoting the younger of two who have the same name in a family, esp. a son as distinct from his father
- younger; lower in rank; shorter in length of tenure or service
- term of address for a disrespectful and annoying male; “look here, junior, it’s none of your business”
- A court or tribunal
- Forum is an album by Australian guitar pop group Invertigo. The album was released in 2001 with some songs (such as “Desensitised” and “Chances Are”) recorded in 2000.
- a public meeting or assembly for open discussion
- Forum is a Bangladeshi English language monthly current affairs magazine. Founded in 1969 in the then East Pakistan (present day Bangladesh) by human rights activist Hameeda Hossain and economist Rehman Sobhan, the magazine became renowned for its outspoken content advocating democracy and
- A place, meeting, or medium where ideas and views on a particular issue can be exchanged
- (in an ancient Roman city) A public square or marketplace used for judicial and other business
- made from or covered with gold; “gold coins”; “the gold dome of the Capitol”; “the golden calf”; “gilded icons”
- A yellow precious metal, the chemical element of atomic number 79, valued esp. for use in jewelry and decoration, and to guarantee the value of currencies
- An alloy of this
- coins made of gold
- amber: a deep yellow color; “an amber light illuminated the room”; “he admired the gold of her hair”
- A deep lustrous yellow or yellow-brown color
junior gold forum – Gibson Les
The introduction of the Les Paul Model in 1952 provided the fundamental template for the design of what would eventually become the most revered stringed instrument in the world. Today’s Les Paul Custom is based on the model from the mid-1950s, but with several modern appointments.
The Incomparable Les Paul Custom Guitar
Powerful 490R and 498T pickups and Nashville Tune-o-matic bridge and stopbar tailpiece.
22-fret ebony fingerboard outfitted with figured acrylic block inlays.
The introduction of the Les Paul Model in 1952 provided the fundamental template for the design of what would eventually become the most revered stringed instrument in the world. Yet Gibson president Ted McCarty and the guitar’s namesake, Les Paul, also sought to introduce a “deluxe” version of the soon-to-be iconic model. The final design for the new Les Paul Custom was completed in early 1954, and the guitar made its official debut at the Chicago NAMM show in July 1954.
Initially, the goal had been to introduce the “deluxe” version in conjunction with the original 1952 Les Paul, yet Gibson’s drive to achieve excellence resulted in several unexpected delays. The final product, however, would eventually become Gibson’s top model in the original Les Paul line.
The ‘Fretless Wonder’
The first version of the Les Paul Custom was nicknamed the “Fretless Wonder” for its low frets and “Black Beauty” for its rich, contrasting ebony color. It was also introduced at the same time as the Gibson Les Paul Junior and represented the ultimate in Gibson solid body design at the time, with an original price tag of just $325, which was $100 more than the regular Les Paul Model.
Aside from its obvious visual enhancements, the Les Paul Custom was the first Gibson guitar to offer the revolutionary ABR-1 Bridge, which was invented by McCarty. This pioneering achievement was a true revelation in intonation and remains one of the most revered and copied pieces of guitar hardware ever developed, setting a standard for simplicity and functionality that has never been bettered.
Other standard appointments included a thicker body design and seven-ply body binding on both the front and back of the guitar, along with a multi-bound headstock that featured a prominent five-piece split diamond patterned inlay of genuine mother of pearl–a design that still graces every Les Paul Custom made today.
Today’s Les Paul Custom is based on the model from the mid-1950s, but with several modern appointments. The body of the guitar is crafted with a hand-carved maple top, which is then fitted to a body made from a solid piece of mahogany with strategically routed holes to lessen the weight of the guitar, resulting in a Les Paul with enhanced acoustic qualities and improved resonance. The 24-3/4 inch scale length neck is also made from one solid piece of mahogany then topped by a 22-fret ebony fingerboard outfitted with figured acrylic block inlays, and given Gibson’s traditional rounded profile. The pickups are Gibson’s 490R in the neck position, which offers the tonal characteristics of the original PAFs, and the 498T in the bridge position, which swaps the 490R’s Alnico II magnet for an Alnico V, thus making it slightly hotter with emphasis on mid-ranges and highs.
Other appointments include Gibson’s legendary Nashville Tune-o-matic bridge and stopbar tailpiece, metal tulip tuners, multi-ply white and black binding on both the top and back, gold hardware, and a 1 11/16″ nut width. The Les Paul Custom is available in Antique White, Ebony, Heritage Cherry Sun Burst, Wine Red and Silver Burst, and each guitar comes with the standard Gibson Custom case, custom care kit, and certificate of authenticity.
Applying a nitrocellulose finish to any Gibson guitar is one of the most labor-intensive elements of the guitar-making process. A properly applied nitro finish requires extensive man hours, several evenly applied coats, and an exorbitant amount of drying time. But this fact has never swayed Gibson into changing this time-tested method, employed ever since the first Gibson guitar was swathed with lacquer back in 1894. Why? For starters, a nitro finish dries to a much thinner coat than a polyurethane finish, which means there is less interference with the natural vibration of the instrument, allowing for a purer tone. A nitro finish is also a softer finish, which makes it easily repairable. You can touch up a scratch or ding on a nitro finish, but you can’t do the same on a poly finish. In addition, a nitro finish is very porous in nature, and actually gets thinner over time. It does not “seal” wood in an airtight shell–as a poly finish does–and allows the wood to breathe and age properly.
All VOS (Vintage Original Spec) series guitars will use a proprietary process that includes unique steps for staining, wet-sanding, and hand-rubbing; subsequently the guitars reflect what a well-cared for 40-year-old guitar looks like. The result is a remarkable patina that will delight even the most discriminating enthusiast.
LAS CALLES DE SAN FRANCISCO
* 1 Primeros anos de vida
o 1.1 Juventud
o 1.2 Traslado a los Estados Unidos
* 2 Carrera de culturista
o 2.1 Mr. Olympia
o 2.2 Uso de esteroides
* 3 Carrera de actor
o 3.1 Doblaje
* 4 Carrera politica
o 4.1 Comienzos
o 4.2 Gobernador de California
+ 4.2.1 Elecciones
* 5 Vida personal
* 6 Negocios
o 6.1 Planet Hollywood
o 6.2 Ganancias netas
* 7 Filmografia
* 8 Titulos de halterofilia y culturismo
* 9 Premios Cinematograficos
o 9.1 Globos de Oro
* 10 Referencias
* 11 Enlaces externos
[editar] Primeros anos de vida
Arnold Schwarzenegger nacio en Thal, una pequena ciudad cercana a Graz, capital de Estiria, Austria, y fue bautizado bajo el nombre de Arnold Alois Schwarzenegger. Sus padres eran Aurelia Jadrny (1922-1998) y el jefe de policia local Gustav Schwarzenegger (1907-1972) quienes se casaron el 20 de octubre de 1945; Gustav tenia 38 anos y Aurelia era una viuda de 23 anos con un hijo llamado Meinhard. Segun Schwarzenegger sus padres eran "muy estrictos": "Alla en Austria era un mundo completamente diferente, si haciamos algo malo o desobedeciamos a nuestros padres los castigos no faltaban." Arnold crecio en el seno de una familia catolica que asistia a misa todos los domingos.
Antes de dedicarse al fisicoculturismo (empezo a la edad de 15 anos), jugaba al futbol, practicaba boxeo y hacia atletismo, todo a nivel local, hasta que llego el dia en que le advirtio a sus padres que "queria ser el mas fuerte del mundo".
Gustav tenia preferencia por Meinhard, el mayor de los dos hermanos. Su favoritismo era evidente lo que provoco fuertes rumores de que Arnold no era su hijo. Schwarzenegger dijo sobre su padre: "No tenia paciencia para escuchar o entender tus problemas … existia un muro, uno de verdad." Schwarzenegger tenia una buena relacion con su madre y mantuvo el contacto con ella hasta su muerte. Tiempo mas tarde Schwarzenegger encargaria al Centro Simon Wiesenthal que investigara el registro militar de su padre, en el cual no aparecio ninguna atrocidad, pese a que Gustav era miembro del partido nazi y de la Sturmabteilung. En la escuela, Schwarzenegger era un estudiante medio, pero destacaba por su “alegria y buen humor". El dinero era un problema en su casa, Schwarzenegger recuerda como uno de los momentos importantes de su infancia cuando la familia pudo comprar un frigorifico.
De nino, Schwarzenegger practicaba muchos deportes influenciado por su padre. Cogio su primera pesa en 1960, cuando su entrenador de futbol lo llevo a un gimnasio. A la edad de catorce anos, Schwarzenegger escogio culturismo en lugar de futbol.  Schwarzenegger respondio lo siguiente a una pregunta de a que edad comenzo a levantar pesas: "Empece el entrenamiento con pesas a la edad de quince anos, pero habia estado participando en deportes como futbol, durante anos, asi que aunque era delgado, estaba bastante bien desarrollado, o al menos lo suficiente para poder ir al gimnasio y comenzar con halterofilia." Sin embargo su pagina web oficial dice: “A los catorce, comenzo un intenso programa de entrenamiento con Dan Farmer, estudio psicologia a los quince (para aprender mas sobre el poder de la mente sobre el cuerpo) y a los diecisiete comenzo su carrera en las competiciones." Durante unas conferencias en 2001 dijo: "Me forme mi propio plan con catorce anos. Mi padre queria que fuera un policia como el. Mi madre queria que estudiara formacion profesional." Schwarzenegger comenzo a ir a un gimnasio en Graz, donde tambien iba al cine local para ver a profesionales del culturismo como Reg Park, Steve Reeves o Johnny Weissmuller. "Fui inspirado por personas como Reg Park y Steve Reeves." Cuando Reeves murio en 2000, Schwarzenegger lo recordaba con carino: "Como adolescente, creci con Steve Reeves. Sus importantes logros me permitieron creer en lo que era posible incluso cuando otros a mi alrededor no siempre comprendian mis suenos… Steve Reeves ha sido parte de todo lo que he tenido la fortuna de conseguir." En 1961, Schwarzenegger conocio al antiguo Mr. Austria Kurt Marnul, quien le invito a entrenar con el en el gimnasio de Graz. Era un joven tan aplicado que era conocido por colarse en el gimnasio incluso en fin de semana, cuando estaba cerrado. "Me ponia malo faltar a un entrenamiento… A la manana siguiente no podia mirarme en el espejo." Cuando Schwarzenegger fue preguntado por su primer
Prof. John Pollini working with the Augustan Ara Pacis
B.A. Classics, University of Washington, 1/1968
M.A. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1973
Ph.D. Ancient History and Mediterranean Archaeology, UC Berkeley, 1/1978
Academic Appointment, Affiliation, and Employment History
Professor, Department of Art History (Adjunct Professor for Department of Classics and Department of History), University of Southern California, 1991-
Dean of the School of Fine Arts, University of Southern California, 1993-1996
Chairman of the Department of Art History, University of Southern California, 1990-1993
Associate Professor, Department of Art History and Department of Classics (adjunct appointment), University of Southern California, 1987-1991
Assistant Professor, Department of Classics, Johns Hopkins University, 1980-1987
Curator, Johns Hopkins University Archaeological Museum, 1980-1987
Visiting Assistant Professor, Department of Classics, Johns Hopkins University, 1979-1980
Mellon Postdoctoral Fellow, Department of Classics, Case Western Reserve University, 1978-1979
Description of Research
Summary Statement of Research Interests
Professor Pollini’s research is concerned with methodologies of classical art and archaeology, ancient history, classical philology, epigraphy and numismatics. His other scholarly research interests include ancient religion, mythology, narratology, rhetoric and propaganda. Over the years Professor Pollini has excavated at the Greco-Roman site of Aphrodisias, Turkey, and the Etruscan site of Ghiaccio Forte, Italy, and participated in the underwater survey of the port of Tarquinia (Gravisca), Italy. Trained in the methodologies of classical art & archaeology, ancient history, classical philology, epigraphy, and numismatics, Professor Pollini is committed to interdisciplinary teaching and research. Professor Pollini has lectured widely both in the United States and abroad. He has published numerous articles and authored several books.
Classical Art and Archaeology
Honors and Awards
Elected Life Member, German Archaeological Association, 2000-
American Council of Learned Societies Fellowship, awarded for second time, 2006-2007
Guggenheim Fellowship, deferred until 2007-2008, 2006-2007
Whitehead Professor at the American School of Classical Studies at Athens (Honorific Appointment), 9/1/2006-6/1/2007
Departmental Nominee for University Associates Award for Excellence in Teaching 2002, 2002-2005
Mellon Foundation Award for Excellence in Mentoring, 2004-2005
Departmental Nominee for University Associates Award for Excellence in Teaching 1998, 1998-2001
National Endowment for the Humanities Fellowship, awarded for second time, 1995-1996
American Council of Learned Societies Fellowship, 1987-1988
National Endowment for the Humanities Fellowship, 1983-1984
Mellon Postdoctoral Fellowship, 1978-1979
Fulbright Award, Fellowship to Italy, 1975-1976
Department of Art History
Von Kleinsmid Center 351 University of Southern California
Los Angeles, CA 90089-0047
Professor of Classical Art and Archaeology, Department of Art History
Joint Professor, Department of History
Adjunct Professor, Department of Classics
President, Classical Archaeological Association of Southern California (CAASC)
Ph. D. Ancient History and Mediterranean Archaeology, University of California at
Berkeley (1978) (interdisciplinary program involving the Departments of Art History,
Classics, and History; major field: Etruscan and Roman Art and Archaeology; minor
fields: Greek Art and Archaeology and Roman History; Ph.D. equivalency exams in
ancient Greek and Latin) [Diss.: Studies in Augustan “Historical” Reliefs]
M.A. Ancient History and Mediterranean Archaeology, University of California at
Berkeley (l973) [MA Thesis: Two Marble Portrait Statues of Pugilists from Carian
Aphrodisias: Iconography and Third Century A.D. Sculptural Traditions in the Roman
B.A. magna cum laude, Classics, University of Washington (1968)
POSTDOCTORAL ACADEMIC APPOINTMENTS
Dean of the School of Fine Arts, University of Southern California, with administrative,
budgetary, and fund-raising responsibilities (1993-1996)
Chairman of the Department of Art History, University of Southern California
Full Professor, University of Southern California, Department of Art History
(1991-present), with joint appointment in the Department of History and adjunct
appointment in the Department of Classics
junior gold forum
Arnold Schwarzenegger as a pregnant man? The Terminator with cramps and morning sickness? That was all the teasing audiences needed to flock to this 1994 farce, which reunited Arnold with his director and costar from Twins, Ivan Reitman and Danny De Vito. Reitman had also directed the Austrian muscleman in Kindergarten Cop, and they brought the same breezy quality of those earlier films to this enjoyable fluff, in which Arnold plays a scientist who uses his own body to test a revolutionary new fertility drug. His colleague De Vito talks him into the experiment, which succeeds beyond their wildest expectations when Arnold begins a full-term pregnancy. Emma Thompson offers a wealth of comedic support as the biologist who moves into Schwarzenegger’s lab while he’s coping with his “maternal” condition, and Pamela Reed (who was also in Kindergarten Cop) adds to the fun as De Vito’s pregnant ex-wife. What’s surprising about this mainstream hit is not that it makes the most of its absurd premise, but that it’s also sweetly heartwarming in its treatment of role reversal and the joys and pains of pregnancy. It’s a good-natured vehicle for a different side of Schwarzenegger’s star appeal, and the fact that it works at all is a tribute to Reitman and his cleverly talented cast. –Jeff Shannon