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Fantastic Prelaunch FILA ÚNICA a nível mundial



EMPRESA com mais de 50 anos de experiencia em MMN e que se encontra em fase de Pré lançamento, sendo que seu lançamento Oficial será no dia 11 de Março. Faça parte desta deste momento. Comece a construir a sua rede agora! Cadastre-se para segurar sua posição neste diferenciado binário.

http://nobresganham.blogspot.com.br/2013/02/fantastico-lancamento.html
Faça parte desta rede. Construa sua equipe agora!
http://www.fantasticprelaunch.com/nobres
O momento é perfeito e será oferecida a oportunidade de tomar uma posição privilegiada dentro desta empresa.

Você será capaz de utilizar o exclusivo sistema da empresa para construir a sua equipe. Não importa em que pais você mora ou está, este sistema irá trabalhar por você.

Você vai precisar de apenas dois indicados diretos para já sair ganhando U$ 4000,00. Então, porque esperar? Aproveite e pegue a FILA ÚNICA a nível mundial a exemplo da Fantastic Prelaunch.

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Suspense: The Brighton Strangler / A Thing of Beauty / I Had an Alibi



The program’s heyday was in the early 1950s, when radio actor, producer and director Elliott Lewis took over (still during the Wilcox/Autolite run). Here the material reached new levels of sophistication. The writing was taut, and the casting, which had always been a strong point of the series (featuring such film stars as Orson Welles, Joseph Cotten, Henry Fonda, Humphrey Bogart, Judy Garland, Ronald Colman, Marlene Dietrich, Eve McVeagh, Lena Horne, and Cary Grant), took an unexpected turn when Lewis expanded the repertory to include many of radio’s famous drama and comedy stars — often playing against type — such as Jack Benny. Jim and Marian Jordan of Fibber McGee and Molly were heard in the episode, “Backseat Driver,” which originally aired February 3, 1949.

The highest production values enhanced Suspense, and many of the shows retain their power to grip and entertain. At the time he took over Suspense, Lewis was familiar to radio fans for playing Frankie Remley, the wastrel guitar-playing sidekick to Phil Harris in The Phil Harris-Alice Faye Show. On the May 10, 1951 Suspense, Lewis reversed the roles with “Death on My Hands”: A bandleader (Harris) is horrified when an autograph-seeking fan accidentally shoots herself and dies in his hotel room, and a vocalist (Faye) tries to help him as the townfolk call for vigilante justice against him.

With the rise of television and the departures of Lewis and Autolite, subsequent producers (Antony Ellis, William N. Robson and others) struggled to maintain the series despite shrinking budgets, the availability of fewer name actors, and listenership decline. To save money, the program frequently used scripts first broadcast by another noteworthy CBS anthology, Escape. In addition to these tales of exotic adventure, Suspense expanded its repertoire to include more science fiction and supernatural content. By the end of its run, the series was remaking scripts from the long-canceled program The Mysterious Traveler. A time travel tale like Robert Arthur’s “The Man Who Went Back to Save Lincoln” or a thriller about a death ray-wielding mad scientist would alternate with more run-of-the-mill crime dramas.

http://en.wikipedia.org/wiki/Suspense_%28radio_drama%29

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Inside OKCupid: The math of online dating – Christian Rudder



View full lesson: http://ed.ted.com/lessons/inside-okcupid-the-math-of-online-dating-christian-rudder

When two people join a dating website, they are matched according to shared interests and how they answer a number of personal questions. But how do sites calculate the likelihood of a successful relationship? Christian Rudder, one of the founders of popular dating site OKCupid, details the algorithm behind ‘hitting it off.’

Lesson by Christian Rudder, animation by TED-Ed.

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