School Of The Arts

School Of The Arts

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T Lavitz – Piano;
Frank Gambale – Acoustic Guitar;
Steve Morse – Acoustic Guitar;
Jerry Goodman – Violin;
John Patitucci – Acoustic and Electric Bass ;
Dave Weckl – Drums and Percussion

Cutting-edge compositions, beautiful sinuous melodies, and massive chops make School of the Arts (SOTA) a truly rare confluence of influences and musical styles, pushing jazz and jazz-fusion into another dimension.

The brainchild of keyboardist extraordinaire T Lavitz (Dixie Dregs, Jazz Is Dead), SOTA culls the supreme talents of such fusion and progressive instrumental music heavyweights as drummer Dave Weckl (Chick Corea) bassist John Patitucci (Corea, Herbie Hancock, Wayne Shorter), guitarist Frank Gambale (Corea, Vital Information), electric violinist Jerry Goodman of Mahavishnu Orchestra, Shadowfax, and Dixie Dregs fame, and T s longtime friend, Dregs mastermind, and Magna Carta label mate, monster axeman Steve Morse.
School of the Arts is different from every album I ve ever done as a leader, says Lavitz

With SOTA, Lavitz (with four decades experience in the music biz having played with such wide-ranging musicians as Widespread Panic, Bill Bruford, Billy Cobham, Nils Lofgren, Pat Benatar, Jefferson Starship, Mother s Finest, Dave Fiuczynski, Peter Himmelman, Dennis Chambers, Jeff Berlin, and Scott Henderson) is top dog, playing acoustic piano (an instrument close to his heart), and composing most of the material for the band s debut.

Underscoring Lavitz s empathy and musical instincts, is the keyboardist s ability to spearhead and hold together the SOTA project, despite each member s busy schedule: Morse is constantly touring with Deep Purple (occasionally with the Dregs); Jerry Goodman is an in-demand electric violin trailblazer; Patitucci and Weckl crisscross the globe with various artists and solo work; and likewise for Gambale, who recently finished a tour with Billy Cobham.

The music is definitely interactive, Lavitz says. When I take a solo, there s Frank Gambale answering me, like something you d hear on a gig.

Case in point: the Afro-Latin acoustic jazz tune Gambashwari. Sinewy guitar and piano chords/notes weave around one another in syncopated patterns, stating main, contra and counterpoint melodies. It s breezy, not cheesy, jazz — the kind that possesses sophistication without being elitist, boring or unlistenable. It s utterly infectious jazz-fusion with aspirations toward chamber or classical music, with rock s reckless abandon simmering just under the surface.

Other tracks include, High Falutin Blues (an appropriate title for a song that crosses the boundaries of country, blues, and jazz), Like This (listen as Weckl locks into Patitucci s sparse bass line all the while commenting on Goodman s and T s jazzy/bluegrass-esque soloing acrobatics), and Teaser (a Chick Corea-style acoustic rocker, complete with trill-filled piano performances, blanketed by Weckl s silky stream of beats). Dave Weckl laid down some of the best drum tracks I ve heard in a while, Lavitz says.

Despite the obvious and some might say inevitable chops heard on this record, the high level of musicianship never detracts from the overall flow of the compositions. In fact, the record has a ring of newfound freedom; of a songwriter allowed to spread his compositional wings, which recalls the artistic creativity and motivation that drove Lavitz to create his 1986 solo debut, Storytime an album produced in the wake of a Dregs breakup. I am very excited about this, because not only did I get to write the bulk of the music, but I produced, played and played only acoustic, says Lavitz. While it has elements from other recordings I’ve done, it seems, at least to me, to stand out as being very different.



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Bob Ross Oil Painting Technique – Frequently Asked Questions


The following is a list of frequently asked questions about the BOB ROSS Oil Painting Technique and some instruction about the use and care of the materials.

BLENDING:

This technique refers to the softening of hard edges and most visible brush strokes by blending the wet oil paint on the canvas with a clean, dry brush. In blending, an already painted area is brushed very lightly with criss-cross strokes or by gently tapping with the corner of the brush. This gives colors a soft and natural appearance. Not all oil paints are suitable for this technique – most are too soft and tend to smear. Only a thick, firm paint is suitable for this technique.

MARBLING:

To mix paints to a marbled effect, place the different colored paints on the mixing area of your palette and use your palette knife to pick up and fold the paints together, then pull flat. Streaks of each color should be visible in the mixture. Do not over mix.

THINNING PAINTS FOR ADDING HIGHLIGHTS:

When mixing paints for application over thicker paints already on the canvas, especially when adding highlight colors, thin the paint with LIQUID WHITE, LIQUID CLEAR or ODORLESS THINNER. The rule to remember here is that a thin paint will stick to a thicker paint.

CLEANING AND DRYING THE BRUSHES:

Painting with the wet on wet technique requires frequent and thorough cleaning of your brushes with paint thinner. An empty one pound coffee can is ideal to hold the thinner, or use any container approximately 5″ in diameter and at-least 6″ deep. Place a Bob Ross Screen in the bottom of the can and fill with odorless thinner approximately 1″ above the screen. Scrub the brushes bristles against the screen to remove paint sediments which will settle on the bottom of the can.

Dry your larger brushes by carefully squeezing them against the inside of the coffee can, then slapping the bristles against a brush beater rack mounted inside of a tall kitchen trash basket to remove the remainder of the thinner. Smaller brushes can be cleaned by wiping them with paper towel or a rag (I highly recommend using Viva paper towels because they are very absorbent). Do not return the brushes to their plastic bags after use, this will cause the bristles to become limp. Never clean your Bob Ross brushes with soap and water or detergent as this will destroy the natural strength of the bristles. Store your brushes with bristles up or lying flat.

APPLYING LIQUID WHITE:

Use the 2″ brush with long, firm vertical and horizontal strokes across the canvas. The coat of Liquid WHITE should be very, very thin and even. Apply just before you begin to paint. Do not allow the paint to dry before you begin.

PLACEMENT OF OIL COLORS ON THE PALETTE:

I suggest using a palette at least 16″x20″ in size. Try arranging the colors around the outer edge of your palette from light to dark. Leave the center of the palette for mixing your paints.

LOADING YOUR BRUSH:

To fully load the inside bristles of your brush first hold it perpendicular to the palette and work the bristles into the pile of paint. Then holding the brush at a 45 degree angle, drag the brush across your palette and away from the pile of paint. Flipping your brush from side to side will insure both sides will be loaded evenly.

(NOTE: When the bristles come to a chiseled or sharp flat edge, the brush is loaded correctly.)

For some strokes you may want the end of your brush to be rounded. To do this, stand the brush vertically on the palette. Firmly pull toward you working the brush in one direction. Lift off the palette with each stroke. This will tend to round off the end of the brush, paint with the rounded end up.

MIXING FOR HIGHLIGHTS:

Place the tip of your brush into the can of LIQUID WHITE, LIQUID CLEAR or ODORLESS THINNER allow only a small amount of medium to remain on the bristles. Load your brush by gently dragging it through the highlight colors, repeat as needed. Gently tap the bristles against the palette just enough to open up the bristles and loosen the paint.

LOADING THE PALETTE KNIFE:

With your palette knife, pull the mixture of paint in a thin layer down across the palette. Holding your knife in a straight upward position, pull the long working edge of your knife diagonally across the paint. This will create a roll of paint on your knife.

WHAT IF I HAVE NEVER PAINTED BEFORE?

There are no great mysteries to painting. You need only the desire, a few basic techniques and a little practice. lf you are new to this technique, I strongly suggest that you read the entire section on “TIPS AND TECHNIQUES” prior to starting your first painting. Consider each painting you create as a learning experience. Add your own special touch and ideas to each painting you do and your confidence as well as your ability will increase at an unbelievable rate.

WHAT PAINT SHOULD I USE?

The BOB ROSS technique of painting is dependent upon a special firm oil paint for the base colors. Colors that are used primarily for highlights (Yellows) are manufactured to a thinner consistency for easier mixing and application. The use of proper equipment helps assure the best possible results.

Liquid Clear is a particularly exciting ingredient for wet-on-wet painting. Like Liquid White/Black, it creates the necessary smooth and slippery surface. Additionally, Liquid Clear has the advantage of not diluting the intensity of other colors especially the darks which are so important in painting seascapes. Remember to apply Liquid Clear very sparingly! The tendency is to apply larger amounts than necessary because it is so difficult to see.

13 colors we use are listed below:

*Alizarin Crimson

*Sap Green, Bright Red

*Dark Sienna

*Pthalo Green

Cadmium Yellow

Titanium White,

*Pthalo Blue,

*Indian Yellow

*Van Dyke

Brown

*Midnight Black

Yellow Ochre

*Prussian Blue
(*indicates colors that are transparent or semi-transparent and which may be used as under paints where transparency is required.)

HOW DO I MIX COLORS?

The mixing of colors can be one of the most rewarding and fun parts of painting, but may also be one of the most feared procedures. Devote some time to mixing various color combinations and become familiar with the basic color mixtures. Study the colors in nature and practice duplicating the colors you see around you each day. Within a very short time you will be so comfortable mixing colors that you will look forward to each painting as a new challenge.

SHOULD YOU USE JUST ANY ART PRODUCT FOR THIS METHOD OF PAINTING?

Possibly the #1 problem experienced by individuals when first attempting this technique and the major cause for disappointment revolves around the use of products designed for other styles of painting or materials not designed for artwork at all (i.e. house painting brushes, thin soupy paints, etc.).

All of the paintings for this technique were created using Bob Ross paints, brushes and palette knives. To achieve the best results from your efforts, I strongly recommend that you use only products designed specifically for use with the Bob Ross wet-on-wet technique.

HOW LONG WILL IT TAKE MY PAINTING TO DRY?

Drying time will vary depending on numerous factors such as heat, humidity, thickness of paint, painting surface, brand of paint used, mediums used with the paint, etc. Another factor is the individual colors used. Different colors have different drying times (i.e., normally Blue will dry very fast while colors like Red, White and Yellow are very slow drying). A good average time for an oil painting to dry, when painted in this technique, is approximately one week.

SHOULD I VARNISH MY PAINTINGS?

Varnishing a painting will protect it from the elements. It will also help to keep the colors more vibrant. lf you decide to varnish your painting, I suggested that you wait at least six months. It takes this long for an oil painting to be completely cured. Use a good quality, non-yellowing picture varnish spray. I personally spray my paintings after about 4 weeks and have not had any problems.

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Source by Gerald Scott

Reeves Metal Painting Knife No. 1

Reeves Metal Painting Knife No. 1

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These Painting and Palette knives are great for studio use. Each knife has a finished hardwood handle and the blades are extremely flexible for use in knife painting techniques. They are available individually or in packs.Each knife has a finished hardwood handle
The blades are extremely flexible for use in knife painting techniques
They are available individually or in packs



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Neuromuscular Physical Therapy – Megan’s Case Study


In studying Megan’s case history and symptoms, key moments and events stand out in her time line of pain and dysfunction. Nine years ago, after the birth of her second child, was the first time that Megan noticed that her left foot was slightly wider and longer than her right foot. The timing of this is relevant as during the course of her pregnancy a hormone called relaxin would have been released into her system to loosen the ligaments of her pelvis in anticipation of childbirth. However, relaxin can also loosen ligaments elsewhere in the body and a longer and wider left foot would indicate the collapse of the main arches of the foot due to ligament laxity. This is one of the turning points in Megan’s history that has had a detrimental effect on her health ever since. The relaxed ligaments may never have fully recovered their full stabilizing strength and when she developed a tired aching sensation in her left medial arch a few years later it was probably as a result of this. A fallen arch will lead to over pronation and this will in turn put the tibialis anterior and possibly tibialis posterior muscles under undue stress as they try to stabilize and counteract over pronation. Stressed or overwhelmed muscles will form trigger points (TPs) within them and for tibialis anterior this can refer pain anteromedially as it passes the retinaculum. TPs in the tibialis posterior will refer pain into the sole/arch of the foot. Over pronation will lead to shortened peroneus longus which will further inhibit the tibialis muscles which will further exacerbate the problem in a continuous vicious circle.

The whiplash injury experienced last year would also add to Megan’s problems and since then she has experienced occasional headaches and neck stiffness. The whiplash injury almost certainly would have affected her sub occipital muscles, sternocleidomastoids (SCM), scalene and other stabilizers of the neck and spine. This whiplash would lead to improper neck movement which in turn would lead to TPs in the SCM and possibly the longus colli on one side (left) possibly due to the leg length discrepancy. TPs here would leave these muscles in a shortened state resulting in rotation of the head to the right hand side. If the longus colli is involved it result in kinetic chain problems and affect the peroneals on the lateral aspect of the lower limb further exacerbating the fallen arch. With the peroneus longus muscles in such an unhealthy state it is possible that it could have an effect on the sacrotuberous ligament of the pelvis and its ability to hold the sacrum in position. Megan states that one day last year she felt a twinge in her right sacroiliac joint while assisting an obese client up from a supine position. She experienced locking/jamming and diffuse soft tissue pain in QLs, multifidis and shooting pain into her hip. The fact that she was locked into torso flexion to the right suggests that the QLs went into spasm on the right side after insult and as we find out later her sacral base is an inch high on the right and there is posterior rotation of the right ilium with resultant postural imbalance whereby 2/3rd of Megan’s weight is pressing down on her right side. This extra load and postural imbalance has led to shooting pain in the trochanteric region and referred pain on the lateral aspect of the thigh due to TPs in the weakened gluteus medius and iliotibial band issues due to the over worked tensor fasciae latae.

With all this pain getting to unbearable levels, Megan turned to prescription drugs, codeine based painkillers, antidepressants, Zoloft, anti inflammatory tablets all of which would have exacerbated her problems through time by building up toxins in her system. She was also whilst under the influence of painkillers probably injuring tissue by doing activities that she would not have done if she had her natural alarm system of pain stopping her. The elastic support belt and the taping would have made the situation worse by encouraging atrophy of supporting muscle tissue.

Megan’s right shoulder is lower than the left possibly due to shortened latissimus dorsi pulling on the humerus and inhibiting upper trapezius and hypertrophy of the pectoralis minor muscle pulling the scapula forward and down.

As we consider Megan’s problems, symptoms, and case history, we can appreciate that she is suffering abject pain and dysfunction up and down her functional kinetic chain. From the pain in the plantar fasciae, spastic peroneus longus, inhibited tibialis, medially rotated tibia, medial knee pain, lateral thigh pain, trochanteric pain, lumbo – sacral pelvic pain and dysfunction, posteriorally rotated right ilium, lower left anterior superior iliac spine, 2/3rd weight imbalance to right hand side, lower back pain with QLs and multifidis in a shortened state, latissimus dorsi, neck extensors and flexors all giving problems we have to ask the question as to which functional kinetic chain we are dealing with. In my opinion, considering all areas involved, it would be the spiral oblique chain.

Megan would have to be informed that her treatment will be extensive and prolonged because some issues have been there for a while and would involve neural retraining for the dysfunction and imbalances present.

  • Medical screening.
  • Case history.
  • Postural assessment.
  • ROM testing / neural testing.
  • All shortened and restricted muscles would have to be relaxed / lengthened with TP therapy, METs, positional release / strain- counterstrain.
  • Inhibited muscles would have to be fired and strengthened with tapotement, METs and strengthening exercises.
  • Any areas of bind would need STR, cross fiber friction etc.
  • A consideration would be referral for PCIs to address the pronating left foot initially with a plan to strengthen that area long term.
  • Megan’s nutrition was not mentioned but I would be referring her to a specialist in that field to ensure that she has no nutritional deficiencies that would hinder the healing process.

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Source by Charlie J Molloy

Safavieh Porcello Collection PRL6939B Modern Abstract Geometric Art Grey and Multi Area Rug (3′ x 5′)

Safavieh Porcello Collection PRL6939B Modern Abstract Geometric Art Grey and Multi Area Rug (3' x 5')

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The Safavieh Porcello Collection features fun colors and fetching designs, giving these beautiful rugs a creative style that’s sure to bring life to any room. The soft, polypropylene fibers provide a dense pile, designed to withstand high-traffic living rooms, dining spaces and hallways. These easy-to-care-for rugs offer a burst of sunshine wherever it’s placed. Use it to brighten up a living room, bedroom or office with casual elegance. .The high-quality polypropylene pile fiber adds durability and longevity to these rugs
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Radiance Art Collection Contemporary Modern Tree of Life Wool Area Rug, 5’2 x 7’3, Multicolor

Radiance Art Collection Contemporary Modern Tree of Life Wool Area Rug, 5'2 x 7'3, Multicolor

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Great Quality Wool Blend Rug. Brand New Collection – Light and Fun. 50% Wool/50% Heat set Olefin Twisted Yarn. No Fringe For Clean Design. Brand New – Made in Turkey. Stain Resistant.Brand New Collection – Light and Fun
50% Wool/50% Heat set Olefin Twisted Yarn
No Fringe For Clean Design
Brand New – Made in Turkey
Stain Resistant



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Why is Abstract Art So Popular?


Abstract art is popular because it has a purpose in this world both for the artist and the viewer. Many people collect abstract paintings to beautify their surroundings, as an investment, or to update their lives with contemporary culture. They often feel a connection with the colors, the forms, texture, or energy that the artwork gives off. The artwork changes their living space and creates an atmosphere worth living in.

For the artist, creating the artwork can be an expressive means to channel creative energy and emotion. The action of painting is actually considered therapy and very meditative for many abstract artists. The evidence of this has been documented to be especially true in today’s modern fast pace world.

Abstract art also covers a broad spectrum of painting styles. The general understanding is that this type of art does not depict anything in the natural world and the subject is simply a visual language of color and form. While this is true of non-representational works (which I love to create), this is simply not true for all abstract art out there. The word “abstract” means a departure from reality, but this departure can sometimes be only a slight one. This in-turn leaves room for partially abstract landscapes, figures, seascapes, etc. to be categorized as abstract art.

The beauty of abstract art, both for the artist and the viewer, is that anyone can take what they see and interpret it however they want. Of course this is true of any type of artwork, but considering the nature of abstract artwork, the creative mind has even more freedom to roam and interpret what is appearing before the senses. Abstract artwork is a non-traditional free art form that resonates with the feelings and emotions of today’s contemporary artists and art collectors. As long as this is true abstract art will continue to be so popular.

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Source by Jaison Cianelli

Mens Bonsai Tree T-Shirt – Zen Buddhist Japanese Gardening Art XL Grass

Mens Bonsai Tree T-Shirt - Zen Buddhist Japanese Gardening Art XL Grass

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Distressed design print. Bonsai tree growing fans are passionate about the art of Bonsai, proudly wear this hilarious tee if you love Bonsai gardening, or give it as a gift to that special person who loves to plant dwarf trees as a hobby.
Give to Zen Buddhists as a Great birthday or christmas gift, unique simple design representative of mindfulness.
Lightweight, Classic fit, Double-needle sleeve and bottom hem



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Baji Quan: A Hard and Powerful Martial Art


Baji quan, meaning open-gate eight-extremities, uses powerful short-range attacks, and is well-known for devastating elbow strikes. Originally from the Northern China Province of Hebei, it spread quickly to Taiwan, and other locations.

History

In its infancy, Baji quan was named bazi quan (rake fist), because practitioners held their fists slightly open and loosely, and struck downwards in a rake-like manner. It was later changed to baji quan, because the locals considered the former to be crude. The word baji is derived from the classic Chinese word Yijing, which means “extensions of all directions”; and translates as “the universe”, or “including everything.” The first known master was Wu Zhong, who lived around 1712. Other well-known masters include, Li Shuwen and Wu Xiufeng. Li Shuwen trained men like Huo Dian Ge, who was the body-guard for the last Emperor of China.

Baji quan’s history roots back to the Hebei martial art Piguazhang. Stories say Wu Zhong mastered both Baji quan and Piguazhang, and combined them into one effective martial art. Eventually the two art forms split entirely, and weren’t recombined until the late eighteenth century by Li Shuwen.

Branches

The branches that survived into modern times include:

· Han family Baji

· Huo family

· Ji family

· Li family

· Ma family

· Qiang family

· Wu family

· Wutang Baji Quan

· Yin Yang Baji Quan

Each branch has distinctive elements, along with many shared characteristics. Some lineages are only practiced in China, but others have made their way to the Western world.

Fighting Style and Form

A practitioner is trained to forcibly open an opponent’s arms, and mount an offensive against mid, high, and low body levels. It’s an effective close combat fighting style, because it emphasizes knee, elbow, hip, and shoulder strikes. While blocking, a student is trained to strike major body weak points, such as the neck, legs, and mid-section.

Forms are broken down into unarmed and armed routines. Twenty fist forms are used, including twelve Baji Small Structure Fists:

· Baji Black Tiger Fist

· Baji Dan Zhai

· Baji Dan Da/Dui Da

· Baji Luohan Gong

· Baji Si Lang Kuan

The eight weapon forms are:

· Spear, or Liu He Da Qiang

· Sword, or Chun Yang Jian

· Sabre, or San Yin Dao

· Staff, or Xing Zhe Bang

· Pudao

· A long two-handed blade, or Chun Qiu Da Dao (Mainly use by Generals)

Baji Power

Baji is a hard martial art that uses fist/arm punches, elbow strikes, shoulder strikes, and hip checks. All the maneuvers use short power, which is developed via hard, and long training sessions. It’s well-known for its quick movements, and emphasizes infighting, or coming in fast with a baji exclusive charging step, also known as zhen jiao. The effectiveness of baji is its power release methods (also known as “Jin”), which are explosive. Baji has six kinds of Jin, eight kinds of hitting methods, and multiple power usage principles. Most use a close range one-hit push-strike attack. The primary feature of baji is the momentary acceleration from the waist to the limb, culminating in a powerful charging step. Training is brutal, and focuses on lower body exercise, and strengthening the body for a strong horse stance.

The Bottom Line

Baji is a hard style martial art that’s mainly used in China; however, Wutang Baji is taught in western cultures. Its fast paced, taking the traditional kung fu quickness stereotype to its limit, as seen here. There are not a lot of masters in North America, however a quick search online will yield some results. If you’re looking for a martial art that is sparsely used in the West, uses super-fast attacks, and grueling training, Baji quan might be for you.

Modern Samurai Society – Standing United We Pack a Punch

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Source by Al Bargen

Death Wish Ground Coffee, The World’s Strongest Coffee, Fair Trade and USDA Certified Organic, 16 Ounce

Death Wish Ground Coffee, The World's Strongest Coffee, Fair Trade and USDA Certified Organic, 16 Ounce

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