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******* Professionnels et particuliers, vous voulez vous lancer dans un nouveau projet ? Pascal Dolo vous conseille et vous accompagne dans votre démarche ! Spécialiste de l’ingénierie financière sur Odos, Pascal Dolo vous suit tout au long de votre projet, et vous aide à tracer les clés de son succès. Parce que la réussite passe d’abord par une bonne gestion financière et un bon patrimoniale, Pascal Dolo deviendra votre référence en ingénierie financière sur Odos.
21 Dec 2011
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« Created by: Frozenberry Star Trek Deep Space Nine. A really good music video with a high pace. Good music is used and some wonderful scenes. I love this video, and I know you do too. Enjoy! download at: ******* » Originally posted on YouTube by smierlo
28 Aug 2009
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A night out at Attiki Odos in Greece. One of the highways we do some top speeding up with the M6 reaching 340km/h. Just to see how crazy we Greeks are! Cops are welcome to put us in jail...
26 Jul 2006
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IDIOTS haaaaa mate this is hileriouse watch and see for ur self as stupid people odo stupid thing and pay the stupid consiquencees weather ther balls are fallen of or thee face is mullered watch haaa
14 Mar 2008
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IDIOTS haaaaa mate this is hileriouse watch and see for ur self as stupid people odo stupid thing and pay the stupid consiquencees weather ther balls are fallen of or thee face is mullered watch haaa
10 Jun 2009
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Shatner's out, Picard hasn't been born yet, Odo is still a pile of goo and Janeway? Who's that? J.J. Abrams has taken Star Trek into the realm of James Bond, Doctor Who and Batman, making Kirk, Spock and Bones larger than the actors who play them. Yes, he's re-cast every single role in an attempt to breathe new life into one of the longest running film and tv franchises in history. We've got an exclusive first look at scenes from Star Trek, as well as interviews with J.J, Chris Pine, Zachary Quinto and the rest of the all-new cast of the original series. Matt's a HUGE trekkie, and Nat not so much, so there will be PLENTY to look forward to in our review next week! ~Matt + Nat
3 May 2009
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Paschalis Terzis performing live in Iera Odos.
6 Sep 2009
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Paschalis Terzis performing live in Iera Odos.
6 Sep 2009
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******* Kodėl vieno žmogaus šypsena atrodo gražesnė nei kito?   Nepaisant to, kad kiekvieno skonis skirtingas, yra tam tikros detalės, kurios patinka visiems.   Mokslas yra neatsiejama grožio dalis .Tai patvirtina "auksinės proporcijos" taisyklė. Šios proporcijos santykis yra 1 su 1,618...   -Daugelį metų menininkai ir architektai naudoja šį santykį savo darbuose, nes jis itin patrauklus akiai. Mokslininkai jau seniai pastebėjo jį gamtoje, pavyzdžiui, kad ir šioje kriauklėje.   "Auksinė proporcija" taip pat tiesiogiai susijusi su žmogaus grožio suvokimu. Esant šiai proporcijai, veidas atrodo taisyklingas.   "Auksinė proporcija" svarbi ir odontologijoje. Todėl kurdami Jūsų šypseną mes į tai atsižvelgsime. Atstatyti Jūsų centriniai kandžiai atitiks "auksinę taisyklę".   Vertikali simetrija yra kita svarbi gražios šypsenos dalis.   Net jei Jūsų veidas ir nėra simetriškas, mes galime taip pakoreguoti dantis, kad jie sukurtų simetrijos įspūdį.   Tobulinant šypseną atsižvelgiama ir į horizontalias linijas. Pagal vyzdžių liniją taip pakoreguosime dantis, kad jie atrodytų simetriški.   Gražios šypsenos linija yra parareli apatinės lūpos linkui.   Šypsenos Plotis   Šypsena išties daug gražesnė kai mes plačiai šypsomės.   Trikampiai tarpeliai tarp dantų svarbūs kuriant natūralią dantų išvaizdą.   Taip pat mes atsižvelgiame į Jūsų dantų atspalvį.   Idealus atspalvis parenkamas pagal: Odos tipą Lūpų spalvą Dantų atspalvį   Dantų išgaubtumas Ypač gražu kai šalia esančių dantų išgaubtumas yra vienodas.   Okliuzija Okliuzija nusako kaip viršutiniai dantys susikanda su apatiniais dantimis. Idealu kai apatinių dantų gumurėliai susikanda su viršutinių dantų vagelėmis.   Lūpos Lūpos taip pat svarbi šypsenos dalis. Gražią šypseną turėtų įrėminti gražios ir sveikos lūpos.   Kiekvieno žmogaus šypsena yra unikali. Todėl ir būdai kaip ją pagražinti kiekvienam yra skirtingi. Rezervuokitės nemokamą konsultaciją ir mūsų specialistai patars kaip tai padaryti...
29 Oct 2009
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Download link: *******yesuploaded****/MelvinHilda352303434/Chica odo c ulturismo y strong man.. está buenísima, muy expresivala mitad del musculo es por drogala mitad del musculo es por drogaeste es mono hecho por la maru en la universidad arcis, pal ramo de máscara... está buenísima, muy expresivala mitad del musculo es por drogaUna chica con una enfermedad www.Puroculturismo.creatuforo**** todo c ulturismo y strong here: Download link: *******yesuploaded****/MelvinHilda352303434/Chica
26 Jul 2010
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T. S. Eliot reads his poem The Love Song Of J. Alfred Prufrock The Love Song Of J. Alfred Prufrock by T. S. Eliot (1888-1965) S'io credesse che mia risposta fosse A persona che mai tornasse al mondo, Questa fiamma staria senza piu scosse. Ma perciocche giammai di questo fondo Non torno vivo alcun, s'i'odo il vero, Senza tema d'infamia ti rispondo. * Let us go then, you and I, When the evening is spread out against the sky Like a patient etherised upon a table; Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels And sawdust restaurants with oyster-shells: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question... Oh, do not ask, 'What is it?' Let us go and make our visit. In the room the women come and go Talking of Michelangelo. The yellow fog that rubs its back upon the window-panes, The yellow smoke that rubs its muzzle on the window-panes Licked its tongue into the corners of the evening, Lingered upon the pools that stand in drains, Let fall upon its back the soot that falls from chimneys, Slipped by the terrace, made a sudden leap, And seeing that it was a soft October night, Curled once about the house, and fell asleep. And indeed there will be time For the yellow smoke that slides along the street, Rubbing its back upon the window panes; There will be time, there will be time To prepare a face to meet the faces that you meet; There will be time to murder and create, And time for all the works and days of hands That lift and drop a question on your plate; Time for you and time for me, And time yet for a hundred indecisions, And for a hundred visions and revisions, Before the taking of a toast and tea. In the room the women come and go Talking of Michelangelo. And indeed there will be time To wonder, 'Do I dare?' and, 'Do I dare?' Time to turn back and descend the stair, With a bald spot in the middle of my hair-- (They will say: 'How his hair is growing thin!') My morning coat, my collar mounting firmly to the chin, My necktie rich and modest, but asserted by a simple pin-- (They will say: 'But how his arms and legs are thin!') Do I dare Disturb the universe? In a minute there is time For decisions and revisions which a minute will reverse. For I have known them all already, known them all-- Have known the evenings, mornings, afternoons, I have measured out my life with coffee spoons; I know the voices dying with a dying fall Beneath the music from a farther room. So how should I presume? And I have known the eyes already, known them all-- The eyes that fix you in a formulated phrase, And when I am formulated, sprawling on a pin, When I am pinned and wriggling on the wall, Then how should I begin To spit out all the butt-ends of my days and ways? And how should I presume? And I have known the arms already, known them all-- Arms that are braceleted and white and bare (But in the lamplight, downed with light brown hair!) Is it perfume from a dress That makes me so digress? Arms that lie along a table, or wrap about a shawl. And should I then presume? And how should I begin? . . . . . Shall I say, I have gone at dusk through narrow streets And watched the smoke that rises from the pipes Of lonely men in shirt-sleeves, leaning out of windows?... I should have been a pair of ragged claws Scuttling across the floors of silent seas. . . . . . And the afternoon, the evening, sleeps so peacefully! Smoothed by long fingers, Asleep ... tired ... or it malingers, Stretched on on the floor, here beside you and me. Should I, after tea and cakes and ices, Have the strength to force the moment to its crisis? But though I have wept and fasted, wept and prayed, Though I have seen my head (grown slightly bald) brought in upon a platter, I am no prophet--and here's no great matter; I have seen the moment of my greatness flicker, And I have seen the eternal Footman hold my coat, and snicker, And in short, I was afraid. And would it have been worth it, after all, After the cups, the marmalade, the tea, Among the porcelain, among some talk of you and me, Would it have been worth while, To have bitten off the matter with a smile, To have squeezed the universe into a ball To roll it toward some overwhelming question, To say: 'I am Lazarus, come from the dead, Come back to tell you all, I shall tell you all'-- If one, settling a pillow by her head, Should say: 'That is not what I meant at all; That is not it, at all.' And would it have been worth it, after all, Would it have been worth while, After the sunsets and the dooryards and the sprinkled streets, After the novels, after the teacups, after the skirts that trail along the floor-- And this, and so much more?-- It is impossible to say just what I mean! But as if a magic lantern threw the nerves in patterns on a screen: Would it have been worth while If one, settling a pillow or throwing off a shawl, And turning toward the window, should say: 'That is not it at all, That is not what I meant, at all.' . . . . . No! I am not Prince Hamlet, nor was meant to be; Am an attendant lord, one that will do To swell a progress, start a scene or two, Advise the prince; no doubt, an easy tool, Deferential, glad to be of use, Politic, cautious, and meticulous; Full of high sentence, but a bit obtuse; At times, indeed, almost ridiculous-- Almost, at times, the Fool. I grow old ... I grow old ... I shall wear the bottoms of my trousers rolled. Shall I part my hair behind? Do I dare to eat a peach? I shall wear white flannel trousers, and walk upon the beach. I have heard the mermaids singing, each to each. I do not think that they will sing to me. I have seen them riding seaward on the waves Combing the white hair of the waves blown back When the wind blows the water white and black. We have lingered in the chambers of the sea By sea-girls wreathed with seaweed red and brown Till human voices wake us, and we drown. ----------------------- * Epigraph: If I thought my answer were given to anyone who would ever return to the world, this flame would stand still without moving any further. But since never from this abyss has anyone ever returned alive, if what I hear is true, without fear of infamy I answer you. ~ Dante - Inferno XXVII, 61-66
13 Sep 2011
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El terremoto ocurrido en la ciudad de San Juan, en enero de 1944 da origen a la historia de amor de Juan Domingo Perón y Eva Duarte. Él, un coronel del Ejército; ella una actriz de radio en ascenso. La película narra la construcción de esa relación íntima en el marco de acontecimientos vertiginosos, desde enero de 1944 hasta octubre de 1945, período durante el cual se consolidan como pareja. Eva colabora junto con otros artistas en la colecta que organiza Perón, desde la Secretaría de Trabajo, para recaudar fondos para las víctimas del terremoto. Ni él ni ella saben entonces todo lo que les deparará el destino
30 Nov 2012
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