Kulit-e Hoseynabad

Kulit-e Hoseynabad (Persian: كوليت حسين آباد‎‎, also Romanized as Kūlīt-e Ḩoseynābād; also known as Kūlīt) is a village in Sarshiv Rural District, Sarshiv District, Marivan County, Kurdistan Province, Iran. At the 2006 census, its population was 108, in 23 families.

References

Vice Ganda

Jose Marie Borja Viceral (born March 31, 1976), known by his stage name Vice Ganda, is a Filipino television presenter, endorser, actor, and recording artist. Viceral is a regular host/judge on ABS-CBN’s noontime variety show It's Showtime, and has starred in several films, five of which are considered the highest-grossing films in Philippine cinema.

He is best known for his stand-up routines, in which he uses observational comedy, situational irony and sarcasm in pertaining to Filipino culture and human sexuality. He is also the first openly gay endorser for a major product in the Philippines (Globe Telecom).

Early life

The youngest of five children, Viceral grew up in the neighbourhood along José Abád Santos Street in Manuguit, Tondo, Manila. His father, a barangay captain, was murdered when he was young, prompting his mother to leave the children for work abroad as a caregiver.

He studied Political Science at Far Eastern University and became the only man in the history of the University Athletic Association of the Philippines to be the Finals MVP in women's division in 2003,.

The Super

The Super is a 1991 American comedy film starring Joe Pesci as a New York slum landlord sentenced to live in one of his own buildings until it is brought up to code. Screenwriter Nora Ephron co-scripted the story with Sam Simon. This is the last film in which Vincent Gardenia appeared.

Plot

Joe Pesci stars as Louie Kritski, a heartless slumlord who was born into money, thanks to his ruthless father, "Big Lou" (Vincent Gardenia), also a slumlord. However, the tables turn on Louie when he's threatened with prison for his failure to keep his New York slum up to code. The judge gives him another option, which he accepts: he must live in a vacant apartment of one of his own shoddy run-down apartment blocks until he brings it up to livable standards.

The sentence an effective house arrest; Louie is not allowed to leave the apartment except for the following reasons: daily exercise, food shopping, or conferring with workmen in order to repair the deficient problems. In addition, Louie is not authorized to make any changes to the apartment he has been assigned unless all other apartments had the same upgrade beforehand. At first Louie is adamant that not one repair will be carried out, and will wait until his father bails him out. However, Louie has a change of heart after meeting and getting to know the building's residents, including a small time hustler named Marlon (Ruben Blades), and a struggling street boy named Tito.

Theme music

Theme music is a piece that is often written specifically for a radio program, television program, video game or movie, and usually played during the intro, during title sequence and/or ending credits.

The phrase theme song or signature tune may also be used to refer to a signature song that has become especially associated with a particular performer or dignitary; often used as they make an entrance. The purpose of a theme song is often similar to that of a leitmotif. Such songs can also be used in other ways. One author has made extensive use of them in an effort to explore the feelings behind world views.

Purpose

The purpose of the music is to establish a mood for the show and to provide an audible cue that a particular show is beginning, which was especially useful in the early days of radio (See also interval signal). In some cases, including The Brady Bunch, Gilligan's Island, The Fresh Prince of Bel-Air, both versions of Land of the Lost (1974 and 1991), The Nanny and The Beverly Hillbillies the lyrics of the theme song provide some necessary exposition for people unfamiliar with the show.

Wayang

Wayang (Krama Javanese: ꦫꦶꦁꦒꦶꦠ꧀ Ringgit) is a Javanese word for a theatrical performance with puppets or human dancers. When the term is used to refer to kinds of puppet theatre, sometimes the puppet itself is referred to as wayang. Performances of shadow puppet theatre are accompanied by a gamelan orchestra in Java, and by gender wayang in Bali.

UNESCO designated wayang kulit, a shadow puppet theatre and the best known of the Indonesian wayang, as a Masterpiece of Oral and Intangible Heritage of Humanity on 7 November 2003. In return for the acknowledgment, UNESCO required Indonesians to preserve their heritage.

Etymology

The term 'wayang' is the Javanese word for shadow, or bayang in standard Indonesian . In modern daily Javanese and Indonesian vocabulary, wayang is most often associated with the puppet itself or the whole puppet theatre performance.what is the common theme for Javaneese puppets

History

Wayang is a generic term denoting traditional theatre in Indonesia. There is no evidence that wayang existed before the first century CE, after Hinduism and Buddhism were brought to Southeast Asia. This leads to the hypothesis that the art was imported from either India or China, both of which have a long tradition of shadow puppetry and theatre in general. Jivan Pani has argued that wayang developed from two arts of Odisha in Eastern India, the Ravana Chhaya puppet theatre and the Chhau dance. However, there very well may have been indigenous storytelling traditions that had a profound impact on the development of the traditional puppet theatre.