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The system of Hebrew numerals is a quasi-decimal alphabetic numeral system using the letters of the Hebrew alphabet. The system was adapted from that of the Greek numerals in the late 2nd century BCE; the current numeral system is known as the Hebrew alphabetic numerals to contrast with earlier systems of writing numerals used in classical antiquity. These systems were inherited from usage in the Aramaic and Phoenician scripts, attested from c. 800 BC in the so-called Samaria ostraca and sometimes known as Hebrew-Aramaic numerals derived from the Egyptian Hieratic numerals. The Greek system was adopted in Hellenistic Judaism and had been in use in Greece since about the 5th century BC. In this system, there is no notation for zero, the numeric values for individual letters are added together; each unit is assigned a separate letter, each tens a separate letter, the first four hundreds a separate letter. The hundreds are represented by the sum of two or three letters representing the first four hundreds.

To represent numbers from 1,000 to 999,999, the same letters are reused to serve as thousands, tens of thousands, hundreds of thousands. Gematria uses these transformations extensively. In Israel today, the decimal system of Arabic numerals is used in all cases; the Hebrew numerals are used only in special cases, such as when using the Hebrew calendar, or numbering a list, much as Roman numerals are used in the West. The Hebrew language has names for common numbers. Letters of the Hebrew alphabet are used to represent numbers in a few traditional contexts, for example in calendars. In other situations Arabic numerals are used. Cardinal and ordinal numbers must agree in gender with the noun. If there is no such noun, the feminine form is used. For ordinal numbers greater than ten the cardinal is used and numbers above the value 20 have no gender. Note: For ordinal numbers greater than 10, cardinal numbers are used instead. Note: For numbers greater than 20, gender does not apply. Numbers greater than a million were represented by the long scale.

Cardinal and ordinal numbers must agree in gender with the noun. If there is no such noun, the feminine form is used. Ordinal numbers must agree in number and definite status like other adjectives; the cardinal number precedes the noun, except for the number one. The number two is special: shnayim and shtayim become shney and shtey when followed by the noun they count. For ordinal numbers greater than ten the cardinal is used; the Hebrew numeric system operates on the additive principle in which the numeric values of the letters are added together to form the total. For example, 177 is represented as קעז which corresponds to 100 + 70 + 7 = 177. Mathematically, this type of system requires 27 letters. In practice the last letter, tav is used in combination with itself and/or other letters from qof onwards, to generate numbers from 500 and above. Alternatively, the 22-letter Hebrew numeral set is sometimes extended to 27 by using 5 sofit forms of the Hebrew letters. By convention, the numbers 15 and 16 are represented as ט״ו‎ and ט״ז‎ in order to refrain from using the two-letter combinations י-ה‎ and י-ו‎, which are alternate written forms for the Name of God in everyday writing.

In the calendar, this manifests every full moon. Combinations which would spell out words with negative connotations are sometimes avoided by switching the order of the letters. For instance, 744 which should be written as תשמ״ד‎ might instead be written as תשד״מ or תמש״ד; the Hebrew numeral system has sometimes been extended to include the five final letter forms—ך for 500, ם for 600, ן for 700, ף for 800, ץ for 900—which are used to indicate the numbers from 500 to 900. The ordinary additive forms for 500 to 900 are ת״ק, ת״ר, ת״ש, ת״ת and תת״ק. Gershayim are inserted before the last letter to indicate that the sequence of letters represents a number rather than a word; this is used in the case. A single geresh is appended after a single letter to indicate that the letter represents a number rather than a word; this is used in the case. Note that geresh and gershayim indicate "not a word." Context determines whether they indicate a number or something else. An alternative method found in old manuscripts and still found on modern-day tombstones is to put a dot above each letter of the number.

In print, Arabic numerals are employed in Modern Hebrew for mo

The Hitman's Bodyguard is a 2017 American action comedy film directed by Patrick Hughes and written by Tom O'Connor, whose script was on the 2011 Black List survey. The film stars Ryan Reynolds, Samuel L. Jackson, Gary Oldman, Salma Hayek; the Hitman's Bodyguard was released in the United States on August 18, 2017, grossed \$180 million worldwide. The film received mixed reviews, with critics praising Reynolds and Jackson's chemistry but criticizing the clichéd plot and execution. A sequel, The Hitman's Wife's Bodyguard, is in production. Michael Bryce lives a stylish life as an elite UK-based private bodyguard, until client Takashi Kurosawa is assassinated on his watch. Two years the disgraced Bryce ekes out a living protecting drug-addicted corporate executives in London. Meanwhile, Vladislav Dukhovich, the ruthless dictator of Belarus is on trial for crimes against humanity at the International Criminal Court. Unable to secure solid evidence or testimony against Dukhovich, the prosecution's last hope is notorious incarcerated hitman Darius Kincaid, who agrees to testify against Dukhovich in exchange for the release of his wife Sonia from prison.

Dukhovich's men track Kincaid and eliminate the attackers but their vehicle is destroyed. The two hitchhike to a ferry to Amsterdam. Kincaid reveals; as Bryce bemoans his failures at a beer stand, Dukhovich's men attack Kincaid. Bryce helps Kincaid escape, but is captured; as Dukhovich's men torture him, Kincaid rescues Bryce. After settling their differences, the two battle their way to The Hague, arriving just in time for Kincaid to testify that Dukhovich tried to hire him to assassinate a political rival, but in the process Kincaid witnessed Dukhovich carry out a mass execution, uploaded photos of the massacre to a secret FTP site that he provides to the court. Dukhovich admits guilt resorts to his backup plan: bombing the court to escape. Foucher leaves the court before the bombing. In the confusion after the bomb went off, Dukhovich seizes a gun to kill Kincaid, but Bryce jumps in the path of the bullet, telling Kincaid to stop Dukhovich. Foucher and Roussel fight. Bryce shoots Foucher to save Roussel.

Kincaid pursues Dukhovich to the roof. Kincaid kicks Dukhovich off the roof to his death for shooting Bryce. Kincaid is rearrested for his various crimes, but breaks out of HMP Belmarsh several months so he and Sonia can celebrate their anniversary in the bar in Honduras where they first met; as a wild bar brawl breaks out around them, the two kiss. Ryan Reynolds as Michael Bryce, a former triple A rated executive CIA officer. Samuel L. Jackson as Darius Kincaid/Evans, one of the world's most notorious hitmen and Sonia's husband. Gary Oldman as Vladislav Dukhovich, the dictatorial President of Belarus. Salma Hayek as Sonia Kincaid, Darius's wife. Élodie Yung as Amelia Roussel, an Interpol agent and Michael's ex-girlfriend. Joaquim de Almeida as Jean Foucher, the French Assistant Director of Interpol, revealed to be Dukhovich's inside man and second-in-command. Barry Atsma as Moreno, the lead prosecution lawyer. Tine Joustra as Renata Casoria, Director of Interpol. Kirsty Mitchell as Rebecca Harr, Kincaid's lawyer.

Sam Hazeldine as Garrett, a National Crime Agency officer. Mikhail Gorevoy as Litvin, Dukhovich's lead defense lawyer. Richard E. Grant as Mr. Seifert, a drug addicted corporate client of Bryce. In May 2011, David Ellison's Skydance Media acquired the action script The Hitman's Bodyguard written by Tom O'Connor; the script was among the top 2011 Black List of unproduced screenplays. While intended as a drama, the script underwent a "frantic" two-week rewrite to be remade into a comedy several weeks prior to filming. On November 4, 2015, Ryan Reynolds, Samuel L. Jackson and Gary Oldman were cast in the film, which Jeff Wadlow would direct for Millennium Films. Producers would be John Thompson, Matt O'Toole and Les Weldon. On February 23, 2016, Élodie Yung and Salma Hayek were cast in the film, which Lionsgate would distribute in the United States. On March 9, 2016, it was reported that Wadlow had exited the film and Patrick Hughes signed on to direct the film. Principal photography began on April 2, 2016 in London and Sofia.

Just one scene was to be shot in Amsterdam but when Hughes visited the location and saw its surroundings he decided to move some "London scenes" to the old inner city of Amsterdam. The Hitman's Bodyguard grossed \$75.5 million in the United States and Canada and \$105.1 million in other territories for a worldwide total of \$180.6 million, against a production budget of \$30 million. In North America, The Hitman's Bodyguard was released on August 18, 2017 alongside Logan Lucky, was projected to gross \$17–20 million from 3,350 theaters in its opening weekend; the film made \$8 million on its first day. It went on topping the box office. In its second weekend the film made \$10.2 million, finishing first at the box office in what was the combined lowest-grossing weekend since September 2001. The film made another \$10.2 million the following weekend, becoming the third film of 2017 to finish atop the box office for three straight weeks. However, while it made an estimated \$12.9 million over the four-day Labor Day weekend, was again involved in a low weekend, as it was the worst combined holiday weekend since 1998.

On review aggregator website Rotten Tomatoes, the film holds an approval rating of

Ana Istarú, literary pseudonym of Ana Soto Marín, is a Costa Rican actress and writer who cultivates poetry and the dramaturgy. Thanks to her father, Enrique Soto Borbón, Ana Istarú entered the world of writing, her mother —the economist and political liberacionist Matilde Marín Chinchilla de Soto, twice deputy to the Legislative Assembly of Costa Rica— inculcated the passion for the theatre. At fifteen years she published her first poetry book, new Word, although with the second, Poems for any day, obtains a prize from the Publisher of Costa Rica, it is with her fourth that authentic literary fame arrives: The station of fever; the book —appeared in 1983, two years after finishing training in Dramatic Arts at the University of Costa Rica— obtained the prize granted in 1982 by EDUCA and has been reedited in Spain in 1991 and 2011. It was published in France by The différence in a bilingual edition and with translation by Gérard of Cortanze, converted to French to Ernesto Cardinal, Roque Dalton, Juan Gelman and Vicente Huidobro.

Protagonist of this erotic hymn —in addition to the author, of course— is the painter and French professor César Maurel, rooted in Costa Rica from 1981, with whom Istarú married at the beginning of this decade and from whom years would separate. The critics point out that her poetry is loaded with eroticism —what has the controversy between readers—, ad at the same time has a perspective of gender, to say, feminine. In it Istarú expresses without any fear the deepest feelings of the woman. “Filled with high erotic temperature sustained from beginning to end, expresses in a personal and strict vocabulary attaining in so difficult subject, a harmony of moving expression with a government infalible of the form”, said the jury of the Latin American Prize EDUCA based on the quoted book awarded. The pieces of Istarú, always current, have been mounted not only in Costa Rica, but in other countries of America, included the United States, Europe, it suffices to say, for taking only one work, that pickled Men, with its showing in Portugal, arrived in 2010 "to his thirtieth fourth professional première abroad".

Director María Bonilla, with the University Theatre, chose Our Mother that are on the earth to inaugurate the 2010 season in Costa Rica, signaled related to this piece that treats four generations of women that have to confront the paper that society imposes them and the one who impose on themselves: “Women have to work on the construction of our identity, far from social conventions, of repressive education that we have received and of the masculine perspective, all elements that are important and it is necessary to take into account, but that are not those that have to define us”. And Istarú comments: “I conceived it after doing a reflection on families that reiterate from generation to generation, that many times the same women transmitted the sexist values that obey their conception of social patriarchy”; the repertoire of Istarú as an actress of theater includes leading papers in classical and contemporary works. She has dabbled in cinema, exerting papers in Costa Rican films and TV shows and co-wrote with the director Esteban Ramírez the script of Caribbean, film starred by the Cuban Jorge Perugorría and rewarded in festivals.

Her work, the poetic as well as like dramatic, her work as an actress have won several prizes. American and European anthologies have selected his poems, that have have been translated to diverse languages, like German, Dutch and Italian; as of 2002, Istarú writes columns of opinion, in the weekly newspaper The Financial as well as in the Sunday magazine, Proa, of The Nation. In 2010 they were gathered in the book 101 articles, saying: “My style of writing does not look for the objectivity, is scandalously subjective with eagerness to seduce the reader with games of words, but with ideas”. Young prize Creation 1976 by Poems for a day any one Latin American prize EDUCA 1982 by The station of fever National prize 1990 to the actress debutante Scholarship Guggenheim Prize María Teresa León 1995 for Dramatic Authors by Baby Boom in the paradise National prize 1996 to the best leading actress by his work in Baby Boom in the paradise I reward Brothers Machado of Theatre 1999 by pickled Men Prize Ancora of Theatre 1999-2000 National prize of Dramaturgia 2005 by his monologue in an act The crazy National prize 2014 to the best actress protagónica by his performance in Virus New word, Printing Trejos, Costa Rica, 1975 Poems for a day any one, Publishing Costa Rica, 1977 Open poems and other amaneceres, Publishing Costa Rica, 1980 The station of fever, University Publisher Centroamericana, Saint José, 1983 The flight of the grulla, theatre, 1984 The death and other ephemeral agravios, Publishing Costa Rica, 1988 The station of fever and other amaneceres, Finder Books, Madrid, 1991 Verb mother, Publishing Women, Costa Rica, 1995 Ours mother that are in the earth, theatre, 1996 Baby Boom in the paradise, Madrid: Publications of the ADE, 1996, Series: Dramatic Literature Iberoamericana, Number15, 1996 Pickled men, theatre, 2000 (published in 2001 by the City council of Seville, Area of Culture and greater parties.

Collection Com

Piggy is an animated cartoon character in the Merrie Melodies series of films distributed by Warner Bros.. The character first appeared as a fat, black pig wearing a pair of shorts with two large buttons in the front, his coloration and dress were identical to those of the Walt Disney character Mickey Mouse before the advent of color film. John Kenworthy argues that, considering the fact that some sketches of mice which Hugh Harman had drawn in 1925 were the inspiration for the creation of Mickey Mouse and Ising never intended to copy Disney. Piggy's name came from one of two brothers who were childhood classmates of Freleng's, nicknamed "Porky" and "Piggy". Animator Rudolf Ising introduced Piggy to replace his previous character, Foxy, as the star of the Merrie Melodies series Ising was directing for producer Leon Schlesinger. Nonetheless, Ising had only made two Piggy shorts in 1931 before he left Warner Bros. with partner Hugh Harman. The animators who took over the Merrie Melodies cartoons dropped the Piggy character and turned the series into a string of one-shots.

Despite their clichéd lead character, Ising's two Piggy shorts are well received by some critics. The first is the 1931 short You Don't Know What You're Doin'!. Here, Piggy visits a surreal night club where he plays with the club's jazz band; this was followed by Hittin' the Trail for Hallelujah Land in 1931. Here, Piggy plays a steamboat captain. Due to its stereotypical portrayal of the Uncle Tom character, the cartoon is included among the so-called "Censored 11", Looney Tunes and Merrie Melodies shorts that are withheld from circulation due to their heavy use of ethnic stereotypes. After this cartoon, the series would only feature one-shot characters, he continued to appear at the end of every cartoon up to You're too Careless with Your Kisses!. In 1936, Animator Friz Freleng redesigned Piggy for colour film. Piggy was given more Caucasian-like colour with distinguishing birthmarks; the redesigned character appeared as a gluttonous child in a large family of pigs in At Your Service Madame, where he leads his fellow siblings in foiling a bum's attempt to rob their mother.

A year he starred in Pigs Is Pigs in which his gluttony takes center stage. This would be his final appearance. After that he was discarded with his character traits transferred for a time to Porky Pig. Porky Pig “Looney Tunes and Merrie Melodies: A Complete Illustrated Guide to the Warner Bros. Cartoons” by Jerry Beck and Will Friedwald

VisitDallas known as the Dallas Convention & Visitors Bureau, is a 501 contracted by the City of Dallas to market Dallas as a convention and tourist destination. In January 2019, the Government of Dallas released an audit uncovering evidence of misuse of taxpayer funds and excessive executive compensation. In November 2019, IRS Form 13909 was filed against VisitDallas calling for a public investigation by the Internal Revenue Service and Texas Attorney General. In 2002, it was revealed the Dallas Convention & Visitors Bureau, previous name of VisitDallas, was engaged in questionable spending such as spending money on expensive golf trips, paid excessive salaries, paying for expensive liquor tabs, using limos for travel to and from the airport, going on regular trips to local strip clubs all paid for by the DCVB; these revelations led to David Whitney, President, of the DCVB resigning with a \$308,000 severance package and Chris Luna, chairman of the bureau's board of directors, stepping down.

In addition, the following actions were taken: travel and entertainment expense policies were updated additional oversight policies and procedures created audit of the bureau’s expenses was launched On January 4, 2019, the City of Dallas released an audit which demonstrated lax oversight, excessive executive compensation and spending, its inability to properly track metrics for success after spending \$150 million in taxpayer funds. The audit highlighted how Phillip Jones, CEO, of VisitDallas didn't follow expense report policies having identified charges which included magazine subscriptions, valet service, a \$543 Tumi backpack. Reports submitted to the City demonstrating results from their efforts were deemed not reliable calling into question their effectiveness; the audit called into question whether the City would renew its contract, due to expire on September 30, 2020 with many Council Members issuing calls to end it by if not sooner. VisitDallas receives most of its revenue from hotel occupancy tax and the Dallas Tourism Public Improvement District, hotels in the city with 100 or more rooms averaging \$30 million each year.

The audit found it put all of its money into one bank account, a direct violation of state law. It was found that annual payments made to the Convention Center were late and taken from the Dallas Tourism Public Improvement District; as a result, the audit states, “Late capital contributions hamper ability to plan and fund needed facility improvements for the Convention Center,”. It concludes, “Improperly using DTPID funds could result in legal liability and reputational damage for the city.”In addition, the audit discovered VisitDallas “does not have adequate controls over certain expenses.” Many expense reports audited by the City found they did not include documentation, exceeded VisitDallas’ own policy limits, or violated state law. For example, VisitDallas has a spending cap of \$180 per night but found Phillip Jones, CEO, of VisitDallas spent \$17,069 on 18 hotel stays averaging \$950 per night, it was found CEO Phillip Jones spent \$7,000 on gifts which were not documented in expense reports and that he had preference for using private car services instead of cheaper options like Uber or Lyft.