Yukon–Koyukuk Census Area is a census area in the U. S. state of Alaska. As of the 2010 census, the population was 5,588, it has the largest area of any county-equivalent in the United States. It therefore has no borough seat, its largest communities are the cities of Galena, in the west, Fort Yukon, in the northeast. According to the U. S. Census Bureau, the census area has 147,805 square miles, of which 145,505 square miles is land and 2,300 square miles is water; the area is the same size as the U. S. state of Montana or the country of Germany. The area is bigger than 47 of the 50 states, with only California and Alaska itself being bigger than the county size, its population density, at 0.0449 inhabitants per square mile, is the lowest in the United States. As of the census of 2000, there were 6,551 people, 2,309 households, 1,480 families residing in the census area; the population density was 22.3 square miles per person. It is the least densely populated county-equivalent of all 3,141 county-equivalents of the United States.

There were 3,917 housing units at an average density of 0.027 per square mile. The racial makeup of the census area was 24.27% White, 0.09% Black or African American, 70.89% Native American, 0.37% Asian, 0.05% Pacific Islander, 0.43% from other races, 3.91% from two or more races. 1.19 % of the population were Latino of any race. 12.95% reported speaking an Athabaskan language at home. There were 2,309 households out of which 38.90% had children under the age of 18 living with them, 36.90% were married couples living together, 16.90% had a female householder with no husband present, 35.90% were non-families. 30.50% of all households were made up of individuals and 6.20% had someone living alone, 65 years of age or older. The average household size was 2.81 and the average family size was 3.53. In the census area, the population was spread out with 35.00% under the age of 18, 8.70% from 18 to 24, 26.90% from 25 to 44, 22.10% from 45 to 64, 7.30% who were 65 years of age or older. The median age was 31 years.

For every 100 females, there were 118.60 males. For every 100 females age 18 and over, there were 122.60 males. Galena City School District operates public schools serving Galena. Nenana City School District operates public schools serving Nenana. Yukon–Koyukuk School District and Yukon Flats School District operate public schools serving rural areas. List of airports in Yukon–Koyukuk Census Area Crow Lake U. S. Geological Survey Geographic Names Information System: Yukon–Koyukuk Census Area "Census Area map: Alaska Department of Labor"

The Dancing Bears Park Belitsa is a project of Four Paws near the town of Belitsa in South West Bulgaria and provides mistreated and neglected brown bears with a home. Since 2000, the park provides a home for brown bears that were kept in inadequate conditions for those bears that have been raised and trained as dancing bears; when the sanctuary was established in 2000, there were more than 20 dancing bears in Bulgaria and Serbia. The animal welfare organisation Four Paws took measures against illegal practices, in cooperation with French Brigitte Bardot Foundation, established the park. Dancing Bears Park Belitsa is located in Rila Mountain at about 180 kilometers south of Sofia, 12 kilometers from town Belitsa and about 35 kilometers from Bansko; the whole area of the sanctuary comprises 120.000 square meters, divided into seven open air enclosures for the bears. The sanctuary offers dense forests and hills for roaming and seclusion, ponds for swimming and artificial dens. Since 2000, 31 former dancing bears from Bulgaria and Albania, 4 bears from Bulgarian zoos and 2 young bears originating from private keeping conditions were rescued and housed in the park.

In January 2019 there are 25 bears living in the several open-air enclosures of the sanctuary. The first three bears that were rescued and transferred to the park in 2000 were "Kalina", "Mariana" and "Stefan". In 2007 the last three dancing bears of Bulgaria were transferred and in 2009 the last three dancing bears from Serbia were accommodated in the sanctuary. Dancing Bears Park Belitsa is open from April until December; the guided tours offer visitors information about the conditions in which the bears suffered before they were rescued, as well as to raise awareness about the main natural requirements of brown bear species and its conservation. Bear Sanctuary Prishtina Bear Sanctuary Domazhyr Bear Sanctuary Ninh Binh Bear Sanctuary Müritz Four Paws: project Dancing Bears Park Belitsa

Giroflé-Girofla is an opéra bouffe in three acts with music by Charles Lecocq. The French libretto was by Eugène Leterrier; the story, set in 13th century Spain, concerns twin brides. The other twin poses; the composer chose an extravagantly far-fetched theme to contrast with his more realistic and romantic success La fille de Madame Angot premiered the previous year. The opera was first presented at the Théâtre des Fantaisies Parisiennes, Brussels, on 21 March 1874, was given in London and Paris the same year, it took Lecocq many years to achieve recognition as a composer. He had a substantial success in 1868 with Fleur-de-Thé, but it was not until he reached his forties that he gained international fame, with Les cent vierges and La fille de Madame Angot, they both premiered in Brussels – where the composer had moved in 1870 – and were soon staged in theatres across Europe and in the New World. Lecocq said he realised that to have a new success, after Madame Angot, he must compose something in an different style so that no comparison would be possible.

He described the far-fetched libretto for Girofle-Girofla as in the Italian buffo style, just what he wanted. The libretto was the work of two newcomers: Albert Vanloo was a lawyer and Eugène Leterrier a civil servant, both at the start of successful new careers writing for the theatre, they took their title, although nothing else, from a traditional French song "Giroflé-Girofla". Eugène Humbert, the director of the Théâtre des Fantaisies-Parisiennes, had commissioned Les cent vierges and La fille de Madame Angot. Humbert's company included several popular performers who had created roles in La fille de Madame Angot, among them the sopranos Pauline Luigini and Marie Blanche, the tenor Mario Widmer and the buffo baritone Alfred Jolly, all of whom featured in the new production; the theatre was packed to capacity with tickets changing hands for large sums. The piece was received with enthusiasm, encores were "vehemently demanded", according to one critic, the composer received an ovation at the end.

Managers in Paris remained cautious about staging a new work by Lecocq, despite his two recent big successes. Louis Cantin, director of the Théâtre des Folies-Dramatiques, declined to present the Parisian premiere of Giroflé-Girofla. In the view of the Académie Nationale de l'Opérette this was a blessing for Lecocq and his librettists, because the Théâtre de la Renaissance, which accepted the work, had in its troupe a young recruit of 22 years of age, Jeanne Granier, who had just won her first big success and was on her way to being one of Paris's biggest stars; the production at the Renaissance ran for over 200 performances up to the following October. With takings of more than 700,000 francs at the box-office, it was one of Paris's most successful musical productions of the 1870s. Setting: Spain around 1250 Don Boléro, governor of the province, is beset by difficulties; the borders of his province are under attack from the sea by marauding pirates and over land by the troops of the moor Mourzouk.

He is short of money, owes a huge sum to Marasquin Bank. He and his domineering wife Aurore have Giroflé and Girofla. Aurore has arranged politically advantageous weddings for the twins: Giroflé to the son of Marasquin and Girofla to Mourzouk. Preparations for the weddings are taking place as the curtain rises, with the bridesmaids in the colours of each bride; each daughter asks her mother for marital guidance. Pedro, a young man in Boléro's service, warns the girls not to stray too far, or the pirates who roam the coastline will seize them both and take them off to a harem. At the time appointed for the bridegrooms to arrive, Marasquin's son appears promptly, but Mourzouk pleads a toothache and defers his arrival. Young Marasquin declines to wait for the other bridegroom's appearance and insists that his own marriage must go ahead, it is love at first sight for him and Giroflé, they go off together. Now a gang of pirates seize Girofla. Pedro tries to protect her. Boléro and Aurore are worried about the reaction of the moor.

Mourzouk demands his immediate wedding. Giroflé is told that she must wed a second time, she dons a pink ribbon. Giroflé is locked in her room while Aurore has to bluff the two husbands – they must wait until midnight to see her. Pedro has escaped from the pirates and enters to say that Boléro's admiral Matamoros has them at bay, but refuses to finish them off until he is paid. Boléro and Aurore leave to plunder the treasury. Meanwhile, Giroflé joins her young cousins to finish off the wedding buffet and they all run off, so that when her parents return they believe that pirates have taken her too. Midnight sounds and there is still no sign of Girofla. Marsasquin and Giroflé appear at breakfast after a pleasing wedding night. Boléro and Aurore reveal the sorry tale to Marasquin and explain that to save them all from the wrath of Mourzouk, Giroflé must impersonate Girofla, they manage to delay Mourzouk again despite his fury, but he is suspicious and swiftly returns to discover the deception by the conniving parents.

He insists on behaving as the rightful husband to Giroflé. As arguments rage, Pasquita brings news that the pirates

Monkspath is a housing estate and community in Solihull, south-east of Shirley. Monkspath is in the Blythe ward of the Metropolitan Borough of Solihull; the name of "Munchespathe" was first recorded in 1153, when Roger de Ulehale of Tanworth was granted the manor and the adjoining lands by William de Beaumont, the third Earl of Warwick. Monkspath is built on the former hamlet of Shelly. During the 13th and 14th centuries Shelly was a thriving settlement which connected Solihull and Henley-in-Arden by way of the Kings Highway. Monkspath was so named after the famous Harry Monkspath, he gave his life to helping locals through hard times. He is known as one of the earliest philanthropists and many feel started the move in society to protecting the more vulnerable; the first modern estate was built between 1981 and 1986, in proximity to the landfill site known as Hay Lane, which served the area until the 1970s. The actual site of the landfill is now a amenity area; the district expanded again in the mid-1990s and smaller-scale developments on newly-available land continue to be constructed well into the 2000s.

Shelley Farm, one of the only surviving 19th Century buildings in the area has now been converted into a public house. Sydenhams Moat, a moated site just south of Monkspath Bridge has been identified as the home of Simon De Mancetter. "The manor of Little Monkspath is associated with Simon de Mancetter, who, in the 13th century, settled himself within the Lordship of Tanworth, where a certain large moated place beareth yet the name of his habitation" Monkspath is served by the No 5 bus route and the local railway station is Widney Manor Railway station. The local primary schools include Monkspath Junior and Infant School, St. Alphege C of E Infant School, St. Alphege C of E Junior School, St. Augustine's Catholic Primary School and Our Lady of the Wayside Catholic Primary School. Local secondary schools include Alderbrook School, Tudor Grange Academy and St Peter's Catholic School. Further education is available at nearby Solihull Sixth Form College and Solihull College

Final Cut is a techno-industrial music group, consisting of Detroit's Anthony Srock. Final Cut began when Anthony "Asrock" Srock a radio and club DJ, began collaborating with DJ Jeff Mills; the pair had their first success with the international club hit "Take Me Away" just as Detroit technos first wave was peaking. The music was a mix of industrial and techno, showed Asrocks roots as a DJ absorbing different genres. Mills was replaced by drummer and programmer Joseph LaFata. Asrock and LaFata took Final Cut into a more aggressive industrial direction with "I Told You Not To Stop" in the early 90s, with Srock becoming a vocalist; the single led to an album deal with Nettwerk Records, home to fellow industrial act Skinny Puppy. The resulting album was 1992s Consumed; the album featured collaborations with Revolting Cocks/Ministry alumni Chris Connelly and William Tucker. For 1992s Consumed, Final Cut toured with an all-live, sampler-free, full-band supporting Chris Connellys band and My Life With The Thrill Kill Kult.

Srock returned with 1995's Atonement, recorded at Chicago's Warzone Studios and first released on Chemlabs Fifth Column Records and re-released in 1998 on Slipdisc/Mercury. In the year 2004 in Los Angeles Asrock began working on a new full-length record "Method of Operation" with Cr33py, TrippKILLER, Xristian Simon, Taime Downe, an old acquaintance from Pigface and frontman for sleaze rock bands Faster Pussycat and the Newlydeads. In addition former Big Chief guitarist Phil Durr, production from Baltimore vocalist Ric Peters and Chicago engineer Jason McNinch joined in. Working digitally between Detroit and Los Angeles over the course of 2005-2006, Asrock and his band pieced together Method of Operation. Asrock is based in Detroit. In 2006, after the Death of his Mother and Father Asrock resurrected Full Effect Records, his own label, Final Cut's original label, his work on Method of Operation came to a halt after several deaths and a period as he describes as his "benzopalooza". In 2009 the Prodigy's "Warriors Dance", which includes a sample from Final Cuts "Take Me Away", went to #1 on the UK dance singles charts, reached #8 on USA's billboard charts.

Asrock, Taime Downe, TrippKILLER, Cr33py, Xristian Simon, Jason McNinch, Phil Durr, Ric Peters, John Garstecki Ogre, Martin Atkins, Charles Levi, Van Christie, Chris Connelly, Louis Svitek, William Tucker, Dwayne Goettel, Michael Balch, Jeff Mills, Greg Lucas, Hobie Echlin, Static Revenger, Gerald Dowd, Cornelius Boon Atonement v2.0 Atonement Consumed Deep Into The Cut Triple Six Fix The Shake Grind Methodical Virtue/Testament I Believe In You I Told You Not To Stop/She Destroy's The Bass has Landed Enjoy this Trip Take Me Away You can't deny the Bass Dr. Speedlove Presents Slip This on and Rock Hard Nettwerk Sound Sampler 4 Techno Club Club Hits No Way Out Lush What Can You Do For Me Madrugada Eterna Frankenstein Sexy Thing Various Take, Take/More Life Missing It Sex Contact, Higher Learning, HBO Drive, HBO Real Sex, The Players, Models Inc, The Young and the Restless, Boxer Final Cut on MySpace Full Effect Records website The Final Cut at AllMusic

In Spanish grammar, voseo is the use of vos as a second-person singular pronoun, including its conjugational verb forms in many dialects. In dialects that have it, it is used either instead alongside it. Voseo is taught to students of Spanish as a second language, its precise usage varies across different regions. In recent years it has become more accepted across the Spanish-speaking world as a valid part of regional dialects. Use of tú for the second-person singular is known as tuteo; the voseo was the predominant form of second-person address for politeness or social distance when the discovery and conquest of America took place in late 15th and early 16th centuries, but soon after tuteo became more used and prescribed in colonial centers and in Spain. More peripheral areas of the Spanish Empire continued using voseo up until the present day. Vos is used extensively as the second-person singular in Rioplatense Spanish, Eastern Bolivia, Paraguayan Spanish, Central American Spanish. Vos had been traditionally used in formal writing in Argentina, Costa Rica, Nicaragua and Uruguay.

Nowadays it is common to see billboards and other advertising media using voseo. In the dialect of Argentina and Uruguay, vos is the standard form of use in mainstream media. Vos is present in other countries as a regionalism, for instance in the Maracucho Spanish of Zulia State, Venezuela, in the Azuero peninsula of Panama, in various departments in Colombia, in parts of Ecuador. In Peru, voseo is present in some Andean regions and Cajamarca, but the younger generations have ceased to use it, it is present in Ladino, where it replaces usted. In the United States, Salvadoran Americans are by far the largest voseo users followed by other Central Americans, including Guatemalans, Hondurans and Costa Ricans. Voseo can be found in the context of using verb conjugations for vos with tú as the subject pronoun, as in the case of Chilean Spanish, where this form coexists with the ordinary form of voseo, it has been claimed that the countries that use voseo today have in common that they were geographically isolated during colonial times.

Dominican Republic, Peru—do not use voseo, or its use is confined to remote areas—this is the case in Venezuela, Colombia and Ecuador. In colonial times, there was, by law, no regular boat communication between today's Argentina and Spain. A second-person plural, Vos came to be used as a more polite second-person singular pronoun to be used among one's familiar friends; the following extract from a late-18th century textbook is illustrative of usage at the time: We make use in Spanish of the second Person Singular or Plural, but when through a great familiarity among friends, or speaking to God, or a wife and husband to themselves, or a father and mother to their children, or to servants. Examples. O Dios, sois vos mi Padre verdadéro, O God, thou art my true Father; the standard formal way to address a person one was not on familiar terms with was to address such a person as vuestra merced in the singular and vuestras mercedes in the plural. Because of the literal meaning of these forms, they were accompanied by the corresponding third-person verb forms.

Other formal forms of address included vuestra vuestra señoría. Today, both vos and tú are considered to be informal pronouns, with vos being somewhat synonymous with tú in regions where both are used; this was the situation when the Spanish language was brought to the Río de la Plata area and to Chile. In time, vos lost currency in Spain but survived in a number of areas in Spanish-speaking America: Argentina, Bolivia, Uruguay, El Salvador, Costa Rica, Guatemala and some smaller areas. Vuestra merced evolved into usted. Note that the term vosotros is a combined form of vos otros, while the term nosotros comes from nos otros. In the first half of the 19th century the use of vos was as prevalent in Chile as it was in Argentina; the current limitation of the use of vos in Chile is attributed to a campaign to eradicate it by the Chilean education system. The campaign was initiated by Andrés Bello who considered the use of vos a manifestation of lack of education; the independent disjunctive pronoun vos replaces ti, from the "tuteo" set of forms.

That is, vos is both nominative and the form to use after prepositions. Therefore, para vos "for you" corresponds to etc.. The preposition-pronoun combination con vos "with you" is used for the "tuteo" contigo; the direct and indirect object form te is used in both "voseo" and "tuteo". The possessive pronouns