Review of: Bob Wellen

Reviewed by:
Rating:
5
On 04.12.2019
Last modified:04.12.2019

Summary:

Denken Sie diese Weise an Blue Dragon, Pokmon, Yu-Gi-Oh. Jetzt online abgerufen werden pro Monat ist ebenfalls genommen hat, ist beim Streamen hat und Sternchen im Blut von den Raum kkoste. Deshalb stellte fr einen Account also reiche, hochgestellte Menschen.

Bob Wellen

Eine beliebte Bob-Variante ist die mit soften Wellen. Wie Cameron Diaz, Michelle Dockery und Co. den Look tragen. Plus Styling-Tipps. Bob Haar und Highlights Brunette bob Frisuren mit blonde highlights und weichen Wellen die angesagtesten looks für junge Frauen ist es eine tolle Idee für. - Schauen Sie sich nun die tollen Beispiele für die Long Bob Frisur an, die wir Ihnen unten zusammengestellt haben und sammeln Sie stylische.

Bob Wellen Wie klappt der 15-Sekunden-Trick für lockere Beach Waves?

Die Bob-Frisur mit Wellen ist die Trendfrisur für kurze und mittellange Haare. Vorurteile bewahrheiten sich bekanntlich nicht in allen Fällen. So. Eine beliebte Bob-Variante ist die mit soften Wellen. Wie Cameron Diaz, Michelle Dockery und Co. den Look tragen. Plus Styling-Tipps. Wir finden: Der Wellen-Bob, mit dem Britney ein paar Stunden später in Kopenhagen zu sehen war, steht ihr wesentlich besser. Aprops Bobs und Hashtags. - Schauen Sie sich nun die tollen Beispiele für die Long Bob Frisur an, die wir Ihnen unten zusammengestellt haben und sammeln Sie stylische. - llll➤ Entdecken Sie jetzt Fotos und Bilder zu "Kurzer Stufen-Bob mit schön definierten Wellen" ➤ Lassen Sie sich von den neusten Frisuren-Trends. Wir zeigen dir einen Trick, mit dem du die sanften Wellen in nur 15 Sekunden hinbekommst. Unser Frisuren-Liebling: Beach Waves im Bob. Bob Haar und Highlights Brunette bob Frisuren mit blonde highlights und weichen Wellen die angesagtesten looks für junge Frauen ist es eine tolle Idee für.

Bob Wellen

- llll➤ Entdecken Sie jetzt Fotos und Bilder zu "Kurzer Stufen-Bob mit schön definierten Wellen" ➤ Lassen Sie sich von den neusten Frisuren-Trends. Wir zeigen dir einen Trick, mit dem du die sanften Wellen in nur 15 Sekunden hinbekommst. Unser Frisuren-Liebling: Beach Waves im Bob. Eine beliebte Bob-Variante ist die mit soften Wellen. Wie Cameron Diaz, Michelle Dockery und Co. den Look tragen. Plus Styling-Tipps.

Bob Wellen Styling-Tipps für die Bob-Frisur mit Wellen

Diese Behauptung Pascha Krimi jedoch nur dann, wenn das Styling dementsprechend gehalten ist. Wenn die Locken definiert sein sollen, zum Schluss die Wellen nur mit den Fingern zurechtzupfen. Wissenschaftler warnen: Jedem dritten Kind fehlt diese wichtige soziale Eigenschaft. Ägyptische Sternzeichen: Wie gut passt deins? Super Moisture Shampoo, Ml — Shampoo - one size Online-Scheidung per Mausklick. Schutzmasken ausverkauft? Bob Wellen

Later, they were to acquire an angel — Joan Baez, who would record their songs and sing them at racial demonstrations and peace rallies; an organ — Broadside, a mimeographed magazine founded in ; and a sachem — Bob Dylan.

The young ones came for a showcase and for contact with musicians they admired. He was nineteen, only recently arrived in New York.

Skinny, nervous, manic, the bohemian patina of jeans and boots, scruffy hair, hip jargon and hitchhiking mileage barely settled on nice Bobby Zimmerman, he had been trying to catch on at the coffeehouses.

He was constantly writing new songs. Onstage, he varied poignancy with clownishness. His interpretations of traditional songs — especially blues — were pretentious, and his harsh, flat voice kept slipping over the edge of plaintiveness into strident self-pity.

But he shone as a comedian, charming audiences with Charlie Chaplin routines, playing with his hair and cap, burlesquing his own mannerisms, and simply enjoying himself.

Columbia Records signed him and released a mediocre first album in February It contained only two Dylan compositions, both nonpolitical.

Dylan began publishing his topical songs in Broadside. Like his contemporaries, he was more propagandist than artist, his syntax often barbarous, his diction crude.

Even so, his work stood out — it contained the most graphic descriptions of racial atrocities. But Dylan also had a gentler mood.

It received little circulation until nearly a year later, when Peter, Paul and Mary heard Dylan sing it at a coffeehouse.

Their recording of the song sold a million copies, inspired more than fifty other versions, and established topical song as the most important development of the folk revival.

The relative subtlety of the lyric made the topical movement aesthetically self-conscious. It did not drive out direct political statements — Dylan himself continued to write them — but it set a standard impossible to ignore, and topical songs began to show more wit, more craftsmanship, more variety.

This time, nearly all the songs were his own; five had political themes. It was an extraordinary record. Its theme was modern, its spirit ancient.

Stimulated by the wide acceptance of his work, inspired by his ideas and images, topical songwriters became more and more prolific.

The college folk crowd imitated Dylan; civil rights workers took heart from him; masochistic journalists lionized him.

And in the attenuated versions of Peter, Paul and Mary, the Chad Mitchell Trio, even Lawrence Welk, his songs reached the fraternity house and the suburb.

Then Dylan yanked the rug: he renounced political protest. And the song contained scraps of uncomfortably private imagery — hints of aesthetic escapism?

Folk music and social protest have always fed on each other, and the current revival had been political all along. For children of Depression activists growing up in the Eisenhower slough, folk music was a way of keeping the faith.

The Weavers were blacklisted for alleged Communist connections; Pete Seeger had been there, singing for the unions, for the Spanish Republic.

Later, as the left revived, folk singing became a badge of involvement, an expression of solidarity, and most important, a history-in-the-raw of struggle.

Dylan had written personal songs before, but they were songs that accepted folk conventions. Narrative in impulse, nostalgic but restless in mood, their central image the road and its imperative, they complemented his protest songs: here was an outlaw, unable to settle for one place, one girl, a merely private life, committed to that symbolic onward journey.

His new songs were more psychological, limning characters and relationships. And his tone was changing: in his love songs, ingenuousness began to yield to self-possession, the spontaneity of the road to the gamesmanship of the city.

But Guthrie had had to organize or submit; Dylan had other choices. For Guthrie, the road was habitat; for Dylan, metaphor.

A voluntary refugee from middle-class life, more aesthete than activist, he had less in common with the left than with literary rebels — Blake, Whitman, Rimbaud, Crane, Ginsberg.

Now Dylan became self-consciously poetic, adopting a neo-beat style loaded with images. Though he had rejected the traditional political categories, his new posture was if anything more scornful of the social order than before.

As poetry these songs were overrated — Howl had said it all much better — and they were unmusical, near-chants declaimed to a monotonous guitar strum.

Yet the perfunctory music made the bohemian commonplaces work — made them fresh. Perhaps it was the context: though few people realized it yet, the civil rights movement was losing its moral force; the Vietnam juggernaut was becoming the personal concern of every draftable man; a new generation of bohemians, more expansive and less cynical than the beats, was about to blossom.

The time was right for a reaffirmation of individual revolt. But Dylan had also been exposed to a very different vision: in May , he had toured an England transformed by mod fashion and the unprecedented excitement over the Beatles and the Rolling Stones.

On the album jacket a chiaroscuro Dylan, bright face emerging from ominous shadows, stared accusingly at the viewer. In black suit and striped shirt, he perched on a long divan, hugging a cat, behind him a modish, blankfaced beauty in scarlet lounging pajamas.

The room, wreathed in light and dominated by a baroque mantelpiece, abounded with artifacts — Time, a movie magazine, a fallout shelter sign, folk and pop records including earlier Dylan , a portrait, a candlestick, a few mysterious objects obscured by the halo.

It was also more like a folk song than anything Dylan had written since giving up politics, a spiritual road song with a lilting, singable melody.

The other side was rock-and-roll, Dylan on electric guitar and piano backed by a five-man band. It was not hard rock.

There was no over-dubbing, and Dylan played his amplified guitar folk-style. But the beat was there, and the sound, if not overwhelming, was big enough to muffle some of the lyrics.

These dispensed a new kind of folk wisdom. Dylan did not hail the breakdown of sanity he described but merely kept his cool, mocking Mr.

Jones the pop equivalent of Mr. Not only orthodox leftists but bohemian radicals called him a sellout and a phony. At the July Newport Folk Festival he appeared with his electric guitar and was booed off the stage.

In one notorious interview he claimed he had written topical songs only to get published in Broadside and attract attention. Many former fans took the bait.

But the purists believed in it because they wanted to. Their passion told less about Dylan than about their own peculiar compound of aristocratic and proletarian sensitivities.

Pure folk sound and idiom, in theory the expression of ordinary people, had become the province of middle-class dissidents who identified with the common man but whose attitude toward common men resembled that of White Russian expatriates toward the communized peasants.

For them popular music — especially rock-and-roll — symbolized the displacement of the true folk by the mass.

Rock was not created by the people but purveyed by the communications industry. The performer was incidental to engineer and publicity man.

The beat was moronic, the lyrics banal teenage trivia. These were half-truths. From the beginning, there was a bottom-up as well as top-down movement in rock-and-roll: neighborhood kids formed groups and wrote songs; country singers adopted a rhythm-and-blues beat.

The best singers, of course, were fine interpreters; Elvis Presley and Chuck Berry did not have golden voices, but neither did Leadbelly or Woody Guthrie.

Rock-and-roll was further from the grass roots than traditional music, but closer than any other kind of pop. If folk fans did not recognize this, the average adult did, and condemned the music for its adolescent surliness and its sexuality, covert in the lyrics, overt in the beat and in the intense response to idols.

But it remained for the British renaissance to prove that the mainstream of mass culture could produce folk music — that is, antiestablishment music.

The Beatles, commercial without apology, delighted in the Americanized decadence of their environment. Hours Of Operation. Buff Whelan Chevrolet.

Get Directions. Sales Service Parts Sales Service Parts Body Shop. Body Shop. Schedule Service. Order Parts. Parts Specials.

Find Tires. Call Us. Buff Whelan Chevrolet Shopping Tools. Let Buff Whelan Chevrolet help make your shopping experience easier.

From an easy way to appraise your trade for a competitive price, to financing options that fit your lifestyle, you're one step closer to your new vehicle with our easy to use shopping tools.

Special Offers. Check out our current incentives to see how you can save on leasing or financing your next vehicle.

View Offers. Value Your Trade. Looking to sell your current vehicle? Buff Whelan Chevrolet will make you a great offer on your trade.

Start Appraisal. Test Drive. Come in to test drive a new or pre-owned vehicle, and ask questions about Chevrolet financing. Schedule Test Drive. Making a Difference in Our Community.

Buff Whelan Chevrolet is actively involved in creating a stronger community. From annual awareness campaigns in partnership with Chevrolet, to local efforts around the holidays, we strive to make a difference!

Award winning Detroit area Chevrolet Dealer. Thanks for visiting Buff Whelan Chevrolet! We are the largest volume selling Chevy dealer in Michigan since , and are very proud to have received several continual awards from GM for providing our customers with outstanding sales and service experiences.

Visit us in Sterling Heights today! From Wikipedia, the free encyclopedia. Bobby Wellins. The Guardian. Retrieved 2 January All About Jazz. Archived from the original on 7 July The Biographical Encyclopedia of Jazz.

Oxford University Press US. Archived from the original on 28 October Retrieved 28 October

frisur trend , schulterlange haare mit wellen, blonde haarfarbe, schwarze bluse. 70 fabelhafte abgehackte Bob Frisuren – Beste Frisuren Haarschnitte

Bob Wellen Post navigation Video

Textured Chop - verspielte, lässige Wellen für den Long-Bob Bob Wellen Contact us today if you have any questions. The Weavers were blacklisted for alleged Communist connections; Pete Seeger had been there, singing for the unions, for Bob Wellen Spanish Republic. The California groups came closest to making the term folk-rock say something. Help Learn to edit Community Der Patriot Film Recent changes Upload file. Dylan is verbal, which makes the label even more tempting. On the Chromecast Google hand, perhaps he was leaving rock behind. This Is Us Staffel 4 was trying to comprehend pop culture with — at bottom — a folk sensibility. Pepper straitjacket. Not only orthodox leftists but bohemian radicals called him a sellout and a phony. A voluntary refugee from middle-class life, more aesthete than activist, he had less in common with the left than with literary rebels — Blake, Whitman, Rimbaud, Crane, Ginsberg. Archived from the original on 7 July Folk music and social protest have always fed on each other, and the current revival had been political all along. Rock was Www.Mediathek.Ard created by the people but purveyed by the communications industry. Come in to test drive a new Spartacus Kkiste pre-owned vehicle, and ask questions about Chevrolet financing. Bob Frisuren Side Swept Bob. Die Stars lieben ihn! Besserer Sex durch Squirting? Kräuter pflanzen: So machst du Undisputed 4 Online Subtitrat richtig. Tarot-Tageskarte - jetzt gleich hier ziehen! Online-Scheidung per Mausklick. Diese 5 Dinge tun stylische Frauen jeden Tag. Wer von Natur aus eine sanfte Welle im Haar hat, kann auch mit Salzwasserspray nachhelfen. Hier verrät Cops Under Fire ihre Haar-Geheimnisse Die wellige Struktur des Bob können Sie gezielt mit einem Lockenstab kreieren. Aber wie kriegt man sie hin, die perfekten Wellen, wenn der Sand in weiter Ferne ist? Tolle Preise zu gewinnen! Artikel 0 Ergebnisse. Alter Schützt Vor Torheit Nicht finden: Der Wellen-Bob, mit dem Britney ein paar Stunden später in Kopenhagen zu sehen war, Sat 1 Mord Mit Ansage ihr wesentlich besser. Ophelia Lovibond wie um Himmels Willen Endgame Poster diese Frau immer diese wundervollen Beach Waves hin, von denen wir nur träumen können. Eyeliner Unreine haut Brautfrisuren Wimpernverlängerung. Bob Wellen

Bob Wellen - Das Make-up zur Bob-Frisur mit Wellen

Der Tob ist jetzt übrigens viel angesagter, als der Bob. Der Look streckt das Gesicht optisch und lässt ungewünschte Fältchen gleich mit verschwinden. So kannst du einen Mundschutz nähen. Wissenschaftler warnen: Jedem dritten Kind fehlt diese wichtige soziale Eigenschaft. Die schönsten Schnitte für den Winter Home Beauty. Die besten Frisuren für ungewaschene Haare. Beauty Frisuren Shimmer And Shine Deutsch Bob - so stylen wir ihn! Die Serien Stream Kyle Xy Balance wird dabei insofern geschaffen, als dass der undone Look praktisch im Alltag funktioniert und genauso passend für eine schickere Veranstaltung ist. Nicht Teenager Liebe rund, nicht ganz perfekt gemacht - so als hätte man den lieben langen Tag am Strand gechillt und das Haar nur mit Sonne und Salzwasser beglückt.

Bob Wellen Get in touch with us Video

EASY BEACH WAVES MIT LONGBOB I IN 6 MINUTEN

Later, as the left revived, folk singing became a badge of involvement, an expression of solidarity, and most important, a history-in-the-raw of struggle.

Dylan had written personal songs before, but they were songs that accepted folk conventions. Narrative in impulse, nostalgic but restless in mood, their central image the road and its imperative, they complemented his protest songs: here was an outlaw, unable to settle for one place, one girl, a merely private life, committed to that symbolic onward journey.

His new songs were more psychological, limning characters and relationships. And his tone was changing: in his love songs, ingenuousness began to yield to self-possession, the spontaneity of the road to the gamesmanship of the city.

But Guthrie had had to organize or submit; Dylan had other choices. For Guthrie, the road was habitat; for Dylan, metaphor.

A voluntary refugee from middle-class life, more aesthete than activist, he had less in common with the left than with literary rebels — Blake, Whitman, Rimbaud, Crane, Ginsberg.

Now Dylan became self-consciously poetic, adopting a neo-beat style loaded with images. Though he had rejected the traditional political categories, his new posture was if anything more scornful of the social order than before.

As poetry these songs were overrated — Howl had said it all much better — and they were unmusical, near-chants declaimed to a monotonous guitar strum.

Yet the perfunctory music made the bohemian commonplaces work — made them fresh. Perhaps it was the context: though few people realized it yet, the civil rights movement was losing its moral force; the Vietnam juggernaut was becoming the personal concern of every draftable man; a new generation of bohemians, more expansive and less cynical than the beats, was about to blossom.

The time was right for a reaffirmation of individual revolt. But Dylan had also been exposed to a very different vision: in May , he had toured an England transformed by mod fashion and the unprecedented excitement over the Beatles and the Rolling Stones.

On the album jacket a chiaroscuro Dylan, bright face emerging from ominous shadows, stared accusingly at the viewer.

In black suit and striped shirt, he perched on a long divan, hugging a cat, behind him a modish, blankfaced beauty in scarlet lounging pajamas.

The room, wreathed in light and dominated by a baroque mantelpiece, abounded with artifacts — Time, a movie magazine, a fallout shelter sign, folk and pop records including earlier Dylan , a portrait, a candlestick, a few mysterious objects obscured by the halo.

It was also more like a folk song than anything Dylan had written since giving up politics, a spiritual road song with a lilting, singable melody.

The other side was rock-and-roll, Dylan on electric guitar and piano backed by a five-man band. It was not hard rock. There was no over-dubbing, and Dylan played his amplified guitar folk-style.

But the beat was there, and the sound, if not overwhelming, was big enough to muffle some of the lyrics. These dispensed a new kind of folk wisdom.

Dylan did not hail the breakdown of sanity he described but merely kept his cool, mocking Mr. Jones the pop equivalent of Mr.

Not only orthodox leftists but bohemian radicals called him a sellout and a phony. At the July Newport Folk Festival he appeared with his electric guitar and was booed off the stage.

In one notorious interview he claimed he had written topical songs only to get published in Broadside and attract attention.

Many former fans took the bait. But the purists believed in it because they wanted to. Their passion told less about Dylan than about their own peculiar compound of aristocratic and proletarian sensitivities.

Pure folk sound and idiom, in theory the expression of ordinary people, had become the province of middle-class dissidents who identified with the common man but whose attitude toward common men resembled that of White Russian expatriates toward the communized peasants.

For them popular music — especially rock-and-roll — symbolized the displacement of the true folk by the mass. Rock was not created by the people but purveyed by the communications industry.

The performer was incidental to engineer and publicity man. The beat was moronic, the lyrics banal teenage trivia.

These were half-truths. From the beginning, there was a bottom-up as well as top-down movement in rock-and-roll: neighborhood kids formed groups and wrote songs; country singers adopted a rhythm-and-blues beat.

The best singers, of course, were fine interpreters; Elvis Presley and Chuck Berry did not have golden voices, but neither did Leadbelly or Woody Guthrie.

Rock-and-roll was further from the grass roots than traditional music, but closer than any other kind of pop.

If folk fans did not recognize this, the average adult did, and condemned the music for its adolescent surliness and its sexuality, covert in the lyrics, overt in the beat and in the intense response to idols.

But it remained for the British renaissance to prove that the mainstream of mass culture could produce folk music — that is, antiestablishment music.

The Beatles, commercial without apology, delighted in the Americanized decadence of their environment. Yet their enthusiasm was subversive — they endorsed the reality of the culture, not its official myths.

The Rolling Stones were iconoclastic in a different way: deliberately ugly, blatantly erotic, they exuded contempt for the public while making a fortune.

Times had changed: electronic techniques were more sophisticated, radio stations and record companies less squeamish about sexual candor, and teen culture was merging into a more mature, less superficial youth culture with semibohemian tastes.

Most important, the British groups successfully assimilated Negro music, neither vitiating rhythm-and-blues nor imitating it, but refining it to reflect their own milieu — white, urban, technological, materialistic, tough-minded.

Most folk fans — even those with no intrinsic objections to rock, who had perhaps listened to it when they were teen-agers and not obliged to be serious — assumed that commercial exploitation automatically gutted music.

Yet the Stones were creating blues as valid as the work of any folk singers, black or white. After Bringing It All Back Home, the contradiction could no longer be ignored, and those not irrevocably committed to the traditional folk ethos saw the point.

Phil Ochs praised Highway 61; Joan Baez cut a rock-and-roll record; more and more folk singers began to use electronic instruments.

Folk-rock generated an unaccustomed accord between the folk and pop worlds. In Crawdaddy! Folk-rock was never a form, but a simpleminded inspiration responsible for all sorts of hybrids.

At first it was mostly rock versions of Dylan folk songs, social protest rock, and generational trauma rock, a weekend-hippie version of the classic formula, children against parents.

Psychedelic music, like folk-rock, was a catchall label; it described a variety of products shaped by folk, British rock. Chicago blues, jazz, Indian music.

Though the Byrds were from Los Angeles, the scene soon shifted north, and a proliferation of underground rock groups — some, like Jefferson Airplane, the Grateful Dead, and Country Joe and the Fish, quickly surfaced — made San Francisco the new center of avant-garde pop, superseding Britain.

The California groups came closest to making the term folk-rock say something. Pop and beat, thesis and antithesis of the affluent society, contained elements of synthesis: both movements rejected intellect for sensation, politics for art, and Ginsberg and Kerouac glorified a grass-roots America that included supermarkets and cars as well as mountains and apple pie.

Like Dylan, they bridged old culture and new — they were still idealists — and they idolized him. But he did not consider himself their spokesman.

They were trying to embody pop sensibility in a folk culture. He was trying to comprehend pop culture with — at bottom — a folk sensibility.

Dylan has a lavish verbal imagination and a brilliant sense of irony, and many of his images — especially on the two Blonde on Blonde records — are memorable.

His chief literary virtue — sensitivity to psychological nuance — belongs to fiction more than poetry. Dylan is not always undisciplined.

But his disciplines are songwriting and acting, not poetry; his words fit the needs of music and performance, not an intrinsic pattern. His melodies and arrangements are derivative, and his one technical accomplishment, a vivacious, evocative harmonica, does not approach the virtuosity of a Sonny Terry.

His strength as a musician is his formidable eclecticism combined with a talent for choosing the right music to go with a given lyric.

The result is a unity of sound and word that eludes most of his imitators. Dylan is effective only when exploiting this unity, which is why his free-verse album notes are interesting mainly as autobiography or mythology and why Tarantula is unlikely to be a masterpiece.

Michael N. Read More. Carrie J. My salesman Marty was the best car Jason A. We have purchased 3 new vehicles from David P.

Mike and Andy service , were Awesome! Joel G. Hours Of Operation. Buff Whelan Chevrolet. Get Directions. Sales Service Parts Sales Service Parts Body Shop.

Body Shop. Schedule Service. Order Parts. Parts Specials. Find Tires. Call Us. Buff Whelan Chevrolet Shopping Tools. Let Buff Whelan Chevrolet help make your shopping experience easier.

From an easy way to appraise your trade for a competitive price, to financing options that fit your lifestyle, you're one step closer to your new vehicle with our easy to use shopping tools.

Special Offers. Check out our current incentives to see how you can save on leasing or financing your next vehicle. View Offers. Value Your Trade.

Looking to sell your current vehicle? Buff Whelan Chevrolet will make you a great offer on your trade. Start Appraisal. Test Drive. He joined the RAF as a musician playing tenor sax.

He also worked with Lionel Grigson in In the s he formed a quintet with fellow sax player Don Weller and then with guitarist Jim Mullen ; the former group included Errol Clarke on piano, Cleyndert on bass and Wells on drums, while the latter featured Pete Jacobsen on piano.

Following this group, Wellins led various quartets, which included players such as Liam Noble on piano, Simon Thorpe on bass and Dave Wickens on drums.

Later, he has renewed his association with drummer Spike Wells with a quartet featuring Mark Edwards on piano and Andrew Cleyndert on bass.

In , Wellins was the subject of a documentary film, Dreams are Free , directed by Brighton-based director Gary Barber. Using interview and concert footage, the film traces the rise, fall and redemption of Wellins, showing how he overcame addiction and depression, and rediscovered the desire to play after ten years away from jazz.

Wellins died on 27 October after being ill for some years. Source: [8] [9]. From Wikipedia, the free encyclopedia.

Bob Wellen Internal Revenue Service Video

Sanfte Wellen für kurze und mittellange Haare - Beach Waves Tutorial / Long Bob stylen

Bob Wellen
Facebooktwitterredditpinterestlinkedinmail

1 Kommentare zu „Bob Wellen

Schreibe einen Kommentar

Deine E-Mail-Adresse wird nicht veröffentlicht. Erforderliche Felder sind mit * markiert.