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But Overwatch memes later tonight ok lads? AngelThump. Straight dicks are gross I don't even watch straight porn because of all the dick shots. I don’t know if there’s any correlation there. -- President Obama PEPE. They are as precise as you'll need for anything, weight is comfy, design is ergonomic, enough extra mouse buttons while not being autistic. Love em. I really love the heavyweight of the death adder though. The mens changing room is on the far right of the store, the womens is on the far left. Should I buy it off humblebundle or some where else? If someone looks and identifies as a female then how can you call them a male. Let's say a person takes apart a boat and decides to build a car. The boat is completely different now, it's not even a boat anymore, sure it might have the same parts but it functions completely different. I just played a game where I got an S, but a team-mate who clearly did better in all metrics got an S-. So let's say there's this person that was born a girl. She grew up playing sports, video games, getting in fights. Her body looks like brad pit and has manly facial structure. With pear shape you won't see it as prevalent is my estimate.

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Siege of Riverrun, here we come! He also slips one of his sneaky-bastard ideas into her head, planting the concern that Jon’s army is not her own. She’s learned to hold her cards closer to her chest- perhaps one of the lessons she did pick up from Littlefinger, at a steep price, and that she may ultimately use in tearing him down, when that day comes. We know that she can trust Jon, but who can blame Sansa for wanting to have an army that is loyal to her. Jon suggests gathering the smaller houses of the North to form one army to match the larger one of their opponent. Sansa brings up the Tully army that Blackfish now has at Riverrun, but lies about how she learned the information. Sansa says she trusts Jon- but can’t explain why she lied about Riverrun. Perhaps lingering guilt is why, along with the wolf-sigiled dress she made for herself, Sansa fashions a Ned Starkish cloak for Jon. Before getting around to sharing the assignment (bumping off an actress), the Faceless Man shares the background of the House of Black and White, and the people who founded it. The Faceless Men were once slaves who prayed to the Many-Faced God, and were rewarded, able to share the gift, eventually killing all the overseers and masters. As a reader of ASOIAF, I found the slight divergence interesting, as the version from the novels is that the first Faceless Men brought the gift of death to the slaves who were suffering. Death was a gift to relieve pain, not just retribution. This streamlined version of the story dovetails with the show’s depiction of Daenerys freeing the slaves. She finds her target performing at a charmingly crude theater. Richard E. Grant is obscenely funny as the theater troupe’s leading man, and Essie Davis as Lady Crane, the assassination target, joins him in the political pantomime. She’s certainly not “No One” when she sees the play version of her sister Sansa being stripped, and her father killed, standing in the crowd as she did that day in “Baelor. After the performance, Arya determines how she’ll kill the actress, and sees she is simply a normal, seemingly kind enough woman.


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His house is encircled by the king's men. The cock changes into a Garuda, the great mythic bird of lndic legend, and carries the hero and his wife to safety in the heavens. When the people see this, they make the hero king and his w ife queen and they return as such to earth. Men go on allegorically humiliating one another and being allegorically humiliated by one another, day after day, glorying quietly in the experience if they have triumphed, crushed only slightly more openly by it if they have not. You cannot ascend the status ladder by winning cockfights; you cannot, as an individual, really ascend it at all. Nor can you descend it that way. s All you can do is enjoy and savor, or suffer and withstand, the concocted sensation of drastic and momentary movement along an aesthetic semblance of that ladder. Like any art form-for that, finally, is what we are dealing withthe cockfight renders ordinary, everyday experience comprehensible by presenting it in terms of acts and objects which have had their practical consequences removed and been reduced (or, if you prefer, raised) to the level of sheer appearances, where their meaning can be more powerfully articulated and more exactly perceived. What it does is what, for other peoples with other temperaments and other conventions, Lear and Crime and Punishment do; it catches up these themes--death, masculinity, rage, pride, loss, beneficence, chance-and, ordering them into an encompassing structure, presents them in such a way as to throw into relief a particular view of their essential nature. It puts a construction on them, makes them, to 28 Addict gamblers are really less declassed (for their status is, as everyone else's, inherited) than merely impoverished and personally disgraced. The most prominent addict gambler in my cockfight circuit was actually a very high caste satria who sold off most of his considerable lands to support his habit. Though everyone privately regarded him as a fool and worse (some, more charitable, regarded him as sick), he was publicly treated with the elaborate deference and politeness due his rank. An image, fiction, a model, a metaphor, the cockfight is a means of expression; its function is neither to assuage social passions nor to heighten them (though, in its playing-with-fire way it does a bit of both), but, in a medium of feathers, blood, crowds, and money, to display them. The question of how it is that we perceive qualities in thingspaintings, books, melodies, plays-that we do not feel we can assert literally to be there has come, in recent years, into the very center of aesthetic theory. 9 Neither the sentiments of the artist, which remain his, nor those of the audience, which remain theirs, can account for the agitation of one painting or the serenity of another. We attribute grandeur, wit, despair, exuberance to strings of sounds; lightness, energy, violence, fluidity to blocks of stone. Novels are said to have strength, buildings eloquence, plays momentum, ballets repose. A cultural figure against a social ground, the fight is at once a convulsive surge of animal hatred, a mock war of symbolical selves, and a formal simulation of status tensions, and its aesthetic power derives from its capacity to force together these diverse realities.


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She participated in the development of the GHG emissions inventory, climate planning with CURB tool and was part of the pilot process for the MER Framework. Furthermore, she was responsible for engaging different stakeholders in climate change participatory processes. Cristina has additional experience in project management and coordination working in international organizations such as the UNDP, and local NGOs. Currently she is undergoing a graduate specialization degree in Cities, Climate Change and Leadership at FLACSO University in Ecuador. Culley is leading the development and enhancement of a suite of tools and information systems that improve cities’ ability to evaluate and implement climate action strategies. Prior to joining C40, Culley was a Senior Strategic Consultant in AECOM's Climate and Sustainability group based in San Francisco. In that position, he led the development of numerous analytic and decision-support models related to urban low carbon planning, climate vulnerability analysis, sustainable infrastructure, and municipal finance. He also served as project manager or technical lead on more than 45 city climate action planning projects and developed many community and project-scale greenhouse gas inventories. Culley has a Master’s degree in City and Regional Planning from University of California, Berkeley, and a Master’s degree in International Development from University of California, Davis. In this role Desiree supports a network of global cities led by Melbourne and Stockholm to deliver ambitious low-carbon, district-scale development projects. Before academia, Desiree worked as a Research Assistant at the United Nations Environment Programme in the Post-Conflict and Disaster Management Branch, and was an intern at International Bridges to Justice in Geneva. He coordinated all city programs aimed at ensuring sustainable city development in areas pertaining to climate change, waste management, road safety, disaster planning and management, with a charge to integrate management structures for enhancing sustainable urban development. Desmond is an advisor to the Mayor of Accra on sustainability. Joseph’s University, Philadelphia USA, a BA (Hons) (Geography and Resource Development) from the University of Ghana, a PG Certificate (Group Crisis Intervention) Critical Incidence Stress Management and a First Certificate in Food Safety from The Royal Institute of Public Health. He is responsible for facilitating cities in the region to participate in the exchange of best practices to reduce the impacts of climate change. Over the last decade and a half, he has worked across scales of urban development such as regional plans, master plans, urban design, and architecture projects in India and parts of the Middle East. In doing so, he played key roles such as project manager, client coordinator and key team member. Most recently, he was Associate Director of the Design Planning and Economics business line at AECOM India Private Limited.


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And even at first glance an astonishing number seemed to be amputees. As we strolled around, every step that we took was followed by high-pitched, girlish hee-hee-hees (even from the men). They were so open about it and were clearly so amused that it was impossible to be offended. Though there are almost no cars in Ho Chi Minh City, there are plenty of cyclos and literally thousands of motorbikes—all weighed low with people. On one I counted five people—Mum, Dad and three gorgeous children. And wouldn’t you think that if there were only motorbikes and cyclos, it would be easy to cross the roads. But it was impossible—especially because no one paid the traffic lights any heed. Anxiously we stood as the lights changed from red to green back to red again and motorbikes continued to whip past us, covering us with dust. Enlightenment came in the form of a tiny woman, about four 281 Under the Duvet foot high and three stone, bearing several times her body weight in the two baskets swinging from her shoulder bar. Before our astonished eyes she stepped out into the dusty road in her shin-length pants, bare feet and coolie hat and didn’t look right or left. The motorbikes roared and swerved easily around her and, without breaking pace in any way, she continued her serene journey to the other side. That night, we sat in the hotel’s roof-top bar and looked over the city, and it took a moment to figure out what was wrong with the skyline—no neon, no advertising. There were lights from houses, but otherwise a peculiar absence of color that seemed almost unnatural. An early start the following day, as we drove out to the countryside to see the Cu-chi tunnels. Beneath a pretty forest, these are a vast network (250 km. of underground tunnels and chambers from which the Vietcong conducted their guerrilla war against the Americans. They had everything the wellequipped guerrilla outfit might need: sleeping quarters, a restaurant, even—God help us—an operating theater. It was a horrible conflict, and Vietnam suffered appallingly, but my heart went out to the American soldiers—teenage conscripts for the most part—who were sent to fight this unwinnable war.


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Accepting the cheapest system from the path of least resistance is not an acceptable procurement strategy. The men and women of our military need and deserve the best capability available to meet both current and emerging future threats. It’s time for the Air Force to start over and address updated requirements and best cost structure to procure the absolute best weapon system capability. Colonel with the Air Force serving for 20 years as an F-15 Strike Eagle pilot and Congressional liaison specializing in advanced weapons. The devastation in floods, earthquakes or droughts is generally measured by how much stuff or assets people lose — say the number of wrecked houses and the dollar amount it would take to rebuild them. But a new report from a research group at the World Bank says the toll could be a lot more if it were to look beyond stuff that's lost and see how livelihoods are affected, particularly for a country's poorest people. Either because natural disasters destroy their wealth and push them down, or the shock prevents them from climbing out of poverty. Goats and Soda spoke with Hallegatte about how natural disasters disproportionately hurt the poorest people — and ways to help mitigate some of that damage. When you looked at how much people lost in natural disasters, poor people were losing way more than rich people. But this fact wasn't captured in traditional analyses? Yeah. We find that poor people are more often affected by natural disasters. If you look within cities, you find people in richer categories taking the best land and poor people in the risky places. This is because it's cheaper to live in a risky area or it's the only available land. And people who are poor are twice more likely to live in fragile buildings that are completely destroyed when flooded or stormed, and they lose everything. So if their livestock or a cart they use in a business is destroyed, poor people end up making less money? Exactly. Rich people will lose some of their wealth, too, right.


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The Winds of Winter and a Dream of Spring would be judged against the show. They aren't that young anymore; here's their Wikipedia entry. She'll probably be leading the charge of shitting on the show once the books come out. The writing this season is shit, but if George is butthurt that the show has diverted strongly from his books, WTF did he expect them to do. He had 6 years--YEARS! -to produce another book for HBO, and he failed miserably. Instead of focusing on writing, he reveled in his new fame and money, doing practically everything and anything not related to writing the new GoT book. Now the inevitable has happened: the show has outpaced him and needed to fill in the gaps on their own. HBO can't wait until the child actors are 30 years old to finish the show. Oh, come on now, it's not like he's spending that money on hookers and blow. He bought the Jean Cocteau Cinema in Santa Fe that went under in 2006, renovated it, and is now showing all sorts of stuff there. If there's a distraction, it isn't money, but all the other damn fantasy projects that he likes doing, and ones that only hardcore fantasy fans will ever be interested in. People look at the early books as coming out faster, but it was working on the series for years before he finally released book one. It took 5 years for AFFC to come out and 6 years for ADWD to come out and those were before his increased fame from the television series. He was already writing slowly and as the story has gotten more complicated that pace has gotten slower. As he has said many times, this is his mangum opus and when he is dead no one is going to care how fast they came out, they will care how the story is. That said, I wouldn't be surprised if he never manages to finish the series. And how did the MUTE Night King know what command to say to make Visierion spray ice flames.