Collateral…one of the few Tom Cruise movies that aren’t terrible. Vanilla Sky, Minority Report, and Rainman (more because of Hoffman, of course) are some of the others. He’s without question the most overrated actor in cinema history. Collateral is just a fantastic movie. The scene where they’re in the cab driving through LA with Audioslave playing and the coyote is epic.
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We left our feet from far away to old familiar alleys, trying to get rid of so much personal feelings that were still lingering in our hearts. Three years, is it just a matter of ideas? For someone, three years may be too long to forget, enough to find new joys, new sorrows. But for someone else, the three years passed so quietly that they hadn’t even realized it yet. loneliness, pity. In June, will you come back with nostalgia? Memories have been forgotten according to so many chaos, hustle, and then today rushed back with pouring rain. Of course, the trauma sometimes reappears into beautiful memories, which is probably the only miracle of time, or, maybe … that’s the bad thing.
Gloaming. The sky is low. Each rattan thread is woven with light color. The wind stopped. Space will be iron in drizzle. The thin rain curled down on the shoulder of the person who missed a step. The rain is arrogant, so it doesn’t bother anyone. Sadness falls and disappears. Rain makes people happy, people love them fondly. Rain makes people sad, people feel sorry for them. By the window, I watched the time pass. Remember what in the midst of a sky of memories that have yellowed over the years? The gains and losses of a human life: impermanent, unchanging. The circle of creation trivia who escapes, has to sadly accept the regret overflowing through the afternoon rain metaphor. Out there, each flower bud stretches out its husks horizontally. The rain is gone! Trees stretched when the rain poured down. Cheerful rain dancing and bathing with trees. But then the rain had to go so that the green color covered all the roads. Thirty years old, twelve years old in the hometown, what can people gain and lose? I am greedy and satisfied with the present but also want to look back at the past. Beautiful, beautiful! Rain asked me sad or happy? Are you feeling sad when it rains? I’m not sad but … I hear lust. Found far away from the bamboo village at the end of the village. Faintly, I heard that the smell of earth rushed to the throne. The smell of the motherland!
Consciousness exists, period. Kiss some grandmas play bingo real grandmas listen to Gene Simmons shirt As Descartes said “cogito ergo sum”. You may call “soul” to consciousness, if you’d like but, it’s basically the same notion. Consciousness is not created by the brain, just as the player playing a computer, is not created by the computer avatar/character. The brain and the rest of the human body allows consciousness to express itself and interact with the material world, just as the coded character in the game allows the player to interact with the computer simulation.
So is consciousness/soul the Kiss some grandmas play bingo real grandmas listen to Gene Simmons shirt only thing which makes the human body alive? Well, I’d say consciousness is what brings the whole reality into existence but to experience it in the first person, it needs to inhabit a working body, just as we need a functional character to play a computer game. If the matter that composes a body is out of order, it no longer functions so, the consciousness abandons that experience of being that body. Being a living human being, is an experience of consciousness that requires a functional body. So, it’s true that the soul is necessary for the body to be alive, but the body needs to be functional too… If its screwed up, consciousness no longer can express itself in the physical matter reality… Consciousness goes about its own business and there’s no life in that body.
The price of fabric changes at scale too. If Stanley, Roche, and Romy could triple the San Francisco Giants team play signatures shirt Besides,I will do this size of their businesses, perhaps their prices would come down a little, but that isn’t their goal. The larger a company gets, the more difficult it becomes to keep track of the supply chain; we all remember how certain well-known brands didn’t even know their clothes were being produced in the collapsed Rana Plaza factory. Understanding scale also explains why a higher price doesn’t always equate to better fabrics and fair labor. A polyester dress might retail for $400 because the label produced it in small quantities and paid its workers—but it’s still polyester, and you shouldn’t waste $400 on something so environmentally damaging. Or maybe the brand made it in huge quantities and used cheap labor, but hiked the price to convince you it’s an elevated product. There’s always going to be confusion when it comes to price, and some brands are always going to value “brand equity” over their workforces. The only way you’ll really know if a price is worth your hard-earned cash is by digging deeper and demanding transparency from the brands you support. On the luxury side, designers and retailers are actively discussing how to become open and honest about price and quality. By explaining the origin of their fabrics, how their clothes are made, and who makes them, the hope is that customers will shop more confidently and will be motivated to invest in the story, not just the product or trend. In theory, that concept of mindful consumption could eventually trickle down to the high street. It isn’t going to fix climate change or fashion’s murky supply chain, but it’s the best way we can begin to make a difference—and by “we,” I mean those of us in the privileged position of having money to spend and the headspace to refine our shopping habits. The common rebuttal to the “fewer, better” approach is that some people can’t afford to pay more for clothes, and that’s absolutely true. But lower-income shoppers aren’t the ones creating the mess; they aren’t buying a new dress every week and then throwing it out. The people abusing the system are the ones who could afford to buy fewer, higher-quality items, and it’s our responsibility to use our power and influence to raise the bar for everyone else.
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This recipe is inspired by courgettes avec des arachides (French for ‘zucchini with peanuts’), a classic dish from the Never underestimate a woman who understands football and loves Seattle Seahawks shirt Additionally,I will love this north-central African country Chad,” says chef Bryant Terry of his oven-roasted zucchini recipe, a simple dish dressed up with the addition of collard-peanut pesto. Perfect to bring to any socially-distanced barbecues this summer, it’s just one of many innovative vegan offerings found in Terry’s new cookbook, Vegetable Kingdom: The Abundant World of Vegan Recipes. Over the past few years, veganism has moved from a lifestyle choice firmly into the mainstream: in 2019, The Economist reported a quarter of 25 to 34-year-olds were either vegan or vegetarian. Disney World has over 400 plant-based menu options, and Burger King now serves the Impossible Whopper. Vegetable Kingdom, with its recipes heralding everything from peas to summer squashes to spinach, further cements the role of vegetables no longer as just the side dish, but as the main affair, too. Yet, Vegetable Kingdom also champions a rich variety of global cuisines: Terry, the chef-in-residence at San Francisco’s MoAD, emphasizes ingredients and cooking styles of the African diaspora, whereas his wife, Jidian Terry Koon, does so with a variety of Asian flavors, from Chinese to Vietnamese. Kingdom reflects those culinary cultures, and many more—Terry notes that fennel, a hearty Mediterranean vegetable, sparked the inspiration for this book. Make the zucchini: Preheat the oven to 450°F. Line a baking sheet with parchment paper. In a large bowl, toss the zucchini with the olive oil and salt, then spread the zucchini over the baking sheet in one even layer. Roast until the zucchini is brown around the edges, 18 to 20 minutes. To serve, transfer the zucchini to a bowl and give it a few turns of pepper. Next, drop in a few heaping dollops of pesto so that people can scoop as much as they’d like when serving themselves, adding more pesto to the bowl as needed. Pile the peanuts in a small serving bowl and present alongside the zucchini. Make the pesto: In a food processor, combine the collards, peanuts, miso, and garlic and blend until it forms a chunky paste. While the food processor is running, slowly pour in the olive oil through the feed tube, adding more if needed to reach your desired consistency. Season with salt, pepper, and additional lemon juice to taste. Set aside.
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So it’s one thing if you have Halloween Death smiles at all of us Walmart workers smile back shirt temporary, situational anxiety due to a specific event like an accident, death of a loved one, disaster, etc. There are several benzos that all work a little differently. Some are milder and slower acting. But they are still very addictive. Dr’s hesitate to prescribe them for longer than a couple of weeks.
Now…I have horrible, chronic, Halloween Death smiles at all of us Walmart workers smile back shirt longlasting depersonalization with my CPTSD. But here’s the thing about DP. It’s not an anxiety disorder. It’s a dissociative disorder. Anxiety certainly can precipitate it. But really it’s the nervous systems inability to handle said anxiety without disconnecting from it that is the ‘disorder’. So you dissociate. There are no medications indicated for treatment of any dissociative disorder. Those require therapy. You must get at the root and source of the depersonalization or any dissociation in order to treat it. Being on benzos would actually zone you out more, making it even harder to treat. They’re sedative hypnotics. Dissociation is already a sort of self hypnosis.
Most of this, though, was derived directly from the Black Panther in my culture death is not the end rest in Paradise T’Challa shirt Additionally,I will love this work emerging from Ruby’s sprawling California studio complex. The printed dresses and shirting featured imagery of candles and weeds shot by Ruby’s wife, Melanie Schiff. One model wore a vinyl tabard bearing the lurid coverwork of a book entitled Hex, a 1972 examination of pow-wow and murder in the Pennsylvania Dutch community amidst which he was partially raised. This childhood influence presumably also influenced the Mennonite-style dresses in bleached denim. Ruby said the stalagmite-like U.S. flag decals on his denim pieces reflected certain sculpted works; Ruby-philes will doubtless recognize many more entanglements between his artistic body of work and the beginning of this new one as they look at these clothes. Arguably the boldest element of all on show tonight was the act of a famed contemporary artist transitioning into the world of fashion design. Fashion traditionally tugs its forelock at contemporary art, while contemporary art is happy to take fashion’s sponsorship cash and revel in its assumed superiority in the creative hierarchy. Ruby, conversely, seems to be genuinely enthused by this new aspect of his practice, and who is to say his fashion will not prove as lucrative as his art? This “collection” is, in fact, not one but four collections: Some pieces went immediately on sale, see-now-buy-now style, and are presumably the fashion equivalents of print editions.
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That made it difficult for Marretta to find much fresh water. For instance, we’d seen the Chadwick Boseman in my culture death is not the end shirt in other words I will buy this pool-dappled pattern—which is very attractive—not just at Kors’s Hockney-hashing collection, but also this season at MSGM (in a collection simply enough about summer). Yet that’s not to conclude this was an altogether poor debut from Marretta, who clearly has some serious knitwear petrol in his engine following his time in Milan. The double-face wool-blend track pants and rib-knit sweaters in violently opposing lifeguard-uniform yellow and red were, as he said, fun. So were his pieces of reversible outerwear in checks that mashed Prince of Wales against argyle, which matched his a-lot-like-Birkenstock sandals. The intarsia-homage diving-figure sweater was cute. But if Marretta is going to revisit British culture through his Italian eyes, he should either do it in a completely new manner or find lesser explored but still visually compelling aspects of the culture he has moved from Armani to dive into. “I am no longer an artist; I have become a work of art,” spoke a voiceover in the middle of Prada’s Spring 2020 men’s shoe, held, for the first time off home turf, in Shanghai. (Typically Miuccia Prada prefers to show her collections in the Fondazione Prada in Milan or at her New York office.) Later, the same voice said, “I feel myself a god.” Mrs. Prada has long maintained a reverent relationship with art, supporting and collaborating with her favorite creators, without ever formally declaring herself among their ranks—no word on the god situation. So, what were we to make of the statements pronounced, at techno speed, over a blue-lit runway at the Minsheng Art Wharf? To those at home in the Pradaverse, the words, lifted from Frankie Goes to Hollywood’s Welcome to the Pleasuredome, were Prada subversion at its best. In the show notes unlike her in situ shows, Mrs. P did not assemble journalists for a debrief the collection was described as one of optimism, suggesting that being hopeful can be an antidote for accepting the darkness of our actuality. It’s a continuation of the themes she launched at her recent women’s Resort show in New York, but when presented on male models, it took on a kinkier edge. I fought my way, using the advantage of having a small body, bending, and shoving until I got there. Okay, I think I see it! The window that a teacher stands behind. I extended my hand with the money, gasping for breath as two big girls squished me from both sides.
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