Placement Of Pull Quotes

She sorted through the clothes. “Do you mind wearing Emilio’s underwear?” She turned back to him with the two different styles that she’d found. “You’re about the same size. And they’re clean. They were wrapped in a paper package, like from a laundry service.” Max gave her a look, because along with the very nice, very expensive pair of black silk boxers she’d pilfered from Emilio, she’d also borrowed one of his thongs. “What?” Gina said. It was definitely a man-thong. It had all that extra room for various non-female body parts. “Don’t be ridiculous.” “I’m not,” she said, trying to play it as serious. “One, it’s been a while, maybe your tastes have changed. And two, these might actually be more comfortable, considering the placement of your bandage and—” He took the boxers from her. “Apparently I was wrong.” She turned away and started sorting through the pairs of pants and Bermuda shorts she’d grabbed, trying not to be too obvious about the fact that she was watching him out of the corner of her eye. To make sure he didn’t fall over. Right. After he got the boxers on, he took off the bathrobe and . . . Okay, he definitely wasn’t as skinny as he’d been after his lengthy stint in the hospital. Emilio’s pants probably weren’t going to fit him, after all. Although, there was one pair that looked like they’d be nice and loose . . . There they were. The Kelly green Bermuda shorts. Max gave her another one of those you’ve-got-to-be-kidding glances as he put the bathrobe over the back of another chair. “Do I really look as if I’ve ever worn shorts that color in my entire life?” She tried not to smile. “I honestly don’t think you have much choice.” She let herself look at him. “You know, you could just go with the boxers. At least until your pants dry. You know what would really work with that, though? A bowtie.” She turned, as if to go back to the closet. “I’m sure Emilio has a tux. Judging from his other clothes, it’s probably polyester and chartreuse, but maybe the bowtie is—” “Gina.” Max stopped her before she reached the door. He motioned for her to come back. She held out the green shorts, but instead of taking them, he took her arm, pulled her close. “I love you,” Max said, as if he were dispatching some terrible, dire news that somehow still managed to amuse him at least a little. Gina had been hoping that he’d say it, praying even, but the fact that he’d managed to smile, even just a bit while he did, was a miracle. And then, before her heart even had a chance to start beating again, he kissed her. And oh, she was also beyond ready for that particular marvel, for the sweet softness of his mouth, for the solidness of his arms around her. There was more of him to hold her since he’d regained his fighting weight—and that was amazing, too. She skimmed her hands across the muscular smoothness of his back, his shoulders, as his kiss changed from tender to heated. And, God. That was a miracle, too. Except she couldn’t help but wonder about those words, wrenched from him, as if it cost him his soul to speak them aloud. Why tell her this right now? Yes, she’d been waiting for years for him to say that he loved her, but . . . Max laughed his surprise. “No. Why do you . . .?” He figured it out himself. “No, no, Gina, just . . . I should’ve said it before. I should have said it years ago, but I really should have said it, you know, instead of hi.” He laughed again, clearly disgusted with himself. “God, I’m an idiot. I mean, hi? I should have walked in and said, ‘Gina, I need you. I love you, don’t ever leave me again.’” She stared at him. It was probably a good thing that he hadn’t said that at the time, because she might’ve fainted. It was obvious that he wanted her to say something, but she was completely speechless.

Ms. Rinaldi taught AP Art History and for whatever reason Advanced Placement seemed to be only for the white kids at my school But there I was in my only AP class the only black kid in the room looking at slides of old paintings and it was boring as fuck Muted and dull colors Sad and pale rich white people doing nothing but looking sad So I’d pull up my hoodie and put my head down There, behind my closed lids I could paint me a world that made sense And there was that one time Ms. Rinaldi yanked my hoodie from off my head If you cannot pay attention in my class then you don’t deserve to be here she said through clenched teeth So I picked up my bag and walked out I failed the class She failed me

The AR-57, also known as the AR Five Seven, is available as either an upper receiver for the AR-15/M16 rifle or a complete rifle, firing 5.7×28mm rounds from standard FN P90 magazines. It was designed by AR57 LLC and[3] was produced by AR57 of Kent, Washington, United States. The AR-57 PDW upper is a new design on AR-15/M16 rifles, blending the AR-15/M16 lower with a lightweight, monolithic upper receiver system chambered in FN 5.7×28mm. This model is also sold as a complete rifle, supplied with two 50-round P90 magazines.[1] The magazines mount horizontally on top of the front handguard, with brass ejecting through the magazine well. Hollow AR-15 magazines can be used to catch spent casings. Unlike the standard AR-15 configuration which uses a gas-tube system , the AR-57 cycles via straight blowback.[6] A fully automatic version exists and was marketed as a competitor to the P90 and other personal defense weapons.[7] Manufactured by the eponymous AR57 LLC, and chambered in 5.7x28mm, this upper is less powerful than the standard 5.56mm version, but it has certain tangible advantages, including reduced muzzle blast, a high practical rate of fire, nonexistent recoil, and the ability to use folding stocks. Since the buffer is located within the receiver, folding stocks may also be used for compact storage or carry. To load, place the base plate of a standard FN P90 magazine into the recess on the front of the upper, then press the feed lip side down on the catch located above and slightly back of the bolt. To charge, pull on the right-side nonreciprocating handle and release. The right-side charging hand placement makes it accessible for operation by the strong hand. Since it only has to be operated once every 50 shots, the time penalty for moving the hand off the pistol grip isn’t too great. Empties will eject downward through the nominal magazine well. Some people use a 20-round magazine body with the feed lips, spring and follower removed to act as a brass catcher. The magazine has no provision for activating the bolt lock when empty, but the bolt can be locked open using the catch on the lower. The upper runs very cleanly and reliably, requiring no maintenance after the first 500 shots. The AR57 comes with a medium fluted barrel, reasonable for a varmint rifle but excessive for a defensive carbine. Burning around six grains per shot, 5.7x28mm runs much cooler than 5.56mm, which burns four or more times as much. That yields much reduced muzzle blast and far greater heat endurance, of course at the cost of a roughly 40 percent slower bullet.

That seemed like so very long ago. But I had. As long as the doors weren’t completely evil, I’d lost no more than an evening. Smiling, I pulled on my boots and checked the placement of my dagger in its holster. As

CONCERT CHECKLIST 1. Secure a date on the calendar. Be sure it is listed on the official school calendar to protect it. 2. Reserve a performance venue for the concert and for final rehearsals. 3. Have tickets printed if they are to be used. 4. Plan the printed program and get it to the printer by the deadline date. 5. Plan the publicity. The following types of publicity can be utilized to draw a sizable concert audience: Radio releases Television releases Newspaper releases Online listings School announcements Notices to other schools and/or organizations in the area Posters for public placement 6. Send complimentary tickets to: Civic leaders Board of Education Superintendent People who have helped in some way Key supporters Key people to stimulate their interest 7. Have the president of the choir send personal letters of invitation to people that are special to the music program (newspaper editor, Board of Education, Superintendent, civic club presidents, supporters etc.). 8. Appoint a stage manager. He should be someone who can control the stage lighting, pull curtains, shut off air circulation fans that are noisy, and see that the stage is ready for the concert. 9. Arrange for ushers. 10. Check wearing apparel. Be sure that all singers have the correct accessories (same type and color of shoes, no gaudy jewelry for girls, etc.). 11. Post on bulletin board and tell students the time they will meet for a pre-concert warm-up. High school students will perform best if they meet together at least forty-five minutes before the concert.

A Hard Left For High-School History The College Board version of our national story BY STANLEY KURTZ | 1215 words AT the height of the “culture wars” of the late 1980s and early 1990s, conservatives were alive to the dangers of a leftist takeover of American higher education. Today, with the coup all but complete, conservatives take the loss of the academy for granted and largely ignore it. Meanwhile, America’s college-educated Millennial generation drifts ever farther leftward. Now, however, an ambitious attempt to force a leftist tilt onto high-school U.S.-history courses has the potential to shake conservatives out of their lethargy, pulling them back into the education wars, perhaps to retake some lost ground. The College Board, the private company that develops the SAT and Advanced Placement (AP) exams, recently ignited a firestorm by releasing, with little public notice, a lengthy, highly directive, and radically revisionist “framework” for teaching AP U.S. history. The new framework replaces brief guidelines that once allowed states, school districts, and teachers to present U.S. history as they saw fit. The College Board has promised to generate detailed guidelines for the entire range of AP courses (including government and politics, world history, and European history), and in doing so it has effectively set itself up as a national school board. Dictating curricula for its AP courses allows the College Board to circumvent state standards, virtually nationalizing America’s high schools, in violation of cherished principles of local control. Unchecked, this will result in a high-school curriculum every bit as biased and politicized as the curriculum now dominant in America’s colleges. Not coincidentally, David Coleman, the new head of the College Board, is also the architect of the Common Core, another effort to effectively nationalize American K–12 education, focusing on English and math skills. As president of the College Board, Coleman has found a way to take control of history, social studies, and civics as well, pushing them far to the left without exposing himself to direct public accountability. Although the College Board has steadfastly denied that its new AP U.S. history (APUSH) guidelines are politically biased, the intellectual background of the effort indicates otherwise. The early stages of the APUSH redesign overlapped with a collaborative venture between the College Board and the Organization of American Historians to rework U.S.-history survey courses along “internationalist” lines. The goal was to undercut anything that smacked of American exceptionalism, the notion that, as a nation uniquely constituted around principles of liberty and equality, America stands as a model of self-government for the world. Accordingly, the College Board’s new framework for AP U.S. history eliminates the traditional emphasis on Puritan leader John Winthrop’s “City upon a Hill” sermon and its echoes in American history. The Founding itself is demoted and dissolved within a broader focus on transcontinental developments, chiefly the birth of an exploitative international capitalism grounded in the slave trade. The Founders’ commitment to republican principles is dismissed as evidence of a benighted belief in European cultural superiority. Thomas Bender, the NYU historian who leads the Organization of American Historians’ effort to globalize and denationalize American history, collaborated with the high-school and college teachers who eventually came to lead the College Board’s APUSH redesign effort. Bender frames his movement as a counterpoint to the exceptionalist perspective that dominated American foreign policy during the George W. Bush ad ministration. Bender also openly hopes that students exposed to his approach will sympathize with Supreme Court justice Ruth Bader Ginsburg’s willingness to use foreign law to interpret the U.S. Constitution rather than with Justice Antonin Scalia�

The spinal column should be straightened “as if it were beads fastened together on a string” (JP, f. 6a). Keeping the spine straight is particularly important because it aligns the subtle energy channels in the body, especially the central channel, which in turn helps stabilize the mind.310 Proper placement of the hands in the equipose posture means that the left hand is on the bottom. The chest is lifted slightly and expanded. The shoulders are pulled back so that the diaphragm is allowed to expand.311 The neck is bent slightly like a fish hook or a cane. The tongue is held at the roof of the mouth, while the teeth and lips are left relaxed. The positioning of the eyes is very important. Tashi Namgyel recommends keeping them slightly open, unfocused at the tip of the nose. Jampel Pawo suggests looking, unfocused, “the distance of one yoke” (about four feet) in front. Either way an unfocused gaze “controls contact with the senses” (reg pa dbang pos bsgyur; JP, f. 6b). By fixing the gaze, the practitioner not only re-orders a point of the posture but restricts any interaction with and perception of the surroundings at the same time.

You know your brother is packing and he got a big dick.” “Too much information, boo,” Char frowned. I shook my head holding my laugh in. “And his hand placement is top tier.” I couldn’t help but let my laugh come out as I leaned against the wall. “I knew your ass was eavesdropping,” Char grabbed me by the shirt, pulling me from being hidden behind the wall and playfully punching me in the arm. She and Aisha had caught me. “But, I guess you were nuttin’ for Christmas, huh, bro?

That was amazing,” she told him. He kissed the top of her thigh. “For me, too.” She heard him sit up and prepared to pass over the condom. But before she could, she felt his finger enter her again. Just the finger. It shouldn’t have been that exciting, but there was something about the way he touched her. She’d just had more than her fill of orgasms, but she couldn’t help clamping around him, drawing him in deeper. “Good?” he asked. “Oh, yeah. Don’t stop.” Without thinking, she reached down and grabbed his wrist. Holding his hand still, she thrust her hips forward and back, finding the right pace until the heavy tension returned, and she felt the telltale contractions begin again. He swore softly. “Can you do that while I’m inside of you?” “Absolutely.” She pulled his hand free and pressed the condom into his palm. “Can you put this on in the dark?” He chuckled. “With you as motivation, I could probably put it on after I was dead.” Then he was pressing against her. She reached between them and guided him inside of her. As he entered her, she contracted around him. He filled her slowly, stretching her, delighting her. Each thrust was enough to send her flying. Zane shifted so he could hold on to her hips. “I can feel you coming,” he murmured. “You’re killing me. I can’t hold on much longer.” “Go for it,” she told him. He took her at her word. Moving faster and faster, he pulled out of her, then slipped back inside. She lost herself in the movement, in what she was feeling. The pleasure was greater than any she’d ever experienced. Maybe it was a fluke. Maybe it was something about being outdoors or the placement of the moon. Whatever. At this point, she didn’t much care. Instead, as she felt Zane tensing for his own release, she wrapped her legs around him and pulled him close. One last shudder rippled through her. She gave herself up to the feel of him, to the sudden weight as he wrapped his arms around her and groaned his surrender.

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Step 2: Interpreting Signals Across Timeframes Each timeframe serves a unique purpose in multi-timeframe analysis. The key is to align signals from each timeframe. How to Interpret Signals on Different Timeframes: ●      Higher Timeframe Signals (Daily/Weekly): These charts provide the overall market trend. Look for key support/resistance levels, major trends, and significant price action patterns. ●      Medium Timeframe Signals (4-hour/1-hour): These charts help you fine-tune your entries by identifying pullbacks or continuation patterns within the broader trend. ●      Lower Timeframe Signals (15-minute/5-minute): These charts give you entry points, as well as stop-loss and take-profit placement. The key is not to let short-term noise influence your decisions. Example: ● Daily Chart: The market is in an uptrend. ● 4-Hour Chart: The price is pulling back toward support. ●      15-Minute Chart: A bullish reversal pattern forms near the support level, signaling a good entry.

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