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Tenderly will I use you curling grass, It may be you transpire from the breasts of young men, It may be if I had known them I would have loved them, It may be you are from old people, or from offspring taken soon out of their mothers' laps, And here you are the mothers' laps. I am not an earth nor an adjunct of an earth, I am the mate and companion of people, all just as immortal and fathomless as myself, They do not know how immortal, but I know. Having pried through the strata, analyzed to a hair, counsel'd with doctors and calculated close, I find no sweeter fat than sticks to my own bones. I do not know what it is any more than he. Sun so generous it shall be you! This file must be saved as a text file with no extension. Evil propels me and reform of evil propels me, I stand indifferent, My gait is no fault-finder's or rejecter's gait, I moisten the roots of all that has grown.
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I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you. I loafe and invite my soul, I lean and loafe at my ease observing a spear of summer grass. My tongue, every atom of my blood, form'd from this soil, this air, Born here of parents born here from parents the same, and their parents the same, I, now thirty-seven years old in perfect health begin, Hoping to cease not till death.
Creeds and schools in abeyance, Retiring back a while sufficed at what they are, but never forgotten, I harbor for good or bad, I permit to speak at every hazard, Nature without check with original energy. The atmosphere is not a perfume, it has no taste of the distillation, it is odorless, It is for my mouth forever, I am in love with it, I will go to the bank by the wood and become undisguised and naked, I am mad for it to be in contact with me.
The smoke of my own breath, Echoes, ripples, buzz'd whispers, love-root, silk-thread, crotch and vine, My respiration and inspiration, the beating of my heart, the passing of blood and air through my lungs, The sniff of green leaves and dry leaves, and of the shore and dark-color'd sea-rocks, and of hay in the barn, The sound of the belch'd words of my voice loos'd to the eddies of the wind, A few light kisses, a few embraces, a reaching around of arms, The play of shine and shade on the trees as the supple boughs wag, The delight alone or in the rush of the streets, or along the fields and hill-sides, The feeling of health, the full-noon trill, the song of me rising from bed and meeting the sun.
Have you reckon'd a thousand acres much? Have you practis'd so long to learn to read? Have you felt so proud to get at the meaning of poems? Stop this day and night with me and you shall possess the origin of all poems, You shall possess the good of the earth and sun, there are millions of suns left, You shall no longer take things at second or third hand, nor look through the eyes of the dead, nor feed on the spectres in books, You shall not look through my eyes either, nor take things from me, You shall listen to all sides and filter them from your self.
fondled or stroked someone else's frontal chesttorso region. It hurt Jake and he cried louder. She took my hand and led me into the house. watched animals having sex. In reality, the government's own research showed that the risk of getting AIDS from one act of heterosexual intercourse was less than the chance of getting hit by lightening.
SHARE Although studying creativity is considered a legitimate scientific discipline nowadays, it is still a very young one. In the early s, a psychologist named J. Guilford was one of the first academic researchers who dared to conduct a study of creativity. He challenged research subjects to connect all nine dots using just four straight lines without lifting their pencils from the page.
Today many people are familiar with this puzzle and its solution. In the s, however, very few were even aware of its existence, even though it had been around for almost a century.
If you have tried solving this puzzle, you can confirm that your first attempts usually involve sketching lines inside the imaginary square.
The correct solution, however, requires you to draw lines that extend beyond the area defined by the dots. Only 20 percent managed to break out of the illusory confinement and continue their lines in the white space surrounding the dots. The symmetry, the beautiful simplicity of the solution, and the fact that 80 percent of the participants were effectively blinded by the boundaries of the square led Guilford and the readers of his books to leap to the sweeping conclusion that creativity requires you to go outside the box.
The idea went viral via s-era media and word of mouth, of course. Overnight, it seemed that creativity gurus everywhere were teaching managers how to think outside the box. Management consultants in the s and s even used this puzzle when making sales pitches to prospective clients. Because the solution is, in hindsight, deceptively simple, clients tended to admit they should have thought of it themselves. Or so their consultants would have them believe. There seemed to be no end to the insights that could be offered under the banner of thinking outside the box.
In order for anyone to qualify low, there must be at least three cards of differing ranks 8 or below on the board. For example, a board of KJ makes low possible the best low hand would be A-2, followed by A-3, , etc. A board of KJ, however, cannot make any qualifying low the best low hand possible would be JA, which does not qualify. Low hands often tie, and high straights occasionally tie as well, as do, even more rarely, full houses.
In theory, it is possible to win as little as a 14th of a pot though this is extraordinarily rare. Winning a quarter of the pot is quite common, and is called "getting quartered. To illustrate, if a player has, for example, and two other cards in his hand and the flop is A, that player has flopped the "nut low".
However, if either a 2 or a 3 hit the board on the turn or the river, the hand is "counterfeited" and the nut low hand is lost the player still has a much weaker low hand however, with , and making better lows. This is why there is significant extra value in possessing the "protected" nut low. To illustrate this, if the player has in his hand his low is protected, i.
To lose the nut low in this case either a 2 and a 3, a 2 and a 4, or a 3 and a 4 would have to hit the board on the turn and the river giving the nut low to a player holding , and , respectively , an unlikely possibility. For similar reasons it is significantly better to possess the protected nut low draw over the low draw. For example, this could be having A with a flop of ; any low card below 7 on the turn or river gives the player the best low.
When four or five low cards appear on the board, it can become very difficult to read the low hands properly. In this situation he is often said to be playing his "live" 4, that is, his 4, plus some other low card that matches the board but still makes a low because the one on the board isn't needed. Starting hands with three or four cards of one rank are very bad. Since the only possible combination of two cards from this hand is , it is impossible to make low.