6t9yt a6eef 8reke 6t2se 99zfh ta386 e4kdk 6de9i k73th 7k5y5 8t5y3 bd45b y857b e3fk3 s2zff 6bt2z kyede 6fhz9 ie7db 9h5ey szhb6 Wreck my cv! Any help appreciated. Final year uni, apply for mainly marketing grad schemes |

Wreck my cv! Any help appreciated. Final year uni, apply for mainly marketing grad schemes

2021.11.26 23:11 aaron_l14 Wreck my cv! Any help appreciated. Final year uni, apply for mainly marketing grad schemes

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2021.11.26 23:11 Lagmaster4life if you close your eyes what don’t you see?

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2021.11.26 23:11 Nirati11 _SaintRampalJiQuotes_

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2021.11.26 23:11 mahopk01 Kentucky Bourbon Barrel Peppermint Porter

Kentucky Bourbon Barrel Peppermint Porter submitted by mahopk01 to beerporn [link] [comments]

2021.11.26 23:11 Litkid_05 AeroGarden Harvest 360 - Indoor Garden with LED Grow Light, Round, Compact Design, Black - SAVE:$91.16 (61%) PRICE:$91.69

AeroGarden Harvest 360 - Indoor Garden with LED Grow Light, Round, Compact Design, Black - SAVE:$91.16 (61%) PRICE:$91.69 submitted by Litkid_05 to AllElectronicsDeals [link] [comments]

2021.11.26 23:11 supremelord777x Who got a link for michaela

submitted by supremelord777x to MichaelaONLYFAN [link] [comments]

2021.11.26 23:11 its_David0530 It’s been receding a bit around the sides and I think it’s been thinning in the front. Should I be concerned

submitted by its_David0530 to Hairloss [link] [comments]

2021.11.26 23:11 Thelardicle Pov: you wake up from a coma on December 8th and God is good

hi I’m the community manager at 343 (not really but for the rest of the post roll with it, I’ll show you what a reasonable and good response would look like to fix this game). Today is the launch of halo infinite as a full game and here are the changes!
MULTIPLAYER- -Added dedicated playlists for each mode. Fiesta remains inside an action sack playlist, that includes other party modes, and will return as a individual playlist during the next samurai event. Future modes like swat and infection will return permanently during their own dedicated events soon. -Weapon tweaks including ravager burst damage buff and increased tracking from plasma carbine at short range -Introducing one new arena map, set in a snowy map with forerunner architecture. The map features the return of the flamethrower weapon, which also be featured as a drop in big team maps. -bug fixes including melee stability PROGRESSION- -players will continue to earn 50 xp per game, as well as 50 xp per win. win streaks will also add an additional xp multiplier, maxing out at 150 total xp per game for streaks of 5 game or more. - the battle pass will now include the In game currency Spartan points inside different tiers, meaning battle pass owners will be able to work to earn currency to spend in the store. Each battle pass will include $15 worth of this currency by tier 100. - Armor coatings will remain, but primary colors will be made available for free for all players. Unloveable coatings will remain as additional unique ways to customize your Spartan that would not have been possible in other games. - For those who buy the campaign, they will find armor unlock-able by both completing challenges related to campaign as well as in chests around the map to encourage map exploration. In addition, chests containing Spartan points will be hidden throughout the campaign, with a total of $10 worth of points total to be found. -weekly challenges will have a focus on encouraging good gameplay, teamwork, and playing the objective. -The additional xp per game will allow players to progress through the battle pass sooner than we originally anticipated. To prevent players from hitting max rank and then getting bored, we have added a seasonal ultimate challenge that can be started after hitting tier 100. This season, the challenge is to win 100 games, and players who complete the challenge will be rewarded with Locke’s helmet and armor coating. We know most players will not complete this challenge, but for the hardcore players who want something challenging to grind for- good luck Spartan! remember that battle passes do not expire after a season, and this challenge may be worked on during subsequent seasons.
General- - Career stats added to the in game menus - Increased custom game options, such as randomized loadouts and spawning with equipment.
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2021.11.26 23:11 bot_neen ¿Qué es la mutación de un virus y por qué sucede?

¿Qué es la mutación de un virus y por qué sucede? submitted by bot_neen to Mexico_News [link] [comments]

2021.11.26 23:11 icydata Gurianov open in front for PPG

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2021.11.26 23:11 bobby_senpai050 Cbbe to bhunp

So as the title says I switched. I started having issues with cbbe and so I switched. What was wrong now is fixed but I have a new problem. The men of Skyrim have no bodies but do have head, hands, and feet. And I mean no body like invisible. The other issue is the body and physics work as well as the armor physics. But when I go to put an armor on the body gets skinnier. Chest, legs, arms, and the butt and gets a tad shorter. In one of the armors I wear is a celes nightingale one. When using that the forearm disappears only to reaper when undressed. I have reinstalled mods, I have reinstalled bodyslide,, I've done everything except toss my PC out. I've batch built in bodyslide and even watched some YouTube videos. I can't seem to get this to work at all. Any help would be great. Oh this only happens in bhunp not cbbe but that cbbe problem was completely different than this.
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2021.11.26 23:11 Successful-Dark-3577 What was the worst punishment that was given to you as a child?

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2021.11.26 23:11 xMone25x Articuno raid on me 0961 8681 3697

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2021.11.26 23:11 tplgigo Limited edition Kanar arrived this afternoon. The bottles are 3D renderings of the originals, which from my understanding, where incredibly hard to find after production. Threw in my Bat'leth for your enjoyment.

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2021.11.26 23:11 Diaavolo Imagine how hot would girls be with balls hanging out of pussy

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2021.11.26 23:11 cassandramath Historicism and Social Problems in Otome Isekai

Hey, everyone!
It is rather common for users of this subreddit to mock the tendency of Otome Isekai to ignore broader societal problems such as slavery and misogyny in favor of an exclusive focus on the female lead’s navigation of a certain societal order loosely based on the absolute monarchies often associated with 18th-century Europe; consider this meme from just a few days ago as an example. Particularly in the case of modern-day protagonists being reincarnated, it just seems absurd that the character we are supposed to identify with does not bat an eye at even the most glaring of injustices. A significant section of this space’s userbase does appear to be ticked off by this dissonance between the setting (particularly how you might reasonably expect someone from the 21st century to view it) and the actual behavior of our favorite MCs; on the other hand, however, plenty of OI readers also seem unfazed by this angle, enjoying their daily dose of OI as mindless escapism (which is, of course, not a worse approach to take by any means).
Now, to disclose my perspective out of the gates, let me just say that I am squarely in the former camp, and I will obviously discuss the issue of politics in this genre through this exact lens; however, allow me to briefly clear up a few possible misunderstandings. Obviously, I am not interested in fully accurate retellings of the lives of aristocrats in, say, the late French monarchy (if I were looking for that sort of thing, I would be reading historical writing), nor do I believe that every piece of media has to push some carefully tailored message I happen to agree with. Nevertheless, I do believe that the settings of the historical-ish stories typical of Otome Isekai are the results of very deliberate choices made on the part of authors and illustrators. There is no neutral depiction of 18th-century France, and even if there were, it would not be the highly romanticized world of your run-of-the-mill reincarnation series. Ultimately, the way you conceptualize a fictional society is a matter of the kind of story you want to tell, and I would like to use this post to elaborate on which choices in this area I personally consider to be most compelling, using examples from both inside and outside of this literary realm to illustrate my points.
What Is Historicism?
In reflecting on the role of historical-ish settings in literature, I believe it is instructive to briefly discuss the century-old discussions on the purpose of storytelling more broadly in the literary category of drama. German dramatist Bertolt Brecht is often credited with essentially overhauling millennia of playwriting, proving immensely influential in the development of modern drama. Whereas the traditional Aristotelian approach to drama treated the world of a play as being an equally legitimate alternate reality of sorts, the quality of a performance being determined by its ability to make the audience identify with its characters, Brecht firmly rejected this conception of theater, deeming it to be uncritical. Brecht was a Marxist with a variety of quite radical ideas about restructuring society, you see, and he was not particularly fond of a pure focus on escapism in writing because of how fatalistic he believed it to be for a parallel world to be presented as a mere fact of life our characters are supposed to navigate. His answer to this gripe with much of traditional drama was what he called “epic theater” – an approach to playwriting that centers the constructed nature of the setting in both the text and the broader performance. Whereas previous theater practitioners might have aimed to provide a fairly realistic experience to the audience, Brecht goes down a much more conscious path, going out of his way to highlight a lack of realism. In epic theater, the audience is explicitly meant to understand that they are being shown a construct, a work that some guy wrote with some kind of purpose in mind (and that the creation of the play in question involves a series of choices that are all downstream from there). We are very consciously alienated from the happenings on stage – characters might suddenly start singing, behave in completely antithetical ways from one scene to the next, or start narrating for no real reason. On a diegetic level, the discourse is highly episodic (often featuring large timeskips between scenes), and the events of a given scene may even be spoiled in advance. Now, that is certainly quite a radical approach to take; for the purposes of discussing works of Otome Isekai, I would primarily like to highlight one specific means of storytelling brought to the next level and developed very consciously by the dramatists of epic theater – namely, what is called “historicism.” Works of Brecht are often set in a certain historical period, which, within the broader framework of epic theater, poses the question of why exactly the protagonist is shown navigating this world in particular. Could there be some kind of connection to the modern day that the viewer is meant to pick up on?
As an example, consider Mother Courage and Her Children, which is set during the Thirty Years’ War and follows a merchant (the titular Mother Courage) as she loses her three children over the course of a war she is hoping to benefit from, all while witnessing the most gruesome and brutal aspects of warfare. The play was written during the Second World War (likely with the German invasion of Poland in mind; Brecht had, of course, already gone into exile at that point, as had pretty much all German artists and academics with even vaguely leftist ideas following the Nazi takeover in 1933), which suggests that this setting, based off of a conflict that had occurred three centuries before, had some key similarities to what people were seeing at the time – similarities he intended to highlight. Over the course of the story, Courage is characterized as a huge cynic who sees many of the downsides of war (in fact, someone who is said to have personally been confronted with many of them even before the events of the play, most clearly through her daughter Kattrin, who has a speech disability as a result of a childhood incident involving a soldier), yet still hopes to profit from it while shielding her own. Perhaps most remarkably, however, her failure to prevent her own family from getting absolved in the conflict and meeting a painful end does not lead her to learn a thing, and the last scene has her simply continuing to follow a regimen. Courage can be read as a representative of ordinary people hoping to win big, find a purpose in life, etc. through involvement in a military conflict; perhaps less charitably, we could also decide to view her in analogy to large corporations and particularly the defense industry raking in astronomical profits from the Second World War and the business of war in general (kind of a timeless topic, actually), letting the children of others fight their battles while keeping their own brethren far away from the battlefield.
The point is, there are very clear similarities between this fictional tale set in a bygone era and what the presumed audience experiences in their day-to-day lives, and this is exactly why it poses very interesting questions. By showing us (as in, a WWII public) a story of the Thirty Years’ War, Brecht is giving us some kind of lesson to learn; obviously, we would not just be faced with this kind of setting for no reason. What can it tell us about our current timeline? What is similar or different in this play? What might it look like if our fate were to be made into a work of drama in 300 years’ time? And how do the social forces that conspire to create this theatrical experience compare to the social forces that might lead us down the path we are currently taking? This is the type of intellectual engagement with his work Brecht wanted to stimulate. What you may notice about the questions above is that they are natural aspects to ponder when reflecting on the play and its creation (whose constructed nature is, after all, laid bare in various ways), and yet, all of them are kind of a gateway to thinking about your own story, if you will. You may criticize Brecht’s work in some way, only to then start thinking about how your life may well be kind of like that, set up by external social forces to be what it is. And again, Brecht’s approach to art was massively informed by his politics; his audience was meant to stop viewing their conditions of living as inevitabilities and instead start thinking about what might be possible if they were to organize society in a different way.
Brecht is probably the single biggest influence on my critical approach to literature, and I believe his ideas are highly relevant to Otome Isekai precisely because of how he actively chose to refrain from simply telling tales of realistic characters in parallel worlds. Now, that is not to say that performances before the time of Brecht looked like exact depictions of the real world – a lot of early Ancient Greek drama, for instance, literally had one actor assume every major role (changing rather simple costumes as necessary), and even later on, there were generally only up to three speaking performers on stage, which is obviously far fewer than would be necessary to assign a unique actor to every role in most works of drama. (This is an interesting historical note that I would go into much more detail about if this were a post about the history of drama; it is not, however, which is why I shall keep it brief.) Some of you may be familiar with the prologue of Shakespeare’s Henry V, which explicitly reflects on the inability of Elizabethan theater to, for instance, accurately portray a large battle:

But pardon, gentles all,
The flat unraisèd spirits that hath dared
On this unworthy scaffold to bring forth
So great an object. Can this cockpit hold
The vasty fields of France? Or may we cram
Within this wooden O the very casques
That did affright the air at Agincourt?
O pardon, since a crookèd figure may
Attest in little place a million,
And let us, ciphers to this great account,
On your imaginary forces work.
Suppose within the girdle of these walls
Are now confined two mighty monarchies,
Whose high uprearèd and abutting fronts
The perilous narrow ocean parts asunder.
Piece out our imperfections with your thoughts.
Into a thousand parts divide one man,
And make imaginary puissance.
– William Shakespeare, Henry V
Note the language used here – this section of the prologue laments the inability of a bunch of actors on a stage to completely depict the events on a battlefield several hundred times its size with a minuscule fraction of the number of people involved in the event represented. There is literally an apology in here, and the audience is asked to make up for the inadequacies of the performance. Now, theater during the time of Shakespeare was a lot more of a bare-bones type of thing than what we are used to in the 21st century, and a modern director working on Henry V obviously has a lot more tools at their disposal, but they would still be hard-pressed to have a bunch of horses on stage and replicate some huge battle. A more Brechtian approach, however, might not necessarily deem this a negative – through this lens, theater is not supposed to look real. Basically, the audience is made to view a very rough sketch of a picture too complex to really be shown, and this is a good thing because it opens up questions on what really matters and what they are made to believe.
We can kind of obviously analogize this to how a lot of architecture in Otome Isekai is based on a bunch of 3D assets (such as the infamous Castle-nim) – on the one hand, you could see this as a very obvious limitation of the manga/manhwa/manhua format; even if artists had the time to properly research historical architecture and then develop their own castles based on, say, the Palace of Versailles, the two-dimensional artwork could still not fully convey their intricacies. Alas, they generally do not, so they recycle buildings that are either fairly inoffensive or only really distinguish themselves through their grandeur. Is it really necessary to go beyond that, though? The vast majority of Otome Isekai do not have architecture as a primary focus and recurring theme (though, if they do, that does make all of this a different story), so very superficially semanticized space is actually kind of all that is needed. It’s not like the overall story would be meaningfully added to by a fictional castle that took hours or even days to conceptualize, meaning there kind of is no point in doing anything in this lane. Sometimes, the sketch really is sufficient. Similarly, I do not generally believe that there is a point in titles going out of their way to outline aspects of society that play literally no further role in the story; an Otome Isekai setting is not meant to be a plausible replica of the real world, after all. We are dealing with a reality constructed by an author, and whatever they deem relevant to telling the story of our protagonist deserves all the time in the world to be fleshed out. If every minor thing were to be discussed in detail, with as many complexities inherent to it as there are to its real-world counterparts, that would actually detract from the overall narrative, which I would say makes it a pretty bad idea.
The Question of the Story
In other words, a historical setting always serves some kind of purpose – even if it’s just providing a nice background for our MC to fall in love with an attractive duke. There is always some degree of connection to the modern day (otherwise, we would not be able to relate to it in the first place), often presented through the lens of the protagonist in the specific case of Otome Isekai. This connection may be direct (e. g., through reincarnators who share many of our modern-day sensibilities) or indirect (e. g., through characters who set themselves apart by virtue of their more “modern” lines of thinking).
Russian literary theorist Michael Bakhtin united the material conception of space and the more abstract idea of time under an overarching concept he called “the chronotope” of a literary work. The idea is that spatial dimensions of a work of fiction are inextricably linked with temporal ones – in Otome Isekai (obviously not an example he used, but whatever), for instance, the time period the setting is based on is connoted with certain material aspects, such as extravagant Rococo gowns (which is probably the sort of thing a regular reader of the genre might think of when imagining 18th century France), and they change as time passes within the narrative; at the same time, time is given a concrete existence (is fleshed out, if you will) by its connection with spatial change. Now, Bakhtin thought of the chronotope as being a fundamental aspect of literature, and it was precisely the interaction between space and time that, to him, defined a genre. If we wanted to define historical romance, for instance, we may think of how a bygone era is made the stage of a tale of romance (telling the reader an idealized tale of love by virtue of material aspects that are long gone, such as complex multi-layered dresses and attractive dukes living in huge mansions, but also through what is connected to this period within the narrative, such as the massive influence of monarchs; note that this is a question of storytelling, rather than one of recorded history) wherein an almost universally female main character is made to navigate her world and meet her true love (often someone of higher status within the social hierarchy of the time). These are the general contours of the chronotope typical of historical romance writing; the MC then interacts with and alters space over the course of the story – what exactly that entails depends on the specific chronotope of a given title. I find this concept really interesting because it sheds light on a different way to view a work of fiction in terms of how time (in the sense of both the setting and the narrative) interacts with space, essentially putting the questions pondered above under a common umbrella. In which ways the setting should be fleshed out, how characters should interact with it, how it should relate to the modern day – all of these are matters of the chronotope. Which story do you want to tell?
In other words, at least in my view, a historical setting does not necessarily have to be accurate, and I would never begrudge OI authors for not diving into, say, the hygiene of the time. It certainly is an interesting idea to explore this aspect, but it has no real overarching purpose in terms of the love-oriented story told, so I also do not think it has to be. Similarly, I think it is most certainly reasonable for Otome Isekai series not to actively address ills of society such as sexism and slavery – though it is, of course, a much more natural topic of discussion to pick (at least in my view). However, a lot of titles in this genre do sort of inadvertently end up diving into a few topics in this lane because they just kind of come up over the course of the narrative, and at that point, I do believe that they open themselves up to criticism, depending on the way they treat the subject. Again, this is ultimately a question of the chronotope, of the story you want to tell, which makes it highly subjective. What I personally consider to be especially egregious are cases when characters are led to personally engage with, say, economic injustice and end up treating them as mere facts of life; basically, I object to the attitude portrayed satirically in the meme mentioned at the start of this post. Now, there are clearly MCs I could totally see behaving in exactly this way (to use an example, I think it is very in character for a Penelope Eckhart to just sort of accept slavery in encountering Ecklis, and with how focused on her own fate she is, it is understandable why her first concern would not be to overhaul half of society as soon as she is confronted with some kind of problem. It kind of boils down to framing, I think; Penelope is not necessarily a perfectly sympathetic or morally authoritative character, and she has her own motivations that, while understandable within the context of her life situation, are often painted as not being the most rational from the perspective of the reader.). In cases where the biased framework of the protagonist forms less of a centerpiece of their character and they are more of a moral anchor point, however, I would identify a definite problem because societal issues are touched upon, only to be dismissed as what I like to call Mondays.
This is a pretty big problem with a lot of Otome Isekai in my book, so I believe it is worth looking at in a bit more detail. Video essayist Ian Danskin of Innuendo Studios (who, just as a side note, is one of my personal favorite media critics out there; I definitely recommend checking out his work should you not be familiar with it) coined the phrase “I hate Mondays” in an episode of his video series The Alt-Right Playbook, which, in spite of its name, actually examines rhetorical and strategic aspects of a lot of political discourse with a special focus on the far right; what he means by it is a tendency to view bad things about society not as something to be improved, but as simple inevitabilities, analogous to how the first day of the work week is kind of bound to be a shitty experience. In fact, I will let Danskin himself explain it:
A conservative will generally agree with you about what the ills of society are: bigotry, violence, disease, oppression, poverty. But they don’t view them as problems to be solved. They are facts of life. Of course racism is terrible… but it’s a Monday. Trying to fight racism is like trying to fight the first law of motion. The only reason to even talk about it is to commiserate.
Besides, if we didn’t have bad white people, how would we know we’re the good ones?
Morality, to them, is not about fighting evil, it is a set of shared opinions on what evil is. When bad things happen, we sit around agreeing that they are bad, and anyone who says otherwise we excommunicate. That’s what talking about tragedy is for.
– Ian Danskin, I Hate Mondays
Now, Danskin focuses on American conservatism as an example of the principle (though he later acknowledges its prevalence throughout much of American society), but at least from my experience, a lot of people react this way when first hearing about social problems; we are, after all, used to thinking of many things we are accustomed to as the default state of existence, and even if we see how something could be less than ideal, it is often difficult to imagine what a better world would even look like, let alone how we might go about attaining it. Within Otome Isekai, a lot of series that touch upon economic justice in particular frame it as a Monday (at least from my experience); just think of the ever-well-known My Next Life as a Villainess: All Routes Lead to Doom! as both arguably the most famous entry of the genre and a clear example of this trend.
Over the course of the light novel, Katarina mingles amongst the common people plenty of times, and a few commoners amongst the cast of characters (most notably Maria) provide an additional veneer through which we are confronted with the fact that not all is rosy within the otome game setting of the story. We are witnesses to extreme poverty and declining communities facing tremendous instability, alongside discussion of a tremendously wealthy aristocratic elite with immensely classist attitudes. I am going to use the bullying Maria is subjected to during her time at the academy as a prime example because it is one I assume everyone reading this post is at least vaguely familiar with from the anime – and what I am interested in is that the aristocratic ladies harassing her receive no real further characterization outside of this one incident that establishes them as bad people. They show us that evil exists in this world, but their motivations are given no consideration whatsoever. Because, after all, the causes of the very real suffering portrayed on screen might reflect poorly on the way the fictional society in question is set up (which, paradoxically, a lot of villainess stories are reluctant to do even with their entire premise being characterized by a subversion of dominant moral notions). Through this lack of specificity, arrogant aristocrats are framed as simply being par for the course – a Monday, if you will. You can see something very similar in the treatment of the Dieke family later on in the season; evil is never viewed as an emblem of a broader problem to be solved, but as a Monday our cast of characters is meant to overcome. Not every societal problem addressed in My Next Life as a Villainess is a Monday, however, and it is actually very telling at which points the contribution of politics is at least given some thought. For example, the Kingdom of Sorcié (where the story is set) is frequently hailed for its safety and political stability, and other countries have varying degrees of success in going down a similar path. From a distance and in relation to topics that do not directly reflect on Katarina’s social environment, there is a (still rather minute) willingness to explore societal change in a way that is just not there in the broader work.
The main shortcoming of this sort of storytelling lies not only in its uncritical and fatalistic attitude that breeds complacency on behalf of the reader, on top of just not making for a very compelling story because it focuses on crossing one hurdle after another rather than on root causes, but in its missed potential. At its best, discussion of politics in Otome Isekai can truly get the reader to think about the connection of their own lived experience to the fictional world depicted within the pages, allowing for much more fruitful discussion of and engagement with the title; the setting has a very deep meaning to it that makes for a far less surface-level story, as well as adding another dimension to the characters by stressing their respective philosophies. I actually originally planned to discuss positive examples in this analysis to illustrate just how much literary value approaches to social problems in this genre can have, but this analysis ended up being long enough as it was, so I thought I would call it a day (writing all of this has been tiring for me as well!) and make my thoughts on actual discussion of solutions in OI a separate post I will get around to writing at some point. Either way, thanks a lot to you for actually reading through all of this; I would certainly be interested in your point of view on this omnipresent topic of discussion on the subreddit, dear reader, so I would love to read of your perspective in the comments.
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2021.11.26 23:11 patchrick84 Crazy Lens Flare - Normal? (See first comment for details)

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2021.11.26 23:11 jlopez0128 Serum Help (Switched from Xbox to PC)

Switched from Xbox to PC and having a hard time getting serums. Can anyone help me out?
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2021.11.26 23:11 dynamicpunk Pictures of my last 5 acquisitions

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2021.11.26 23:11 KlutzyChampionship30 Wer kann mich zum spritzen bringen?

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2021.11.26 23:11 BestProgram446 T-Bone

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2021.11.26 23:11 SeanCable Independent Bottled Peaty Malts

Looking for guidance on IB single Island/Islay malts. I've ordered some ampersand "seaweed & series" but want to make sure I'm not missing another IB that fits into peated malts. Thanks!!
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2021.11.26 23:11 CanadianW There should be a website where you search any classical piece and it shows you the nearest upcoming performance to your location.

Pardon this post if such a website exists, but like I'd go anywhere to hear a piece of music that I like. But if your local orchestra is not playing a piece you want to hear, it can be so hard to find where that piece is being performed without searching every single orchestra in your country's website. It would be so great if you could just say "Mozart 25 near me" and results would show up, even if it's a five hour drive away.
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2021.11.26 23:11 YEED5A5 GTA VI map leaks be like

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2021.11.26 23:11 MilitantGuild "We Told You So" - Militant - Season 14 Hype: Militant is Recruiting!

Militant is recruiting https://youtu.be/bqoTghEGm7E
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