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Sleek and streamlined, this leather wallet bag is both superhandy (the divided compartments are big enough for an iPhone Plus) and supercool (the adjustable chain strap can be worn crossbody or doubled up as a top handle). Functional and fuss-free-this is the way we do a going-out purse. Made of semi vegetable-tanned leather with a softly worn waxed finish that deepens into a distinctive patina. Please note: As it is made of a natural material, each bag varies slightly in texture and color. Stud closure. Slip pocket.

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Larger 1.5-litre petrol engine for next-generation off-roader, along with more rugged styling and higher-quality interior
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Suzuki has revealed European specs for the next-generation Jimny, which is due on sale in 2019. It will arrive with just one engine, a1.5-litre four-cylinder petrol.

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's 1.3-litre engine. It produces 101bhp and 96lb ft of torque for a claimed top speed of 90mph.

No diesel version of the Jimny is planned, with Suzuki having recently cut all diesel options from its line-up .

The Jimnywill offerfive-speed manual and four-speed automatic gearboxes, with a part-time four-wheel drive systemchannelling power to the rear wheels in high and low-range modes. Suzuki swapped the manual low-range gear selector Cheap Sale Cheapest Georgina Drawstring Colette by Colette Hayman Wiki Grey Outlet Store Online Sale How Much Outlet Locations Cheap Price kqeRB4E4RY
, but the new Jimny sticks with the former system to maximise its off-road adjustability.

Like its predecessor, the new Jimny is built on a ladder frame chassis, but it now has additional crossmembers to increase rigidity. It also gets three-link rigid axle suspension for off-road agility. The fourth-generation model has been developed with the feedback of existing Jimny owners in mind, who rank its effective off-road capabilities and robustness more highly than on-road performance.

Suzuki claims the Jimny can drive up inclines witha 37deg approach angle and a 49deg departure angle. Ground clearance is 210mm.

The car's design reflects its 4x4 status,taking influence from earlier Jimnys through the simple, box-shaped body, vertical grille and round headlamps with separate indicators. Much of the design appears similar to that applied to the latest Mercedes-Benz G-Class , such as the squared-off wheel arches and tail-lights located low on the bumper.

The Jimny's interior, meanwhile, gains modern features such as a 7.0in touchscreen infotainment system with Bluetooth. However, the overall design remains chunky, withfunction favoured over form to enable users to operate controls and buttons while wearing gloves.

New safety systems have also been added, including automatic emergency braking, lane departure warningand traffic sign detection, the latter being a first for any Suzuki model.

Two folding rear seats allow for up to 377 litres of luggage space, which is 53 litres more than in the old Jimny. The new model rides 20mm higher on 15in alloy wheels, but overall length has reduced slightlyto 3480mm.

The 2019 Jimny is due to go on sale in the UK early next year, following a Japanese launch this autumn. Prices are expected to be slightly higher than those of the outgoing model, which cost around £14,000 before it went out of production in April .

The larger Vitara is currently Suzuki's best-selling model, achievingUK sales of about 12,000 units per year, and further growth is expected.

The brand's decision to ignore the temptation to build a more mainstream Jimny should ensure that sales remain small compared with those of other compact SUVs . Around 1200 Jimnys are sold per year in Britain - a figure that has remained consistent since the outgoing version launched in 1998. The new car is expected to comfortably beat this while leading a charge to grow Suzuki sales by 20% .

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Economists distinguish a spectrum between rival and nonrival goods. If you want to know more math than your school expects of you, all you need is a book, dedication, and time. If you want an Honorable Mention on the Putnam exam (and don't care about merely getting a better score if you don't make the list), you need to be better than all but no more than 99 entrants. The payoffs in the competitive scenario have a significantly different structure from the scenario where you just want to learn stuff.

Or do they? Let's consider grad school admissions rather than the Putnam exam. You want to get into the best school possible, to get access to better mentors and better peers. Getting in to any particular school is a contested rivalrous good (we assume that each can only accept a fixed number of applicants n , no matter how good the n +1th applicant is on some cosmic absolute scale), but when we consider multiple schools with different admissions standards, there's no dire discontinuity: a small change in application quality results in a small change of best-school-accepted-to (if you don't get into Caltech, go to MIT; if you don't get into MIT; go to Carnegie Mellon; if you ... UC Santa Cruz ... San Diego State ... SF State), much like how a small change in study quality results in a small change in knowledge gained.

So the real problem can't be the fact of competition as such. Rather, the problem is the mismatch between the criteria by which you're snobby about schools and the criteria by which schools are snobby about you. Doing a PhD is a serious commitment; you should only do it if you're genuinely in love with the program, not because you're afraid of not being in academia. Even if there's always someone who would take you as a student, it's not going to work very well if you're going to spend seven years in a fog of barely-concealed contempt, trying not to say out loud, "This place is kind of a dump; I'm only here because MIT didn't take me, and Carnegie Mellon only accepted me without funding."

There's not really much to be said; at some point you either get over yourself and stop being such a snob, or give up and go work in industry.

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Still, my relationships with women were decidedly odd. "What's it like to have breasts?" I'd ask. "How does it feel ?" It was a question women found baffling.

"It doesn't feel like anything," one girl told me. "It feels like having an elbow, a nose, a toe. It just is." I couldn't believe she expected me to believe this. Of all the things I thought being female would feel like, nothing wasn't an answer I had considered.


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Children’s License Agreement

Children’s Healthcare of Atlanta (“CHOA”) provides free access to certain materials and information, documentation, forms, questionnaires and diagrams relating to the study, prevention, and treatment of concussions via this website and its related pages, including without limitation, for your reference or download (collectively, the “Concussion Program Materials”) as described in this License agreement (“Agreement”). By accessing the Concussion Program Materials, you accept and agree to the terms and conditions of this Agreement. 1. Right to Access and Use. CHOA hereby provides you a fully-paid, nontransferable, nonexclusive, personal right and license to access, download, or otherwise use any Concussion Program Materials solely for the following purposes: (i) if you are accessing the materials as a parent, you may use the Concussion Program Materials for your personal, non-commercial use to educate yourself and your family on concussion prevention and treatment for a child; (ii) if you are accessing the materials as an athletics coach or on behalf of a school organization, you may use the Concussion Program Materials to promote concussion safety to your staff, students and athletes and to create appropriate concussion management procedures; and (iii) if you are a healthcare provider, you may use the Concussion Program Materials for your personal, professional development to enhance your medical knowledge in the field of concussions. 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IN NO EVENT WILL CHOA OR ITS AFFILIATES, OR ANY OF THE OFFICERS, DIRECTORS, SHAREHOLDERS, EMPLOYEES, AGENTS OR REPRESENTATIVES OF CHOA OR ITS AFFILIATES, BE LIABLE TO YOU FOR ANY INDIRECT, SPECIAL, INCIDENTAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES OR LOSS OF GOODWILL OR PROFIT IN ANY WAY ARISING FROM OR RELATING TO THIS AGREEMENT OR THE MATERIALS, HEREUNDER, INCLUDING THE FAILURE OF ESSENTIAL PURPOSE, EVEN IF NOTIFIED OF THE POSSIBILITY OR LIKELIHOOD OF SUCH DAMAGES. IN ANY EVENT, THE LIABILITY OF CHOA AND ITS AFFILIATES, AND THE OFFICERS, DIRECTORS, SHAREHOLDERS, EMPLOYEES, AGENTS AND REPRESENTATIVES OF CHOA AND ITS AFFILIATES, FOR ANY DAMAGES WHATSOEVER, SHALL NOT EXCEED ONE HUNDRED DOLLARS. 6. Governing Law. This Agreement shall be construed and governed in accordance with the laws of the State of Georgia of the United States of America, without regard to its rules regarding conflicts of law. 7. General. 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With the help of our team at Children’s Physician Group–Orthopaedics and Sports Medicine, and our Sports Medicine Program, Aleks Golde overcame multiple knee injuries to become one of the top female high school golfers in Georgia.

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One of the highlights of the Artist Profile section is the world renowned Filipino artist Kidlat Tahimik and Rox Lee, curated by Merv Espina. Kidlat Tahimik will be in attendance to premiere his most recent work ‘Balikbayan’(1979-2017 Philippines) and will also present his internationally celebrated masterpiece ‘Perfumed Nightmare’ (1977 Philippines). It is a great honour for EXPERIMENTA to host Kidlat Tahimik who has been referred to ‘as an idol of iconoclasts worldwide, a pioneer of the postcolonial essay film, and the grandfather of the Philippine New Wave. Also, renowned illustrator, comic strip artist and filmmaker Rox Lee is known for his first experimental solo masterpiece ‘The Great Smoke’. This showcase focuses on his unbound and ceaseless experimentation, the irreverent humor, the playfulness and the rock ’n’ roll. Through Mobility First!, ASEF is supporting the mobility of Kidlat, Rox and Merv.

For the full programme, please visit:

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Mobility First! supports Buffer Fringe Performing Arts Festival in Cyprus

Published on 08 Nov 2017

The Buffer Fringe Performing Arts Festival in Nicosia, Cyprus hosts a variety of contemporary performances from all over the world. The 4th edition of the festival is held from 08-11 November 2017. Buffer Fringe IV stands for artistic freedom and provides a space for experimental expression, creative excellence and learning opportunities for new artists.

Through Mobility First!, ASEF is supporting the mobility of 3 Asian contemporary dancers to perform at the festival, and thus continuing its support for the performing arts.

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Mobility First! supports Five Flavours Film Festival in Poland

Published on 07 Nov 2017

Five Flavours Film Festival (Festiwal Filmowy Pięć Smaków) is the only annual event to present films from East and South East Asia in Poland. It is focused on presenting new full-length feature films but also showcases classic titles as well as shorts and documentaries to complement the feature programme.

For ten consecutive years, Five Flavours has brought to Poland premiere screenings of the latest and most appealing productions, classics and retrospectives of renowned Asian filmmakers.

ASEF is supporting the mobility of 5 film directors from all over Southeast Asia to attend and show their productions at the festival, thus continuing ASEF's support to film.

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Mobility First! supports 8th International Cultural Creative Economy Development Conference in Greece

Published on 06 Nov 2017

The Arts Council of Greece organises for the 8th consecutive year the International Cultural and Creative Economy and Development Conference in Athens (8th ICCEDA 2017). 2017 is the year of Chinese-Greek Friendship and the conference is dedicated to this as well as Asia-Europe collaborations.


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