She inspired me to keep trying and make nothing of it.
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"I make nothing of it, there's nothing to it," Mattis said before a bilateral meeting with Libya's Prime Minister.
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Brazil can make nothing of the ensuing free kick, though they've continued to ping the ball around the attacking third and look quite threatening at the moment.
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"I make nothing of it, there's nothing to it," Mattis said in response to a reporter's question on his response to reports that Tillerson is soon to step down.
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"Every night in Milwaukee, there is someone being shot, and they make nothing of that until a cop is involved, and then all of a sudden it's always blamed on the cop," said Mr. Beck, who added that he hoped West Bend's black population would not increase.
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With the advent of the Bolshevik Revolution in the fall of 1917, the Call was taken by surprise. On December 26, 1917, the paper editorialized that events in Russia had "got clean away from us" and that the editors could "make nothing of it at present, nor predicate anything for its future from present reports."New York Call, Dec. 26, 1917, pg. 6.
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November 18, 1964. 6. The Monthly Film Bulletin stated, "The pop songs are feeble, the black-leather- gang parody is too completely divorced from reality, the Sci-fi element doesn't get off the ground, and the numerous near-nude teenage parties are utterly synthetic in their exuberance. Don Weis has a smooth way with action, but can make nothing of the chaotic narrative, the lethally unfunny running gags, and the insipid love scenes." The popularity of the film saw Buster Keaton appear in a number of AIP movies before his death.
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In Virginia during November 1728, William Byrd II commented while passing a branch of the Indian trail what would later be called the Great Wagon Road in what would eventually be Henry County, Virginia, that "The Indians, who have no way of traveling except on the Hoof, make nothing of going 25 miles a day, and carrying their little Necessities at their backs, and Sometimes a Stout Pack of Skins into the bargain."Byrd, William, and William K. Boyd. William Byrd's Histories of the Dividing Line Betwixt Virginia and North Carolina. New York: Dover Publications, 1987.
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However, the piece of Cornish recorded by Matthews, the song known as the "Cranken Rhyme", does not appear in Pryce or any other known text, showing that he had some "original" Cornish that he may indeed have learned traditionally from his father. As such he is an important figure in the study of Cornish in its last stages, along with Chesten Marchant (died 1676) and Dolly Pentreath (died 1777), judged by various scholars to be the last monoglot and native speakers of Cornish respectively. Matthews could make nothing of the "Cranken Rhyme", regarding it as seemingly a "mere jumble of place-names.".Matthews, p. 405.
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With > it all, his length was under control, and for a time the batsmen could make > nothing of him. Unusually, Francis also contributed significantly with the bat to this victory, making 41 out of a last-wicket partnership of 136 with the opening batsman, George Challenor, whose unbeaten 155 was more than half the West Indians' total of 306. Francis continued to take wickets through August, although he was "indisposed" for one match. The tour finished on a high note for him: during the last match at the Scarborough Festival against H. D. G. Leveson-Gower's XI, with the Leveson-Gower side requiring only 28 to win on the third morning, Francis and George John bowled for an hour and 20 minutes and took six wickets between for 19 runs before a seventh wicket partnership hit the runs off.
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Hardy notes that 'Scott's movie has the merit of preceding them both'. Academic film historians Steve Chibnall and Brian McFarlane give the film a rather negative review. They point out that 'Peter Graham Scott can make nothing of the inanities of The Headless Ghost ... Like Scott's other films, this one moves along quite smartly, but this time there is virtually nothing worth moving. Clive Revill provides a touch of campy style as the ghost of the fourth Earl who steps down from his portrait, the special effects are simple but adequate, but the overall impression is one of meagre inventiveness ....' They call the three student characters 'unlikable' and compare them unfavourably to another trio of young people at the centre of a film: James Dean, Natalie Wood and Sal Mineo in Rebel Without a Cause (1955).
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', and he began to dig through the Bible > while I outlined the plan of the work, even sketching scenes, and leaving > him only the versification to do. For some reason I began the music with act > 2, and I played it at home to a select audience who could make nothing of it > at all. The role of Dalila was written for Pauline Viardot (1821–1910) (pictured) but the singer was too old to assay the role for the 2 December 1877 Weimar premiere and the role was entrusted to Auguste von Müller. After Lemaire finished the libretto, Saint-Saëns began actively composing act 2 of the opera, producing an aria for Dalila, a duet for Samson and Dalila, and some musical pieces for the chorus (some of which were later assigned to act 1) during 1867–1869.
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