The opioid epidemic is considered the most unrelenting drug crisis in United States history.
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To me, The Five Ghosts is the bravest thing that we've made and the most unrelenting record.
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It's appropriate to talk about, given our chat is taking place as he's sheltered himself away from London's most unrelenting heatwave.
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Coming from the Texas border city, O'Rourke was also one of the most unrelenting critics of Trump, especially over his plans to build a border wall and his immigration policies.
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For Faulkner's white Southerners, losers of the Civil War, the price is guilt, rage and madness; for Morrison's slaves and their descendants, supposedly liberated, history follows like the most unrelenting posse.
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Of all the fashion trends that came and went this year, including 1980s shoulders, 1990s grunge and all things Meghan Markle, perhaps the most unrelenting was the prevalence of cultural missteps.
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In his marvelous biography of Abraham Lincoln, originally published in 1916, Lord Charnwood said of him, This most unrelenting enemy to the project of the Confederacy was the one man who had quite purged his heart and mind from hatred or even anger towards his fellow-countrymen of the South.
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Film critic Roger Ebert gave the film a positive review, with three stars out of four. He describes the story as the most unrelenting "Meet Cute" in movie history. He goes on to say that although the film is nowhere near one of Crowe's great films like Almost Famous, it is sweet and good-hearted and has some real laughs. Ebert later reprinted on his site an analysis of the film pointing out various plot elements supporting the idea of Claire being an angel.
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The New York Times writer Nate Chinen viewed the album's production as inconsistent, but found Black Thought's performance more focused and engaged than on previous efforts, while writing that "?uestlove infuses Game Theory with a hard sonic logic, so that the music often sounds as tough as the lyrics". Vibes Thomas Golianopoulos gave it 4 out of 5 stars and called it "a masterfully crafted, sobering wake-up call". Jeff Vrabel of PopMatters dubbed it "The Roots' darkest, grimiest, most unrelenting and possibly most focused effort to date".
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We all bring different influences into the band, this is why its so difficult to work sometimes. I mean, you can't put all those things together, it takes a long time to make it fit." The album has become regarded as one of the first grebo albums, despite the band's distaste for the term. A defining characteristic of the album is its heavy, noisy usage of wah wah guitar; a journalist for Spin described the album as having "the most unrelenting, flagrant overuse of wahwah guitar since the first Stooges album, or maybe even the soundtrack for Shaft.
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Samuel Bowles, transformed the paper into the largest circulating daily in New England by the mid-19th century, and is remembered for his influence on abolitionism and the Republican Party, as well as his mantra for journalists—"Put it all in the first sentence." The historic Republican Block was home to The Republican from 1858 to 1867 The Springfield Republican as it appeared during the Reconstruction era, 1865 In 1855, Bowles III called for the founding of a new party that would abolish slavery. He suggested the name "Republican". Once abolitionists founded a party by this name, The Republican became one if its most unrelenting supporters.
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Evan Dickson from Bloody Disgusting reviewed the film at SXSW and went on to say, "Evil Dead is amazingly gory and fun" and gave the film 4/5 stars. Chris Tilly of IGN gave Evil Dead 9/10 and called the movie a "terrifying, exhilarating and relentlessly entertaining new chapter in the Evil Dead story". John DeFore of The Hollywood Reporter also gave the film a positive review, calling it a "remake that will win the hearts of many of the original's fans." Independent horror review site HorrorTalk gave the film four stars out of five saying it is "the most unrelenting and bloody horror film to come out of a major studio in a very long time".
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Poteat employed a particular pedagogical approach to initiate this post-critical shift in his students that combined an ironic stance, whereby he deliberately made impossible any simple, straightforward taking in of what he might have to convey, with a skillful use of the Socratic method to question, draw out, and bring to light the implications of his students' own thoughts and ideas on the text under consideration and the issues it raised. A close friend and later a colleague at UNC-Chapel Hill, Ruel Tyson, spoke of him as "the most consistent, most unrelenting practitioner of Socratic dialectic of any teacher I have had or known in over 65 years in the classroom as student and teacher." Poteat typically conducted this process of discovery and reorientation during seminar discussions about assigned texts. Along with Polanyi's Personal Knowledge and his own Polanyian Meditations, such texts included Ricouer's Freud and Philosophy: An Essay on Interpretation, Wittgenstein's Philosophical Investigations and On Certainty, Merleau-Ponty's Phenomenology of Perception, Hannah Arendt's The Human Condition, and Kierkegaard's works, particularly his essay "The Immediate Stages of the Erotic or the Musical Erotic" in Either/Or vol. 1.
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