But last Tuesday's polls do hint at a more inflexible break between the frontrunner's supporters and the rest of the GOP.
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This can lead those businesses to have more inflexible one-size-fits-almost-all pricing models such as that used by Netflix and others.
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The more inflexible we become on heated issues like rules of origin and Chapter 19 dispute resolution, the longer this process will churn on.
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At the same time, work for many Americans has become more inflexible and time intensive, and part-time or flexible jobs can be hard to find.
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At the same time, work for many Americans has become more inflexible and time intensive, and part-time or flexible jobs can be hard to find.
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One engineer in the United States who works with Samsung suppliers on projects, including the Note 7, said Samsung's no-questions-asked corporate culture had grown more inflexible in recent years.
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I know it sounds crazy, but what just happened with Instagram and Facebook tells me no, that they have learned ... If that happened there, it's a big sign that they're becoming more inflexible.
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Some analysts said the sudden decision was intended to send a message to Mr. Assad, who by all accounts has exasperated Mr. Putin by becoming ever more inflexible at the negotiating table as his battlefield fortunes have improved.
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Increased continentality resulted in reduced and less predictable rainfall limiting the availability of plants necessary for energy and nutrition. Axelrod and Slaughter have suggested that this change in rainfall restricted the amount of time favorable for reproduction. This could disproportionately harm large animals, since they have longer, more inflexible mating periods, and so may have produced young at unfavorable seasons (i.e., when sufficient food, water, or shelter was unavailable because of shifts in the growing season).
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In the latter years of her time in the soap, Pauline changes from a caring mother into a more inflexible battle-axe. Pauline's relationship with Martin is often shown to be strained by Pauline's refusal to release control over his life. Though initially a teenage delinquent, following Mark's death in 2004, Martin becomes Pauline's "dutiful son", forced to put his mother's wishes above those of his wife—a recurring theme within the serial. Eventually, this causes a rift between the two characters.
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In 1995, Markos joins the band and they release their second album 'Παραλογές' (Paraloges. Paralogs), a little more inflexible, but closer to the sound they wanted to approach. Kostas is in charge of remixing and sound recording, who later is going to be a member of the band. In summer 1996, they recorded their live concert at 'Theatro Vrahon' with their new drummer Vasilis, who before releasing their third album 'Live στο Θέατρο Βράχων' (Live at Theatro Vrahon) - which marks the end of an era - loses his life in a car accident.
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They lost no time in issuing their own newsletter. It quickly became apparent, however, that there could be no political future for a group of 60 party activists independent of a resolutely extremist Communist Party, and with no alternative political home. On 26 February 1931 the SPD party newspaper, Vorwärts, reported that "30 former communists [including Erich Raddatz] are joining the Social Democratic Party". Raddatz now devoted his considerable political energies to canvassing trades unionist comrades still in the Communist Party, urging them to switch away from the ever more inflexible party which, in the eyes of many, was by this time taking all its orders from Moscow.
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Flagstad accepted the commission, although Strauss did not live to see the premiere. As a conductor, she chose not McArthur (who, though an excellent piano accompanist, was not considered a ‘first-class’ orchestral conductor) but Wilhelm Furtwängler (also experiencing the repercussions of suspect wartime conduct), and the pair chose Walter Legge's Philharmonia Orchestra, with which they both worked well, to provide the accompaniment. By the time of the premiere on 22 May 1950 at London's Royal Albert Hall, Flagstad was almost 55 years old. Her voice by this point was darker, heavier, and more inflexible than when she had sung for Strauss at Bayreuth, and she was becoming reluctant to venture above the staff, as would be notoriously demonstrated in the recording of Tristan und Isolde two years later; the Strauss songs, particularly the Hesse settings, were thus not ideally suited to her resources, and she found herself tested to her limits.
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