up skirts no pant

Peter Thomas - Moonflowers & Mini-Skirts (2003)
19 tracks | Release: 2003 | MP3 CBR 320 kbps | 117 MB
Genre: Instrumental, Easy Listening, Soundtrack | Label: Marina Records

Mad Men and Philosophy: Nothing Is as It Seems [The Blackwell Philosophy and Pop Culture Series] by James B. South, Rod Carveth, William Irwin

W-l-y | 2010 | ISBN: 0470603011 | 272 pages | PDF | 1,7 Mb

A look at the philosophical underpinnings of the hit TV show, Mad Men.
With its swirling cigarette smoke, martini lunches, skinny ties, and tight pencil skirts, Mad Men is unquestionably one of the most stylish, sexy, and irresistible shows on television. But the series becomes even more absorbing once you dig deeper into its portrayal of the changing social and political mores of 1960s America and explore the philosophical complexities of its key characters and themes.

Pattern Drafting for Dressmaking
B.T. Batsford | 1993 | English | 230 pages | DJVU | ISBN-10: 0713469870 | 48 MB

Bully - Scholarship Edition v1.2 (2008/MULTI2) Repack by MOP030B
Year:2008 | PC Game | Developer: Rockstar Vancouver and Rockstar New England | Publisher: Rockstar Vancouver and Rockstar New England | 2.2 GB
Genre: Action, 3D, 3rd Person
Children are malicious and severe - this phenomenon will be explained by any psychologist. But what to do to on whom teenage aggression is directed? Vast reasonings of scientists are necessary to him in the least. Get used to solve children‘s problems in adults. Once on campus, forget about life in the civilian world. The new environment demands other, much more rigid behavior. The university has its own laws: you can either accept them or perish ...

VA - Bhangra Groove (2008) (6CD BoxSet)
Genre: Pop-folk, Worldbeat | 6CD | MP3 320 kbps | 1,15 GB

Gustav Mahler - Symphony No. 3 - Mariss Jansons, Bernarda Fin (FLAC) (2011)
EAC Rip | Flac(tracks) - cue - log | 383 MB | 2 CD | Full Scans
Genre: Classical
Jansons runs hot and cold as a Mahler conductor, and whereas his recent Sym. #2 with the Concertgebouw was decidedly tame, there were enthusiastic reports about this live Sym. #3, assembled from concerts given Feb. 3-5, 2010. The opening minute or two reveals that the orchestra is playing in stupendous form and that, as usual, the in-house recording is as good as any studio version -- so far, so good. Musically, one cannot say that the Mahler Third plays itself, but the work is laid out on such an epic scale that long stretches, especially in the first movement, seem to unfold of their own accord, like a force of nature, and so any trained, alert conductor can always make a striking effect. The question is whether a deeper level of interpretation can be reached. In their different ways Jascha Horenstein (in a live performance with the London Sym. that surpasses even his acclaimed studio version) and Leonard Bernstein (most notably in his early Columbia recording with the NY Phil.) left a strong personal stamp on the work. Also on a high level were Abbado‘s two accounts and James Levine‘s. How, then, does Jansons, not a particularly individual interpreter, measure up?
He makes a splendid impression in the massive first movement, managing many variations in color, orchestral balance, and phrasing, with all the major transitions sounding natural and musically satisfying. As you‘d expect from his past Mahler recordings, he smooths out jagged edges and never approaches the reckless or barbaric, two extremes that prove thrilling under Mitropoulos in his free-wheeling, if scrappy, live account with the NY Phil. from the Fifties. Jansons marches grandly while making sure that he‘s in the center of the road. The score contains so much barely controlled wildness that this approach works. At the very least the sheer sumptuousness of the orchestral sound must have been overwhelming in the hall. A touchstone for the whole reading is the long trombone solo, played with great style but not allowed to spill over its banks.
After its cataclysmic opening half hour, the Mahler Third, like the Second, veers to the opposite pole with a minuet and a trip to the folk-inspired land of the Wunderhorn songs. Perhaps because their nerves are shattered, conductors tend to underplay the minuet, letting it slide by without incident even though Mahler sprinkled in many change-ups of mood and color. Happily, Jansons delivers a reading that is not only lovely on the surface but eventful. The third movement, based on a woodsy melody replete with birdsongs, is one of Mahler‘s great inventions, leading us into the forest shadows and ultimately the transcendent mystery of Nature, as a distant posthorn sounds a long, dreamy lyrical line. Here Jansons remains consistent in his alertness and attention to detail, even if he doesn‘t quite let go, as Bernstein does, and surrender to the mystery. The reading is more like Haitink‘s two recordings, which is still high praise. The posthorn solo is played exquisitely, by the way; it sends a shiver down the spine.
With her background in Baroque music, Bernarda Fink isn‘t the dark-toned low voice that perfectly suits Nietzsche‘s visionary poem about the suffering of humanity, but she is quite expressive, and Jansons makes a deep impression, once again, by his ear for balance and detail. I‘v been more deeply moved (by Jessye Norman, Christa Ludwig, and Lorraine Hunt Lieberson), yet this account is telling. The fifth movement begins with an excellent chorus of women and boys, singing with real character. Fink is at her best, also, and Jansons conducts a reading so full of vitality that I‘d rank it one of the best I‘ve ever heard -- what an unexpected section to come off so splendidly.
The Mahler Third reaches its apotheosis in one of the composer‘s most moving, other-worldly Adagios (it‘s incomprehensible that his contemporaries couldn‘t hear the sublime genius that seems as obvious to us as Mozart‘s), and because of the weight and import of all that comes before it, this movement needs to speak volumes -- readings that move too quickly feel sadly anticlimactic even when they are beautiful on the surface. At an overall timing of 23 min., Jansons skirts being too hasty (Bernstein at 25 min. and Levine at 27 min. allow the heart of the music to swell into the tragic and the sublime), but here the phrasing is so limpid and artless that the right effect is made. Beauty and world-weariness come together exactly as they should. This is a world falling asleep with the trembling realization that dawn may never break again. The great alarmed spasms that interrupt this lullaby are delivered with earth-shaking impact, suggesting the terror that will be escaped through the finality of silence.
I must say that I never expected such a profound performance from Jansons, and I‘m delighted to welcome it into the ranks of great Mahler Thirds.

VA - Funk Experience Series Collection (2006-2011)
EAC Rip | 10CD | FLAC - Log - Cue | 600 dpi Scans | 4.6 GB
Genre: Funk | Label: Nascente

Robert Plant (Ex. Led Zeppelin) - Discography (130 CD) 1980-2010
MP3 320 kbps CBR | Hard rock,heavy metal,Alternative Rock,world,blues-rock,folk rock,country rock | 130 CD | 17.5 GB | 1980-2010
Label: Atlantic, Swan Song, Es Paranza, Sanctuary, Mercury, Universal, Rounder