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  • Veronica - Bodybuilding as a Lifestyle

    Veronica - Bodybuilding as a Lifestyle

    Le lingerie fanno risaltare la femminilità e l’eleganza di una donna,bisogna però saperle indossare per non sembrare volgari.

    Lingerie brings out the femininity and elegance of a woman, but you must know how to wear them so as not to seem vulgar.

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  • Tamara - German Alt Superstar

    Tamara - German Alt Superstar

    Erst mal sollte es definitiv ein professioneller Fotograf sein
    Grade in dem Bereich gibt es einige die „ Hauptsache nackt „ sehen wollen.
    Wichtig ist Fühlt man sich wohl
    Passt die Chemie Sobald man zweifelt unwohl fühlt und alles in der Richtung - abbrechen

    For mich ist es mein absoluter lieblingsbereich
    Die Kunst nackt sein und trozdem wirkt es nicht billig oder total Porno mäßig
    Nach dem Motto nude but Not naked.

    Man muss sich auch wohl fühlen und es soll Spaß machen.

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  • Michele - Mediterranean Mermaid

    Michele - Mediterranean Mermaid

    Confidence is key.

    It will be felt within the photos you are taking so be one with the body you have.

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    Curves are where it’s at and there is beauty in the female body!

    Remember that and the confidence will come naturally.

    Be you!

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  • Jamie Lee - Always believe in yourself

    Jamie Lee - Always believe in yourself

    Never let anybody push your levels if you are not comfortable with something don't do it.

    No means no, and above all always believe in yourself!

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This Is England

https://www.timeout.com

‘This is England’ was the title under which Humphrey Jennings’s 10-minute paean to beleaguered but indomitable British pluck, ‘The Heart of Britain’, was presented in the US in 1941. After showing the wreckage of Coventry and life in the shadow of the Blitz, the narration forecast that ‘the Nazis will learn, once and for all, that no one with impunity troubles the heart of Britain’. As the opening montage of Shane Meadows’s new film makes clear, the heart of Britain was troubled in 1983.

Cross-cutting between Roland Rat and Maggie Thatcher, rioting and the royal wedding, it’s a nifty scene-setter for a deft, heartfelt local story in which the nation is at a different kind of war, and violent bigotry is not an external threat but literally wraps itself in the flag.

Grieving a father lost in the Falklands, lonely 12-year-old Shaun (Thomas Turgoose) is taken under the wing of a local skinhead gang, which includes the dryly charismatic Woody (Joe Gilgun), appealingly dippy Smell (Rosamund Hanson) and cheerful Milky (Andrew Shim), whose parents are Caribbean. As in any pack, there are pecking orders and face-offs, but the generous-minded ‘spirit of ’69’ prevails – until the older Combo (Stephen Graham) returns from jail exuding the stench of aggressive racism, which can’t quite mask the whiff of something lost, desperate and sad. Soon there is speechifying; vulnerable spots are exploited, lines are drawn and a summer of happy belonging mutates into something darker.

With his Nottingham-centric trilogy (‘Twentyfourseven’, ‘A Room for Romeo Brass’ and ‘Once Upon a Time in the Midlands’) and 2004’s ‘Dead Man’s Shoes’, Meadows has created a body of unmistakably English work, but ‘This Is England’ is the first time nationalism has explicitly underpinned the action. Drawing on the director’s own experiences, the film offers assured insights into the pleasures and wages of tribalism, and the ease with which both the urge to belong and individual insecurities and resentments can be grievously spun into political capital. The St George cross initially seen on a poster of the England squad on Shaun’s bedroom wall becomes a coddling blanket of self-justification, then a badge of self-loathing.

If Shaun’s progress can feel a bit schematic and there’s the odd formal lapse into melodrama, these are outweighed by Meadows’s confident pacing and the superb performances of the young ensemble. Turgoose marvellously captures that awkward stage of early adolescence where a yearning for self-determination can’t quite stretch to independence – he goes to buy bovver boots with his mum – and Graham ensures that Combo is pitiable even at his most vile, while the rest of the gang – many of whom studied together – are relaxed, enjoyable company. The film also pays tribute to the music whose enjoyment initially marked skinheads as early adopters of multiculturalism. Even Combo retains his love of ska – a capacity for transcendence that rhymes with the scenes in Jennings’s film in which a Huddersfield choir sings Handel and Beethoven at the height of hostilities.


BY: BEN WALTERS