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  From Film Student to Dungeon Mistress , Hörbuch, Digital, ungekürzt, 64min, (USK 18)

  After I dried myself off, I rubbed baby powder all over my body - trick of the trade. It helps slide the dress on and it helps to keep you from sweating in the vinyl. Taking the dress down off the hanger, I smelled its rubbery scent. It creaked slightly in my hands as I held it. I pulled it on, each leg easing gradually into the dress. The feeling over it slowly engulfing my legs was erotic, like I was beginning to make love to my dress. I felt myself get wet between my legs. I pull it higher up my legs, seeing them disappear inside, feeling my legs stretching it slightly, admiring how it brings out the voluptuous tone of my body. As I pull it up over my hips, I feel it come to press against me. I was enjoying putting the dress on a bit more than you'd expect someone would. I slide the dress upwards, squeezing myself inside it, constricting me, restraining me, making me work for what I want. I pulled it over my arms, sliding into the sleeves, the tightness of it covering me like a security blanket, a rubber blanket, but nonetheless a blanket. Eventually my hands emerged from the ends of the sleeves, and I pulled the back over my shoulders, settling it into place. Finally I take hold of the full-length zipper and pull it up. It glides upwards, barely making a noise, sealing me inside my new vinyl home. I slipped my feet into the black vinyl boots that went up to my knees. They also zipped up on the side. The six inch heels made me 5’ 11” tall. I stood in front of my full length mirror and looked over myself. I had never looked so hot before. I had my long black hair with the Bettie Page bangs cascading down to the middle of my back, red lipstick and black eyeliner. The contrast of the red and black against my pale skin made me look very sexy and alluring. I turned myself on. ungekürzt. Language: English. Narrator: Kat Black. Audio sample: https://samples.audible.de/bk/acx0/015269/bk_acx0_015269_sample.mp3. Digital audiobook in aax.

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  • Price: 9.95 EUR excl. shipping

• Fitness for the Pelvic Floor

  An integrative and practical resource for physical therapists and patients to improve pelvic floor dysfunction symptomsIt is estimated that the incidence of women with at least one pelvic floor disorder will nearly double from 28.1 million to 43.8 million by the year 2050. Incontinence affects one in three women between the ages of 15 to 65, between one and three out of 10 men in the same age range, and an estimated 14% of adolescents under age 15. Pelvic floor dysfunction, incontinence, weakness, imbalance or excessive tightness can cause debilitating symptoms in men and women that can significantly impact quality of life. Fitness for the Pelvic Floor, Second Edition builds on the popular prior edition by internationally acclaimed physiotherapist Beate Carrière with new clinical applications and contributions from coauthor Dawn-Marie Ickes on topics physical therapy students need to learn.The book starts with a section on anatomy and physiology of the pelvic floor, with discussion of breathing, muscles, tone differences, incontinence, and medications and nutrition. The second part features seven chapters detailing effective treatment options and exercises. Straightforward, simple exercises and heightened sensory awareness tips described in the text and presented in videos have proven to be the most efficacious treatment methods for many patients. Therapists will learn how to evaluate pelvic floor problems and develop and teach patients appropriate treatment strategies for specific situations, such as incontinence, dysfunctions after childbirth, and post-prostate surgery issues.Key Highlights- Anatomical and physiological content and clear explanations of the correlation between breathing, the pelvic floor, and abdominal muscles enhance knowledge- Easy-to-follow exercise routines focus on activating and relaxing pelvic floor muscles- Definitions of essential terms facilitate understanding between patients and therapists- 50 videos demonstrate diverse breathing and corrective functional exercises, including for a tense pelvic floor- Appendices provide helpful sample evaluation forms for female and male patients with incontinence, before and after prostate surgery, and a voiding diaryThis is a must-have resource for physical therapy students and physical therapists to help patients with pelvic floor disorders reduce or eliminate symptoms of urgency and pain in the lower abdomen, vagina, rectum, perineum, and bony pelvis. This book includes complimentary access to a digital copy on https://medone.thieme.com.

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  • Price: 36.99 EUR excl. shipping
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  Ungerechtigkeit und Verteidigung. Nimmt Tightness Einfluss auf den Zusammenhang zwischen erfahrener Ungerechtigkeit und Verteidigung?

  Ungerechtigkeit und Verteidigung. Nimmt Tightness Einfluss auf den Zusammenhang zwischen erfahrener Ungerechtigkeit und Verteidigung?: ab 12.99 €

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  • Price: 12.99 EUR excl. shipping
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  In Schwarz

  Es ist unmöglich, in den letzten drei Jahren nicht dem Prinzip Kraftklub begegnet zu sein. Einem Prinzip, das man erfinden müsste, wenn es Kraftklub nicht schon gäbe. Eine phänomenale Geschichte, die sie nun mit ihrem zweiten Album "In Schwarz" fortsetzen. Es ist das schwierige, das sagenhafte, das make-or-break-Album. Wie, um alles in der Welt, begegnet man der so überraschend hoch gelegten Messlatte des ersten Kraftklub-Albums? Stichwort: Von Null auf Eins, Platinstatus, Massenhysterie und der ganze Kram. Die Antwort ist ganz einfach: Sie schnallen sich ein Songwriting-Jetpack um und gehen steiler als je zuvor. Genau das macht "In Schwarz" aus. War das Debüt "Mit K", aka das weiße Album, ein Hit-berstendes Pulverfass, so hat man es bei "In Schwarz" gleich mit einem ganzen Feuerwerkskombinat zu tun. Die in den Hallen der Republik erspielte tightness dieser Band - sie ist in jedem der hier vorliegenden Songs spürbar. "In Schwarz" ist das, was im Fachjargon "ein Brett" genannt wird - extreme Verdichtung des Kraftklub-Furors mit dem einzigen Zweck, dir im Moshpit die Schuhe auszuziehen.

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  • Price: 15.44 EUR excl. shipping
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  Carnivorous Carnival

  When I was a teenager, I sweated out my adolescent angst in a barely listenable garage band like countless other young, hopeful musicians with grandiose visions of rock stardom. Eventually we had our chance to prove ourselves to the local rock scene at a major battle of the bands at an area high school. We asked ourselves, while scratching our heads, "How did we get this gig?" Apparently someone had slipped a cassette to the booking person, claiming it was our demo, when in actuality, it was material recorded by our favorite semi-professional and polished local band. We played and unintentionally provided some much needed comedic relief for the packed house. I'm sure this was never the case with Boulder's Statewide Emergency. The young band's chops would not allow for this aberration. Vocalist/guitarist Matt Paradis, guitarist Luke Johnson, bassist Caleb Kronen and percussionist Keith Slack - all in their teens -have proven themselves in the Boulder and Denver club scenes. Their debut disc, last year's Another Point of View, was an auditory testament to the quartet's strong work ethic and ability to craft loud, guitar-based rock with influences that predate them by decades. The band owes an obvious debt to '70s-era rock gods whose debauchery involved smashed motel television sets, squealing groupies and binge drinking. The follow-up, Carnivorous Carnival, which will be released digitally on May 30, continues this tradition. The disc showcases a solid, capable band and sounds like it could have been recorded in 1975 - it's vintage glory aided by the capable hands of local studio techies such as John Macy, Mark Oblinger and James Tuttle. The band's limited recording fund is hardly noticeable. "We were on a decently low budget, so we wanted to be really tight on all our songs going into a studio," Paradis says. "So once we got in there, everything went pretty straight-forward and as planned because we [were] pretty prepared and ready for it. "We actually tracked all to analog," he reveals. "We tracked through a 24-track tape machine and then into ProTools from that. Analog has that warm kind of tone that most digital recordings don't have. Then on the way out, when we were mixing it, we went back through tape. I'm sure that helped [with the vintage sound]." Production choices and musical tightness only go so far, though - the content has to match. Paradis and company rise to the task by blasting through Carnivorous Carnival's six tunes with power chords and bombast galore. This is stoner rock with enough swagger to split the seams on a pair of polyester skinny jeans. Don't come to the Statewide Emergency table hungry for sugary pop or over-produced radio fare, feast here if you like your rock loud and straightforward. "The Inside," which starts off Carnivorous Carnival, contains the album's finest moments. Heavy guitars and muscular vocals arise from the mix and sucker-punch the listener in stereo. Drums and bass swirl in the background, providing a propulsive rhythm section, while a strong melody dives and rises up continuously. All the elements work together, and the result is easily likable. "It was probably the song we worked on the most. I think it's the one that we're going to promote as our single, and we had a feeling about that going in," Paradis says. "The biggest problems we found with that song were getting the vocals to fit right in there. The vocals are really what drive that song - just the effects and levels and processing on all that - we definitely struggled with [that] for a while, but then in the end it turned out perfect." The guitar-filled juggernaut "The Inside," the electric piano-containing, more subdued "Rubber Legs" and the rest of Carnivorous Carnival will be provided free of charge to all those who pay the cover for Saturday's album release show at the Fox Theatre. These days, with so much music available for free - both legally and illegally - it makes sense on the promotional side of things to sometimes give music away free of charge. "We're really proud of this album. We want people to hear it, and that's [a] bigger priority than getting money for it, because getting heard is what we want above all else," Paradis says. "You want people to know what you're doing, because if people don't know what you're doing, why are you doing it?" -Chris Calloway, The Boulder Weekly.

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  • Price: 18.86 EUR excl. shipping
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  R&B Sessions

  This CD features alternative, jazzy and instrumental versions of six popular R&B songs! Recorded at Elmhurst College in Chicago, IL at the Gretsch Recording Studio in 2010 and 2011. The Windy City Rev Ups perform popular music that is guaranteed to get rock clubs rockin', blues rooms smokin' and dance floors hoppin'. Their music captures the characteristic up beat R&B sound of the band's home town of Chicago fused with traditional hard hitting guitar driven rock n' roll. Since their very first performance they begin creating music that is soulful, in the moment and spontaneous. The band has been performing together as an ensemble of professional musicians for over 10 years, this deep-down tightness comes bursting out at their live performances. Their credentials include 1,000's of performances at 100's of Chicago night club venues that include Chicago House of Blues, Taste of Chicago, Chicago Blues Festival, US Cellular Field, Soldier Field Stadium and Chicago Rock n' Roll 1/2 Marathon! Performances highlight the blue eyed singers soulful voice and they have some serious guitar chops combined with bluesy harmonica playing and authentic Hammond B3 organ & Leslie speaker tone.

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  • Price: 18.26 EUR excl. shipping
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  classical calm Vol.5

  It's the softest sigh from a soothed, smoothed spirit, the gentlest mind massage, the easing of the tired tightness strangling the soul. Music can do all that as it regenerates what pressured lifestyles damage. And when that music is the most beautiful creations of the most talented master composers, it works even better.

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  • Price: 5.89 EUR excl. shipping
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  Dialogues

  The 2001 album (their fifth together) from trail-blazing Irish harper Máire Ní Chathasaigh, Irish Traditional Musician of the Year 2001, and English virtuoso guitarist Chris Newman. Agallaimh means "discourses" or "dialogues" in Irish. These multi-lingual musical conversations represented an exciting artistic departure for Máire & Chris. From the purest well-spring of Irish music come the 17th century air Gol na mBan san Ár, an exemplar of the stark beauty of the ancient Irish harp tradition, the delightfully melodic newly-discovered 18th century Hidden Pearl arranged by Máire for harp and string quartet and an elaborate set of jigs. Two of the four songs are recorded here for the first time in these versions. One of them, the haunting An Clár Bog Déil, is sung in the free-form, uniquely Irish style of singing known as sean-nós. The Scottish tradition is represented by the dazzlingly virtuosic Beeswing Hornpipe and the driving Highland piping tunes Donald MacLean's Farewell to Oban & Duntroon Castle. From this traditional core, they explore new musical styles and approaches to arrangement. Three Piece Suite, composed by Máire in a traditional style, ends up with a slightly African sound. Other full band arrangements include the irresistably jaunty bluegrass tune Twinkle Little Star and Chris's two compositions, the jazzy Swinging the Lead and the effervescent, Caribbean-influenced Banana Yellow. Special guests: Máire's fiddle-playing sister Nollaig Casey, young Scottish fiddler Ian MacFarlane, mandolinist Simon Mayor, percussionist Roy Dodds and cellist Liz Hanks. REVIEW EXTRACTS... "Lively dance tunes, lovely songs, classic Irish harp music and general purpose fun. Máire, who invented the playing of Irish dance music on the harp, is in fine form and her singing is clear and strong as the wind. Chris is one of the most versatile and just plain fun guitarists around..." Dirty Linen (USA) "This virtuoso duo test the limits of Irish music with touches of calypso, bluegrass and 40s-style swing. Newman's hot guitar licks and Ní Chathasaigh's bell-toned harp are delights" Sing Out (USA) "Sparkling virtuosity and incredible tightness... a rich and breathtaking album" Taplas (Wales) "Perfectly played: exudes warmth, passion and pleasure. The apogee of instrumental music: truly wonderful" Tykes News (England) "Littered with gems: the playing is so good it should be outlawed!" Folk London (England) "Wie immer mit augenzwinkernden Wendungen perfekt gespielt und glasklar gemixt." - FOLKER (Germany) März/April, 2002 "Terrific: brilliant, beautiful, virtuosic ****" The Sunday Tribune (Ireland) BIOGRAPHY... 2008 marks the 20th anniversary of the partnership of England's premier flatpicking guitarist, Chris Newman, and brilliant, innovative harper Máire Ní Chathasaigh (pronounced Moira Nee Ha-ha-sig), Irish Traditional Musician of the Year 2001. Since their début at the 1987 Cambridge Folk Festival, they've toured twenty-one countries with their signature cocktail of dynamic Irish dance-music, moving airs, evocative songs and striking new compositions - spiced with shots of hot jazz and bluegrass as well as Chris's "subversively witty introductions". They released their sixth CD, FireWire, in 2007: "An eclecticism and spirit of adventure that is quite thrilling... Virtuoso playing... bewitching string fantasies and a wonderfully clear and expressive voice' The Times 'Maire Ni Chathasaigh is in a class of her own' The Guardian 'Takes one of the most effete instruments in traditional music by the scruff of the neck and breathes a fire into it's belly' The Irish Times "Brilliant, innovative harping and guitar-playing of astonishing virtuosity and versatility" Songlines "Dazzling virtuosity... Newman's guitar-playing is to be marvelled at... exquisitely delivered... delightful" The Daily Telegraph. It was Chicago-based Live Ireland's Album of the Year. This summer they came together with two of the most important names in Irish music, legendary guitarist Arty McGlynn (ex Van Morrison band, Planxty, Patrick Street, De Danann...) and Máire's sister, virtuoso fiddler Nollaig Casey (ex Planxty), to record a stunning new CD, Heartstring Sessions, which was released in time for an eighteen-date October tour of the UK and Ireland. The CD has just become available on CD Baby! Within the past couple of years Chris and Máire have performed in the USA, Germany, Italy, France, Switzerland, Austria, Australia, New Zealand, Japan, Denmark, Holland, Belgium, Ireland and the UK, additionally, Máire gave a 16-date nationwide lecture tour of the USA in April 2006 and prestigious solo recitals at the 2007 European Harp Symposium and the 2005 World Harp Congress. Broadcasts included a November 2007 concert televised by the Irish-language TG4 TV, a Christmas 2005 concert in Brindisi, televised by Rai Uno, the Italian state broadcaster, and appearances on Lyric FM, Ireland's premier classical music station (for which Máire was Artist of the Week) and BBC Radio 4's Woman's Hour. They're featured on Irish rock legend Rory Gallagher's posthumous album Wheels within Wheels (BMG, 2003) and Polygram USA's major 1998 Celtic harp album and associated PBS TV special Celtic Harpestry. Máire is harp/voice soloist with the New English Chamber Orchestra and the Choir of New College Oxford on John Cameron's Missa Celtica (Erato Disques, Paris). The Goldcrest film Driftwood features her singing, and her harping and compositions feature with other Celtic music luminaries on Dan ar Braz's Gold Disc-awarded album Finisterres (Sony France). Máire is 'the greatest Celtic harper of our age' (Live Ireland), in 2001 receiving Irish music's most prestigious award, that of Traditional Musician of the Year - Gradam Cheoil TG4 - 'for the excellence and pioneering force of her music, the remarkable growth she has brought to the music of the harp and for the positive influence she has had on the young generation of harpers'. She began to play the harp at the age of eleven. A West Cork background steeped in the oral tradition led her, while still a teenager, to develop new techniques that made it possible for the first time to play traditional music on the harp in a stylistically accurate way. She won the All-Ireland and Pan-Celtic Harp Competitions several times and in 1985 recorded the first harp album ever to concentrate on traditional Irish dance music, The New-Strung Harp - 'an intensely passionate and intelligent record and a milestone in Irish harp music' (The Irish Examiner). Her approach has been profoundly influential wherever in the world lever harps are played - "a single-handed reinvention of the harp". Two volumes of her arrangements have been published: The Irish Harper Vols. I and II. She contributed two articles about the Irish harp and modes in Irish music to the Companion to Irish Traditional Music (Cork University Press) and is profiled in Celtic Women in Music (Quarry Books, Canada) 'Her work restores the harp to it's true voice.' (The Irish Times) Chris began to play guitar at the age of four and at fourteen played his first paid gig in a folk club. He dabbled in the jazz scene in his late teens, playing with and learning from people like Stephane Grappelli and Diz Disley and honing his skills as a gifted improviser. After a brief foray into the commercial world that resulted in a silver disc for producing The Oldest Swinger in Town, he resolved to concentrate on his first love - the acoustic guitar. In addition to his work with Máire, Chris toured until 1997 as a member of Boys of the Lough in North America, Sweden, Finland, Norway, Estonia, Denmark, China and Italy. A prolific composer, arranger and record producer, he has been principal guitar tutor for Newcastle University's Folk B.Mus. Degree course since it's inception. His book of guitar compositions and arrangements Adventures with a Flatpick was published in 2001. His 1998 solo CD Fretwork was "a stunning and stylistically-varied album, h

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