35 Results for : snarled

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    Becky the Bunny Wants Candy: Becky's Depravity , Hörbuch, Digital, ungekürzt, 22min, (USK 18)
    Becky is tired of being a good girl and decides she's going to be as naughty as she can. In this case, that means dressing up like a very, very sexy bunny for Halloween. This 18-year-old decides that there's nothing she won't do, no degradation too big, and in this case that means using her mouth to clean up a filthy fat old man! Before long, she'll be giving this dirty old man the treat of his life, and he won't know what hit him! Warning: This audiobook contains very explicit descriptions of sexual activity during a barely legal sex encounter and includes anal rimming, oral sex, and rough sex. Only mature adults who won't find that content offensive should read this story. Here is a preview: Finally, an old man came to the door. His ragged bathrobe was dirty and stained, and he was obviously naked beneath the worn fabric. The man's protruding belly poked through the open robe. Becky looked at that round tummy with interest. It covered the man's cock and balls. She couldn't even see them down there beneath the flabby rolls of stinking flesh. She was intrigued. “What do you want?” he asked. “I want candy,” Becky said. She batted her long pink lashes at him. “Aren't you a little old to be asking for candy door to door?” He snarled at her, but she could see him staring at her gravity-defying breasts. She jiggled them a little and watched his eyes bounce up and down in time with her tits. “Aren't you a little fat to be keeping all the candy to yourself?” she countered.He started to shut the door in her face, but she swiftly stuck one pink stiletto over the door jamb. With her leg pushed out that way, the slit in her pink costume split open to reveal the slit in her pink pussy. Her cunt was on full display. It was just the way she liked it. The dirty man stopped pushing the door shut and let his gaze linger on her exposed cunt. He licked his lips. Becky took advantage of his distraction to let herself into the house. Once she ungekürzt. Language: English. Narrator: Dana Campbell. Audio sample: https://samples.audible.de/bk/acx0/014714/bk_acx0_014714_sample.mp3. Digital audiobook in aax.
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    Pieces of Eight (The Guardians Series, #4) (eBook, ePUB)
    Book Four of The Guardians Series "I have the badge, so let me do the talking," he told her. "It might make Drummond more forthcoming."Again, she didn't bother to respond, which Max found extremely annoying. So when she moved to walk beside him, his hand curled possessively around her elbow. She turned to glower at him."No touching," she hissed and tugged at his hold. "Remember?""I didn't agree to that." He smiled at her, all teeth. "Baby.""Don't make me hurt you."He laughed, but it felt hollow and cold. She didn't realize his need for her was an ache so deep he felt it in his bones. He already hurt. The thought that she may never welcome him again was almost unbearable.But he was a hunter by nature and by trade, and he knew how to wait. How to sit in stillness until the time to pounce was at hand. Patience was the key. Patience and perseverance. She had to know he would never again do what he'd done. That she could trust him.Believe in him.In them."No," she snarled as if she heard his thoughts.But he was heartened by the fury in her. "We'll see." ★★★ When psychic medium Thea Marlie's young protégé, Drew, goes missing, she knows there's only one man for the job: FBI Special Agent Max Prescott. But Thea and Max have an ugly history, and asking him for help means confronting the darkest time of her life. FBI Agent Max Prescott has been waiting for the moment when the only woman he ever loved would need him. He's ready to face the past and accept its consequences, to do whatever it takes to win Thea back…even if he fears some things are too terrible to forgive. Thea wants only to forget, while Max is determined to start anew. But when they learn Drew has been taken by people on the hunt for the lost treasure el Tesoro del Corazon, they will have to find a way to move beyond the past and into the present. Because the race to unearth the hidden chest of cursed Spanish silver is on, and to save the boy they will have to work together to find it…before the curse that follows el Tesoro finds them. Don't miss the fourth installment of this intense, suspenseful romance series!
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    Snarled Identities Or A Desperate Tangle
    Snarled Identities Or A Desperate Tangle: ab 1.99 €
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    • Price: 1.99 EUR excl. shipping
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    Held In Splendor (lp)
    Im SEPTEMBER 2014 auf Deutschland-Tour! Souveräner 60ies- und 70ies Pop incl. mehrstimmiger Vocals, schönen Melodien, Sitars, mit Anklängen an Fleetwood Mac, The Beatles und Galaxie 500.Souveräner 60ies- und 70ies Pop incl. mehrstimmiger Vocals, schönen Melodien, Sitars, mit Anklängen an Fleetwood Mac, The Beatles und Galaxie 500. Following thier 2011 self-titled debut on Mexican Summer, Quilt return with their sophomore album 'Held in Splendor'. 'Held in Splendor' is is an audacious pop-rock record with cascading harmonies and billowing textures, punchy rhythms and snarled guitars, wonderful depth and resplendent peaks. Mary Mountain takes hazy Summer of Love memories on a mid-summer road trip in a gleaming muscle car. Tired & Buttered invites Booker T over for an energy-addled jam in the garage. The Hollow twinkles like Fleetwood Mac and Galaxie 500, with sweet singing backed by the lap steel sighs of young acoustic guitar star and longtime Quilt pal Daniel Bachman. Held in Splendor is an album of personal poetry and public questions, confessions and spirations really, these 13 tracks are their own playground, brimming with the sort of unapologetic energy and wonder that turns simple songs into absolute anthems. TRACKS: 1. Arctic Shark 2. Saturday Bride 3. Eye of the Pearl 4. Mary Mountain 5. Tie Up the Tides 6. The Hollow 7. A Mirror 8. Just Dust 9. The World is Flat 10. Tired & Buttered 11. Secondary Swan 12. Talking Trains 13. I Sleep in Nature
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    Forever Sunset
    FOREVER SUNSET - JADCD 1116 An anthology of works by Australian composers in a wide range of styles and musical groupings ranging from mandolin & strings, tenor recorder & piano, voice with flute & piano, through mandolin ensemble, solo piano works and works for brass ensemble and duos for trumpet & piano. ROBERT ALLWORTH (b.1943) Track 1. FOREVER SUNSET (2004) for Mandolin-Violin-Viola and 'Cello FOREVER SUNSET takes ideas from the poem of the Lotus Eaters by Lord Alfred Tennyson. The music is full of colouristic effects and is an evocative portrayal of a Sunset. IAN SHANAHAN (b.1962) Track 2 HARMONIA (in PP) (2001) for Tenor Recorder and Piano harmonia [Greek] = 'a fitting together' = compositio[nis] [Latin] = 'a musical composition' (i.e. a harmonious, well-structured assemblage of sounds/silences), and - of course - 'harmony' = a homophony = chorale, recitative, ..., pp [Italian abbreviation for 'very quiet'] = Peter Platt = the Perfect Professor. To 'Prof ... a Persistence of (Pneuma [Greek]) = 'wind' and 'spirit': "Funereal yet serene - a dignified mourning" (of surprising starkness and textural simplicity), for one who Plucks Psalteries in Pleromatic Paradise... Lest We Forget. Harmonia (in PP), written in memory of Professor Peter Platt, employs none of my typically abstract, complex paracompositional schemata: rather, I approached this concise piece much more humbly - in a way that I imagine 'Prof himself might have quietly begun to sketch out one of his own modest works. BETTY BEATH (b.1942) Tracks 3 and 4 MEETING IN THE ROAD and THE SHE WOLF Meeting in the Road and The She-wolf are the 3rd and 4th songs from the cycle for voice, flute and piano titled POINTS IN A JOURNEY. This cycle of five songs was commissioned by North Adams State College, Massachusetts. The First Performance took place during the period of my residency at the College on the 7th October, 1987. Meeting in the Road, the setting of a text by an anonymous Chinese poet of the 1st Century BC touches on a universal theme...the brief meeting which somehow touches us in a way we shall always recall. In writing from a distance of 2,000 years he describes the place where he lived as 'easy enough to find, easy to find and difficult to forget'. In a narrow road where there was not room to pass My carriage met the carriage of a young man. And while his axle was touching my axle in the narrow road, I asked him where he lived. The place where I live is easy enough to find, Easy to find and difficult to forget. The gates of my house are built of yellow gold, The hall of my house is paved with wihte jade, On the hall table flagons of wine are set, I have summoned to serve me dancers from Han-tan. In the midst of the courtyard grows a cassia tree, And candles on it's branches flaring away in the night. The She-wolf, with words by the Queensland poet, Jena Woodhouse, describes her passionate relationship with her mother. My mother gave me tempest strife and storm, Flickerings of wisdom lit from within by fires of ancient lore And left the imprint of her Celtic soul A sense of something dangerous and passionate It was she who snarled defiance at the poverty that menaced her And hurled her gypsy curses in the teeth of bitter need, And held her head still higher before strangers And damned the world for misery and greed, It was she who took in homeless dogs to feed and care for, And sad old men who drank too much and died And she who'd weep her grief at each bereavement, The nightmare visions crowding in her eyes, And chide her children for their trespasses, And toil until she dropped to give them bread, And then in feral rage devour them, And bundle them to bed with growls and muttered benedictions, And watch them grow with pride That flashed like lightning in her tawny gaze, And give them heart to sing And pit their strength against the storm. ERIC GROSS (b.1926) Tracks 5 and 6 KLAVIERSTÜCK 1V op.225 (1998) and PLAYFUL SALLY op.300 (2006) "KLAVIERSTÜCK IV", one of a series of five Klavierstücke, is subtitled "quasi un' improvvisazione" and is meant to convey, within a formal structure, liberal amounts of contrasting tempi, dynamics, phrasing and moods, such as would be found in an improvisation. It is also intended to give the performer the opportunity to contribute creatively to the realization of the music in a free and unrestricted manner. After the opening statements, which alternate emphatic and cantabile phrases, a gentle section gives way to semiquaver phrases which increase in volume and speed and lead to several climaxes. These semiquaver phrases appear in various inversions and guises, eventually leading back into a gentler melodic section, previously heard soon after the beginning. A cadenza builds up to a strong climax after which the work is brought to it's close with a succession of pianistic statements.'Klavierstück IV' was originally written for Katarina Kroslakova as a gesture of thanks for participating in an earlier recording of a composition of mine for mandolin and piano. "PLAYFUL SALLY" is dedicated to it's performer Sally Mays because of her strong and generous support of Australian composers. This composition is a lighthearted tribute to her outstanding musicianship and technical excellence. After commencing mischievously in the style of a two-part invention, the piece playfully employs cross-rhythms and unexpected harmonic aberrations to mislead performers and listeners alike. EG. ANN CARR-BOYD (b.1938) Track 7 FOXTROT (1993) FOXTROT was commissioned by Adrian Hooper, Director of the Sydney Mandolins, to be performed by his ensemble. The music is another dance form piece and is meant as a companion piece to Fandango, one of Ann Carr-Boyd's most popular compositions, which was also written for the Sydney Mandolins. ERIC GROSS Track 8 HABAÑERA-SERENADE op.31/4 (1960-2007) This composition, originally for Violin and Piano, was written as a study in an 'Habañera' style of composition and has also been transcribed for Piano alone. This version for Soprano Saxophone and Piano was arranged in 2007 especially for the two performers on this recording, Berndt Klinke (Soprano Saxophone) and Idil Ugur ( Piano) for a performance in Germany. The music relies on it's obvious melodic appeal based on it's ternary form and it's minor-to-major key- transformation. EG. DEREK STRAHAN (b.1935) Track 9 SEISMIC MURMURS for Solo Piano (1992) - Derek Strahan - piano This is the closing section from Pt. 1 of Atlantis Variations for Solo Piano, one of several works written to develop material for inclusion in a proposed cycle of 4 operas suggested by Plato's account of the rise and fall of Atlantis. A 3-note whole tone figure heard as a bass rumble at the outset and continuing, represents the trident of the Greek sea god Poseidon, by which he controlled the movement of wind and tides. The motif for Poseidon is immediately heard over it followed by a more elegiac theme for his consort as ruler of Atlantis, the native woman Cleito. A monumental theme for their son Atlas follows. Atlantis and the Atlantic Ocean are named after him. The responsibility of rule over his expanding empire is figuratively implied in the image of Atlas bearing the world on his shoulders. These and other motifs form the basis for passages signifying the seismic instability of the area in the Atlantic known as Dolphin's Ridge where Atlantis is placed by some writers. Heraldic fanfares depicting the Golden Age of Atlantis conclude this section. D.W.S. Recording, New Music Theatre, 8/7/2002. The complete work "Atlantis Variations" can be heard on the Revolve CD of that title RDS009. DANIEL WILLIAMS (b.1935) Tracks 10 and 11 DEO GRATIAS (2007) and FANFARE FOR HORROCKS (2007) Fanfare for Horrocks and Deo Gratias were written in 2007 by trumpeter and composer, Daniel Williams. Williams took on the position of Head of Bands at the The King's School in 2006, and it was there these compositions emerged. Deo Gratias was commissi
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