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No, they wear these clothes not to be ready at a moment s notice to head out to the real country, they wear these clothes as a form of conspicuous consumption. They are saying: see, I don t need to dress in old haut bourgeois weekend casual clothes, because I go out to Aspen (or Park City, or some other far off trendy place) and this is what I would be wearing if I were there. (Never mind that I only go once a season, or once every two years, I want you to think that it was just some huge deal at work that has kept me in NYC, so I am wearing my ski jacket to dinner on the Upper West Side, or I have on my fleece vest, even though I have just been to an indoor gym). Redhead hairy video

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Luckily, we keep getting the exemptions, like noting that Europeans actually ARE into soccer. Well, we call it football. Also there should be an exemption about the sportswear. Europeans dress up after work, if they are going somewhere, Americans dress down. This means you are likely to meet a European person on the way to work in his fleece jacket, only to meet him out on town in an elegant coat and some snappy shoes after work. There should be warning for American men dating European women: do not get into your casual wear if you have invited her out to dinner! She ll come dressed to kill and if you re not dressed for it, she ll just leave your carcass in the gutter. Bikini date Lesbian prn

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Yup, I am with Chris. Our HOA specifically bans hanging laundry, even in the backyard where it can t be seen! Besides, I also don t like the stiffness of line-dried clothing, and it would be my luck that I would forget it outside and some animal would do something horrible to it. Revealing lingerie kuhni-apelsin.ru

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Thumbs granny Ageing, he thought, comes about because this developmental programme, this constant change, never turns off. From birth until puberty, change is crucial: we need it to grow and mature. After we ve matured, however, our adult bodies don t need change, but rather maintenance. If you ve built the perfect house, you would want to stop adding bricks at a certain point, Walker says. When you ve built a perfect body, you d want to stop screwing around with it. But that s not how evolution works. Because natural selection cannot influence traits that show up after we have passed on our genes, we never evolved a stop switch for development, Walker says. So we keep adding bricks to the house. At first this doesn t cause much damage a sagging roof here, a broken window there. But eventually the foundation can t sustain the additions, and the house topples. This, Walker says, is ageing. Biggie smalls bitch

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A further page of Louis Jean-Baptiste Igout’s reference photographs for artists, published between 1870 and 1880 by A. Calavas as an affordable and convenient alternative to life models, and especially useful for amateur artists working at home.

A further page of Louis Jean-Baptiste Igout’s reference photographs for artists, published between 1870 and 1880 by A. Calavas as an affordable and convenient alternative to life models, and especially useful for amateur artists working at home.

Another full page of anatomical reference nudes, posed by anoymous artists’ models, photographed in the studio of Louis Jean-Baptiste Igout, and published by A. Calavas, between 1870 and 1880.

Another full page of anatomical reference nudes, posed by anoymous artists’ models, photographed in the studio of Louis Jean-Baptiste Igout, and published by A. Calavas, between 1870 and 1880.

As with so many of these 19th century artists’ reference photographs, this picture has an enduring beauty all of its own - a handsome man immortalised in his prime, posing with great dignity and grace; he remains every bit as captivating to look upon...

As with so many of these 19th century artists’ reference photographs, this picture has an enduring beauty all of its own - a handsome man immortalised in his prime, posing with great dignity and grace; he remains every bit as captivating to look upon today, as in the era which he lived.

It has been a while since I added to the 1855 set of Delacroix’s reference photographs, taken by Jean Louis Marie Eugène Durieu. These early images appear dark and hazy, due to the limits of photographic technology of the time, but all the more...

It has been a while since I added to the 1855 set of Delacroix’s reference photographs, taken by Jean Louis Marie Eugène Durieu. These early images appear dark and hazy, due to the limits of photographic technology of the time, but all the more appealing for it.

An impressive display of strength and balance, here, as this muscular man performs a handstand for the camera - not the first time I’ve shared shots of this uncommon but immediately eye-catching inverted pose.

An impressive display of strength and balance, here, as this muscular man performs a handstand for the camera - not the first time I’ve shared shots of this uncommon but immediately eye-catching inverted pose.

Another particularly striking artist’s reference photograph from Jacques de Lalaing; do take a moment to view this full size, it is surely worth a few seconds of your day!

Another particularly striking artist’s reference photograph from Jacques de Lalaing; do take a moment to view this full size, it is surely worth a few seconds of your day!

An admirably well-made artist’s model, here, his pose duplicated in the two sculptures behind him. Though the unlucky chap has lost his head in this particular shot, another exists from the same studio in which we can see his face.

An admirably well-made artist’s model, here, his pose duplicated in the two sculptures behind him. Though the unlucky chap has lost his head in this particular shot, another exists from the same studio in which we can see his face.

An additional shot from the sequence posted here, these 1880 photographs look remarkably modern, the creative and dramatic poses lifting them above mere run-of-the-mill anatomical studies.

An additional shot from the sequence posted here, these 1880 photographs look remarkably modern, the creative and dramatic poses lifting them above mere run-of-the-mill anatomical studies.

Part of a set of photographs taken in the final years of the 19th century by the French army, studies of male anatomy and motion to help soldiers and officers better understand the human body and the physical tasks it must perform in such an...

Part of a set of photographs taken in the final years of the 19th century by the French army, studies of male anatomy and motion to help soldiers and officers better understand the human body and the physical tasks it must perform in such an occupation.

A soft and serene photograph by Thomas Eakins, circa 1884, taken as anatomical reference for his artistic work, but with a simple and undeniable beauty in its own right.

A soft and serene photograph by Thomas Eakins, circa 1884, taken as anatomical reference for his artistic work, but with a simple and undeniable beauty in its own right.

Latest in my occasional series of animated Muybridge; another sporting pursuit performed nude for anatomical reference, this time a man throwing a baseball.

Latest in my occasional series of animated Muybridge; another sporting pursuit performed nude for anatomical reference, this time a man throwing a baseball.

A reference photograph taken in the studio of French sculptor Pierre-Charles Simart, in 1856, just a year before he died.

A reference photograph taken in the studio of French sculptor Pierre-Charles Simart, in 1856, just a year before he died. 

One of Thomas Eakins’ 1883 anatomical reference photographs, streaked across with jagged marks; I am glad it was kept despite the damage.

One of Thomas Eakins’ 1883 anatomical reference photographs, streaked across with jagged marks; I am glad it was kept despite the damage.

Published in 1904/1905 as an aid to artists wishing to better understand and capture the human figure in their work, these reference photographs have been made that little bit more modest by the addition of white wispy ‘fabric’, carefully added by...

Published in 1904/1905 as an aid to artists wishing to better understand and capture the human figure in their work, these reference photographs have been made that little bit more modest by the addition of white wispy ‘fabric’, carefully added by hand to the master copy before printing. From L’Étude Academique by A. Vignola, Paris.

Seven photographs of George Reynolds, 1883, by Thomas Eakins (third from the right is my own favourite in the set)

Seven photographs of George Reynolds, 1883, by Thomas Eakins (third from the right is my own favourite in the set)