#timbrels

[granonine]

A Victory Parade

Psalm 68: 24-26. They have seen Thy goings, O God; even the goings of my God, my King, in the sanctuary. The singers went before, the players on instruments followed after; among them were the damsels playing with timbrels. Bless ye God in the congregations, even the Lord, from the fountain of Israel. David describes a victory parade in these verses. It isn’t clear to me who they refers to,…

[blistexenthusiast]

Margaret Timbrell, Not Bad

[philophobic-paracosm]

i love doomed yuri

[aberration-abbey]

Doing sketches of the Rubellite Delta’s local Maren clan, the Glowing Reef Clan, and also seeing if I could replicate the look of colored pencil with digital art. The answer is apparently yes, but it also replicates the process of colored pencil, which I forgot I hate. I pretty quickly gave up on that and switched to a less time-consuming process, haha.

The Glowing Reef Clan is pretty friendly with their neighboring dragon clans, and have a longstanding trade agreement with the Starry Night Inn (repped by serthis Queenie, with the red tail). Frequent exposure to magic radiation from their eponymous reef has given them unusually frilly fins. Their Undertide pal is Timbrel, who likes poetry and fighting sharks.

[fromthehouseofgerber]

Realizing the basses never actually sing the word “joyfully” in the song “sing joyfully” by William Byrd

This is so criminal. Let the basses be joyful.

[oncillamoltres]

The Starry Night Inn

The only waystop between the Oculus of the Eleven and Dragonhome. The Inn has room for hundreds of guests, but few travelers come out this way anymore. Now the Inn is staffed only by an odd little family of five, and caters mostly to soldiers on their way to the border outpost. If you ask nicely, maybe the staff will show you the old ballroom.

What's that? Haunted? Well...I wouldn't go wandering through the deep halls at night...

(Flight Rising askblog run by Oncilla from @aberration-abbey; likes, asks, and follows from @oncillaphoenix)

STAFF:

Bramble, the Innkeeper. A friendly, down-to-earth Nocturne who inherited the care of the Inn from her father. (she/her, Fire element)

Cheshire, the Night Attendant. A jovial, ever-smiling Spiral who uses his magic to play harmless pranks on the guests. That was...some pretty powerful magic, though... (he/him, Shadow element)

Queenie, the Barkeep. A Plaguelands Serthis who's always friendly and ready to talk. She seems close with Cheshire. (she/her, no element)

Lissy, the Patchwork Daughter. A bright-eyed teenaged Spiral who was raised by the staff of the Inn. Is she...actually made of fabric...? (she/her, Fire element)

Starlight, the baby. An Aether whose egg was abandoned in the rush to rehome the Astrolab residents, he was taken in by the staff of the Inn. (he/him, Plague element)

[brother-emperors]

--or perhaps,' continues Octavian. 'You're angry that I've outplayed you at your own game because you were too busy fucking in your old master's house to notice anything that was going on around you.'

He smiles suddenly, bright and wide. 'Enjoy the party, Marcus.'

this scene takes place sometime after philippi, and was originally just some historical fiction I was writing last year for fun focusing on antony, octavian, and agrippa. then I got stressed out watching the new season of a show, started drawing while it played, and ended up turning it into a short comic lmao

the dialogue in this scene is referencing this bit out of Suetonius:

In early youth he incurred the reproach of sundry shameless acts. Sextus Pompey taunted him with effeminacy; Mark Antony with having earned adoption by his uncle through unnatural relations; and Lucius, brother of Mark Antony, that after sacrificing his honour to Caesar he had given himself to Aulus Hirtius in Spain for three hundred thousand sesterces, and that he used to singe his legs with red-hot nutshells, to make the hair grow softer. What is more, one day when there were plays in the theatre, all the people took as directed against him and loudly applauded the following line, spoken on the stage and referring to a priest of the Mother of the Gods, as he beat his timbrel: "See'st how a wanton's finger sways the world?"

Suetonius Augustus 68

what a fun group of people!! they should all eat each other

[youryurigoddess]

On love and sacrifices

There’s so much more to this scapegoating business and big sacrifices referenced in the Good Omens narrative than the literal goats. And they’re only getting bigger, louder, final.

But let’s take it slow and start with the beginning, quite literally — i.e., with the Good Omens 2 title sequence. As we follow Aziraphale and Crowley on their journey, the universe warps and their usual left and right side positioning switches during the magic show (not accidentally an act of trust and sacrifice required both from the angel and the demon). They stay so throughout the next scene, which is their little dance in the air, and after they seemingly get settled on the A. Z. Fell and Co.’s roof and back to normal, the flipped sky in the background suggests that something’s not quite right yet. In the central part of the shot looms a large, humanlike shadow of the Elephant Trunk Nebula.

The nebula is a part of a constellation called Cepheus, after an Ethiopian king from the Greek mythology who agreed to sacrifice his only daughter in order to appease the gods and end a local calamity started by her mother and his wife, Cassiopeia (talk about generational responsibility). With time and a delightfully ironic twist of fate, the name of said daughter, Andromeda, became more famous than that of her father. Although she was chained up to a rock and offered to the sea serpent Cetus, the girl was spotted by the warrior Perseus, casually flying over the sea — either on the back of the Pegasus or thanks to a pair of winged sandals — after his victory over Medusa. He fell in love on the spot, defeated the serpent (with the help of a magical sword or Medusa’s severed head, depending on the varying sources), and freed the princess. That’s not exactly where their story ends, but we won’t be getting into the rest here.

Not surprisingly, Neil has mentioned two parallel child sacrifice stories from the biblical context back in August. The first is one of the big ones — The Binding of Isaac. God's command to sacrifice Isaac, his only son, was a test of Abraham's faith. The angel of the Lord intervenes and provides a ram to be sacrificed in the boy’s place.

The second one isn’t nearly as popular, but you might have heard a variant of it in fairy tales or as the Law of Surprise invoked in The Witcher saga. In exchange for Israel’s victory over its enemies in battle, Jephthah had rashly promised God to repay the debt with the first thing seen on his return back home. The victorious warrior didn’t suspect to see his only child moving innocently "to meet him with timbrels and with dances" though. In horror, Jephthah covered his eyes with his cloak, but to no avail: ultimately, he was forced to honor his vow to God, and the girl was sacrificed. As grisly as it might look like in the Old Master’s paintings, it’s important to remember that human sacrifices weren’t limited to physical offerings only — Jephthah’s daughter might have been offered to God in the sense of officially shunning her family and dedicating her life to service instead, probably sequestered in a temple somewhere.

Interestingly, the main character of a big chunk of the Bible and the reason for the Second Coming happens to be THE most influential child sacrifice in the modern history. You know, a certain 33-year-old carpenter sent by his Heavenly Father to die on a cross for the sins of the mankind? Someone better call Aubrey Thyme ASAP.

Circling back to Aziraphale, he could be also seen as a representative of the concept of filial piety, since Eden willing to personally take a Fall not only for the humanity’s collective or individual transgressions, but the shortcomings of his Ineffable Parental Figure as well. Our favorite angel angel always fights for what is right and good, sure, but why would that be even a thing if God was truly omniscient, omnipresent, and omnipotent?

If Aziraphale’s medal is anything to go by, it looks like we might get an answer from the way it’s introducing another mythological narrative into the game, that is the story of Daedalus and Icarus. The most absorbing thing about this is the stark contrast to the recurring child sacrifice references for S3 mentioned in this post — Daedalus isn’t a father who wanted to sacrifice his son, it was his attempt to save him from imprisonment that ultimately drove Icarus to his death. The boy ignored his father’s explicit instructions, committing the grave and culturally universal sin of disobedience to one's parents that simply couldn’t go unpunished, one way or another.

But Icarus’s transgression could be seen both as high-flying ambition and striving for personal accomplishment as well as humanitarian sacrifice for knowledge and humanity’s advancement in general.

Similarly to a certain angel who left everything for what superficially seems like a work promotion, but is the ultimate act of love — both for his demon and the children they have been protecting and nurturing together for six thousand years. From the very Beginning, his white wings have been shielding everything he holds dear in this world.

[walkswithmyfather]

Psalm‬ ‭150:1‭-‬6‬ ‭(NIV‬‬). “Praise the Lord. Praise God in his sanctuary; praise him in his mighty heavens. Praise him for his acts of power; praise him for his surpassing greatness. Praise him with the sounding of the trumpet, praise him with the harp and lyre, praise him with timbrel and dancing, praise him with the strings and pipe, praise him with the clash of cymbals, praise him with resounding cymbals. Let everything that has breath praise the Lord. Praise the Lord.”

“Everything That Has Breath Shall Praise”

“Make it your daily habit to look for the good things God gives and does.”

“The desire to give praise is hardwired in the human spirit—it’s an impulse we can’t ignore. And as Christians, we’re called to direct that tendency to the One who made us. The apostle Peter says it like this: “You are a chosen people, a royal priesthood, a holy nation, a people for God’s own possession, so that you may proclaim the excellencies of Him who has called you out of darkness into His marvelous light” (1 Peter 2:9).

It’s a beautiful truth that we are God’s own people—created, chosen, and called by Him to live a life of praise, both on our own and with other believers. In Psalm 34, David says, “I will bless the Lord at all times; His praise shall continually be in my mouth” (Psalm 34:1). However, he’s not content to be a solo act. He exhorts other believers to join him: “Exalt the Lord with me, and let’s exalt His name together” (Psalm 34:3).

So let’s praise Him at church on Sunday morning and on our front porches at sunset—when we start the workday and each evening as we lie down to rest. Also, let’s remember to praise Him not only for what He has done but also for the excellency of His character. God truly is worthy of our adoration!”

[denndrawings]

I will look for you as the sun rises high, when the dry bones dance with the timbrel and lyre

Finally finished this! It’s been a wHILE. So yeah everytime Ahsoka and Barris are in the same space in tcw I’m just !!! They should!!! Hold hands!!!

[aberration-abbey]

prev

All these space dragons are gonna need a place to stay. If only there was a giant mostly empty hotel nearby--oh wait, there is!

[ardenofthegarden]

🎵 i will look for you , as the sun rises high, when the dry bones dance, with the timbrel and lyre, there's a wind alive, in the valley, it will fill your lungs- if you'll have it? 🎵 - Thus Always To Tyrants, the oh hello's speedpaint:

[unbidden-yidden-deactivated20240]

Jewish Song of the Day #32: Miriam Haneviah

Comments:

Shavua tov! I hope you all had a nice, restful Shabbat and that its sweetness lasts you through the whole week.

I love this song, not just because it's Rabbi Deborah Sacks Mintz, but also because it's a feminist counterpart to Eliyahu Hanavi.

This is Rabbi Sacks Mintz's explanation:

In the 1980s, poet and liturgist Rabbi Leila Gal Berner composed a beautiful poetic midrash on one particular narrative moment we read in Exodus: Miriam’s role in leading the women of her community through the sea from the marginalization and oppression of slavery and into the unknown wilderness of freedom. An exploration of her beautiful poetry must begin with a framing of that very Exodus verse: וַתִּקַּח֩ מִרְיָ֨ם הַנְּבִיאָ֜ה אֲח֧וֹת אַהֲרֹ֛ן אֶת־הַתֹּ֖ף בְּיָדָ֑הּ וַתֵּצֶ֤אןָ כָֽל־הַנָּשִׁים֙ אַחֲרֶ֔יהָ בְּתֻפִּ֖ים וּבִמְחֹלֹֽת׃ “Then Miriam the prophetess, Aaron’s sister, took a timbrel in her hand, and all the women went out after her in dance with timbrels” (Exodus 15:20) Her curiosity with this verse, combined with a desire to see women prophets and leaders recognized more broadly in ritual moments, drove her to compose the poem we today know as Miriam HaNeviah. Written with a rhythmic cadence designed to match the traditional Eliyahu HaNavi melody, her hope was to raise Miriam up in the moment of havdalah. The lyrics to the poem itself highlight Miriam’s leadership as multi-faceted: strengthening the the world’s song through her dance, repairing the world through her song, and ultimately, bringing on the waters of redemption only with the partnership of the broader community. I was deeply inspired by Rabbi Berner, as well as one of my collaborative colleagues Rabbi Ariel Root Wolpe, to continue this process of creative midrash by adding to the story R’ Berner began. She wrote a new text to be sung to a traditional melody, and I wrote a new melody to be sung to that very text. R’ Wolpe herself writes feminist poetry exploring the role of Miriam and, through the context of our hevruta studying women ancestral leaders in prayer and song, unearthed this new melody from inside my own heart and soul. From a compositional standpoint, the chorus is the main event of this song. Reading “bimheira b’yameinu” - quickly, in our days - there is an urgency to the hope and prayer embedded in this poem for redemption, and thus the melody itself mirrors that urgency, ascending upwards on the word “bimheira.” Other compositional tactics I used regarding such manners of word-painting, include a dance-like groove underscoring each verse, in recognition of the repetition of the phrase “tirkod itanu - dance with us.” But by far the most essential creative component of this song is that it was recorded exclusively with women. My artistic team for this recording consisted of Rabbi Ariel Root Wolpe, who I mentioned above, as well as Chava Mirel and Elana Arian, two of my long time musical partners who themselves have dedicated their lives in service to the Jewish people through composing, performing, and leading new Jewish music around the world - as both ritual leaders and as women, wives, and mothers. We all felt a deep connection to the women who came before us - including Miriam, as well as the women rabbis and musicians who have influenced our work and lives since - and poured this inspiration into the project. The lush harmonies in this recording are designed to be representative of the voices of generations of women in prayer, song, and leadership.

And here are the lyrics:

מִרְיָם הַנְּבִיאָה עֹז וְזִמְרָה בְּיָדָהּ בִּמְהֵרָה בְיָמֵינוּ הִיא תְּבִיאֵנ אֶל מֵי הַיְשׁוּעָה מִרְיָם תִּרְקֹד אִתָּנוּ לְהַגְדִּיל זִמְרַת עוֹלָם מִרְיָם תִּרְקֹד אִתָּנוּ לְתַקֵּן אֶת-הָעוֹלָם בִּמְהֵרָה בְיָמֵינוּ הִיא תְּבִיאֵנוּ אֶל מֵי הַיְשׁוּעָה 𝑀𝑖𝑟𝑖𝑎𝑚 𝐻𝑎𝑁𝑒𝑣𝑖𝑎ℎ 𝑜𝑧 𝑣’𝑧𝑖𝑚𝑟𝑎 𝑏’𝑦𝑎𝑑𝑎ℎ (x2) 𝐵𝑖𝑚ℎ𝑒𝑖𝑟𝑎 𝑏’𝑦𝑎𝑚𝑒𝑖𝑛𝑢 ℎ𝑖 𝑡𝑒𝑣𝑖𝑒𝑖𝑛𝑢 𝑒𝑙 𝑚𝑒𝑖 ℎ𝑎𝑦𝑒𝑠ℎ𝑢𝑎 (x2) 𝑀𝑖𝑟𝑖𝑎𝑚, 𝑡𝑖𝑟𝑘𝑜𝑑 𝑖𝑡𝑎𝑛𝑢 𝑙’ℎ𝑎𝑔𝑑𝑖𝑙 𝑧𝑖𝑚𝑟𝑎𝑡 𝑜𝑙𝑎𝑚 𝑀𝑖𝑟𝑖𝑎𝑚, 𝑡𝑖𝑟𝑘𝑜𝑑 𝑖𝑡𝑎𝑛𝑢 𝑙’𝑡𝑎𝑘𝑒𝑖𝑛𝑛 𝑒𝑡 ℎ𝑎𝑜𝑙𝑎𝑚 𝐵𝑖𝑚ℎ𝑒𝑖𝑟𝑎 𝑏’𝑦𝑎𝑚𝑒𝑖𝑛𝑢 ℎ𝑖 𝑡𝑒𝑣𝑖𝑒𝑖𝑛𝑢 𝑒𝑙 𝑚𝑒𝑖 ℎ𝑎𝑦𝑒𝑠ℎ𝑢𝑎 (x2) Miriam, the prophetess strength and song are in her hands Soon, and in our time, she will bring us To the waters of redemption Miriam will dance with us to strengthen the world’s song Miriam will dance with us to heal the world Soon, and in our time, she will bring us To the waters of redemption

[Source: bandcamp]

[bestanimatedmovie]

Choose your favorite!

Vote in the other polls!

What fans say:

Beauty and the Beast:

This is the only animated film ever to be nominated for regular best-picture*. It literally is responsible for the creation of the best-animated-feature category. It was Howard Ashman’s last work and his biggest passion project, and I would argue that there’s a strong reading of the film as a metaphor about the stigma and shame of aides and Visual Queerness that Ashman was experiencing at the time. It’s also one of the best works of hand animation that’s ever been committed to film before or since. In the ballroom scene you can watch the dynamic camera angles they move through and the way that all those ruffles on Bell’s dress swirl so perfectly and naturally. That shit is so complicated, most animators wouldn’t even bother, but it was all hand-drawn(!!), cell-by-cell by James Baxter, yet another absolute titan of the industry that had his hands on this film.**

Soundtrack fucks and the animation pussy is poppin

*Mod note: it was the first but two others have been nominated since (Up and Toy Story 3)

**Mod note 2: I'm leaving the videos for next round, but because submitter wrote so much about the scene, I'll leave the link here

The Prince of Egypt:

First of all, don't let the fact that it's a religious film put you off, because there is SO much to love about it. Gorgeous animation? Check. Amazing soundtrack (composed by Hans Zimmer)? Check. Wonderful scene composition? Check. A compelling take on the classic religious story that does much to humanize and expound on the characters in a way that brings them to life? Check. Powerful scenes that will take your breath away and can be appreciated regardless of whether you're religious or not? Check. Dreamworks' passion project at the time with a lot of obvious effort and love poured into it through all stages of the production process? Check. The Prince of Egypt has done so much to rewire the brains of 2-3 generations of children who grew up in religious families, myself included, and damn it all if it doesn't go hard with it. Vote for the Prince of Egypt.

The animation is GORGEOUS! The music is FANTASTIC! It makes you want to CRY!

The first time I watched it, the opening theme was playing ("Deliver Us") and I realized it was the first time I'd ever heard my culture's music in a major film. Also, the animation is simply beautiful.

It's a thoughtful adaptation of one of mankind's oldest stories. The music slaps.

The music? The script? The animation? Everything? How they blended the 2D and the CGI, how they animated the water and fire, the songs, the 3D sequence where Moses becomes a hieroglyphic carving on the wall, the imagery matching the gods invoked in "Playing with the big boys" sequence, the last plague being animated as mist that gets bigger the more lives it takes, how they managed to make the featureless desert SO pretty, the parting of the red sea animation that took 2 years to make (and looks amazing!), how it's a very respectful adaptation of (the first part of) the book of Exodus, how they managed to have ALL the people consulted for its religious importance agreed on at least one thing (Moses saving a random person rather than Miriam), Tzipporah (all of her), how Miriam has her timbrel on her last scene (and it's even Miriam's song playing!), how they researched how blood was slathered on the doorposts (hyssop) and how the script on the tablets for the 10 commandments would look, how it doesn't shy away from the blood and death. That part on the bridge of When you believe where the children start singing in Hebrew (Mi chamocha)? 11/10, no notes, fantastic, amazing, showstopper!

It's the only religious movie I've ever enjoyed. The creators consulted with multiple leaders of different religions to make sure it was as accurate and representative as possible

It's a well knwon classic that tells the story of the Exodus without being fucking boring and has legendary songs. Literally it's the Prince of Egypt. My favorite scene is the one where he parts the sea obv

The perfect storytelling structure, the voice acting, how you can tell what a character is thinking by their facial expressions alone (not everything must be said aloud), how very much HUMAN each character is, the use of color and lighting, the music and incredible lyrics, the style of animation...favorite scene impossible to choose! Yocheved's lullaby when she sets him adrift in a basket? When Moses meets Miriam again as adults, and she sings the lullaby, the same lullaby he always hums, triggering his memories and causing him to remember? The song Through Heaven's Eyes as he fits in with Tzipporah's people and falls in love with her? The PLAGUES?! Btw. This is based on the Exodus story with artistic liberation used to stay true to the message, but you can be of any faith (or lack of faith; I myself am agnostic) to enjoy the movie. In the end, it is simply a compelling ans human story.

That opening, god the song “deliver us” goes so hard it immediately hooked me. The scene of crossing the red sea is universally loved and iconic because of how beautiful it is but the rest of the movie goes so hard too, especially with the wall paintings depicting children being killed like.

I love the scene with the plagues song

Oh my god it's such a gorgeous film and a wonderful retelling oh my god and the music is also amazing

Banger music. Banger animation. Jewish. What can't she do? I feel so strongly about this.

Combined 2D animation with early 3D animation beautifully, and has an amazing soundtrack. Also the Plagues song slaps.

[fly-sky-high-bug-games]

DAY 18: OFFSPRING

Let me die, let me drown, lay my bones in the ground I will still come around when the time for sleep is through Over hill, over dale, through the valley and vale Do not weep, do not wail, I am coming home to you

Every tomb, every sea, spit the bones from your teeth Let the ransomed be free as the revel meets the day Let the valleys awake, let them rattle and shake In the wind that remakes all that time has worn away

To and fro, I will not follow Where you go, I will not also

I will look for you as the sun rises higher When the dry bones dance with the timbrel and lyre There's a wind alive in the valley It will fill your lungs, if you'll have it

Where I go, will you still follow? Will you leave your shaded hollow? Will you greet the daylight looming? Learn to love without consuming?

[hooked-on-elvis]

"Long Legged Girl (With the Short Dress On)" (1966-1967)

Recorded on June 29, 1966 at MGM Soundstage, Hollywood · Released as Single on April, 1967 and on the Soundtrack album Double Trouble on June, 1967.

MUSICIANS Guitar: Scotty Moore, Tiny Timbrell. Harmonica & Guitar: Charlie McCoy. Bass: Bob Moore. Drums: D.J. Fontana, Buddy Harman. Piano: Floyd Cramer. Steel Guitar: Pete Drake. Saxophone: Boots Randolph. Trombone: Richard Noel. Vocals: The Jordanaires. OVERDUBS, Guitar: Mike Deasy. Bass: Jerry Scheff. Drums: Toxey Sewell. Saxophone: Michael Henderson, Butch Parker.

Elvis as Guy Lambert in Double Trouble (1967).

RECORDING SESSION Soundtrack Sessions for MGM’s Double Trouble June 28-29, 1966 (7PM–12AM; 1–3AM): Radio Recorders and MGM Studios Recording Stage, Hollywood. Ever since the frustrating exercise of making the music for his first two movies, Love Me Tender and Loving You, Elvis had insisted on doing his soundtrack recording in a regular studio setting, not on a large, impersonal sound stage where he felt he couldn’t perform at his best. Disgusted with yet another round of lackluster material provided by his own publishing companies, Elvis showed up late at Radio Recorders for the Double Trouble sessions; but this time the result was that MGM studio executives moved the next night’s sessions to their own sound stage, saving money for themselves and for the film’s eventual bottom line (in which Elvis and the Colonel too had a share). Elvis had long since learned from Colonel Tom to be mindful of his obligations, and he raised no explicit objections—but he could not have been pleased when he heard the sound of the recordings they were making. The soundstage had all the presence of a giant tin can. Poor miking and generally sloppy engineering produced a sound that might have worked for mono cinema playback, but scarcely for the work of a major recording artist. (...) The session concluded with the rerecording of a single with a title as long as the song was short — “Long Legged Girl (With A Short Dress On),” which ran, mercifully, for one minute, twenty-seven seconds. Excerpt: "Elvis Presley, A Life in Music: The Complete Recording Sessions" by Ernst Jorgensen. Foreword by Peter Guralnick (1998)

RELEASE On April 28, 1967 "Long Legged Girl (With the Short Dress On)" was released as A-Side Single (backed with "That’s Someone You Never Forget", which had originally appeared on 1962’s Pot Luck; ref. 47-9115) by Elvis Presley with the Jordanaires. A couple of months later, in June 1967, it came out on the Soundtrack album Double Trouble (ref. RD-7892).

LYRICS — "Long Legged Girl (With the Short Dress On)" Songwriters: John Leslie McFarland/Winfield Scott All right I've been thumbing rides, travelling light Walking streets 'til past midnight Tramping roads, trails, and lanes Scaling cliffs, fields, and plains Searching 'til the early dawn For that long-legged girl with the short dress on Riding trucks, bikes, and skis Sailing lakes and brooks and seas Driving wagons, cars, and jeeps Walking stilts in ten foot leaps Searching 'til the early dawn For that long-legged girl with the short dress on And everywhere I go, she's been and gone She's fine (she's fine) It's just too bad she's the travelling kind So fine (so fine) I just can't rest 'til I make her mine I've been from Maine to Tennessee Mexico and Waikiki Rain or shine, sleet or snow Searching high, then I'm searching low Everything depends upon For that long-legged girl with the short dress on She's fine (she's fine) It's just too bad she's the travelling kind So fine (so fine) I just can't rest 'til I make her mine Well, I've been from Maine to Tennessee Mexico and Waikiki Rain or shine, sleet or snow I'm searching high, well, I'm searching low 'Cause everything depends upon For that long-legged girl with the short dress on The long-legged girl with the short dress on

Elvis performing "Long Legged Girl (With The Short Dress On) in scene from Double Trouble (1967).