#wess dance

[zaptap]

kuwessu

[maidensflowergarden]

Tried animating a more complicated scene from MOTHER 3 N64 / Earthbound 64, this time being the Wess Dance at Osohe Castle

[gingiesworld]

Hello, how are you doing? I was thinking about a fluff one? Like, Lizzie having a child, four or five years old(she can be a single mom), and she met yn, he works as a choreographer and he was hired to teach Lizzie and the others what they have to do in the movie(you decide which one) and they get close and they get together not long after that. So when Lizzie wanted yn to meet her child, she was scared because her child is so shy and doesn't like to meet new people but when they met the two of them felt a connection when they started to talk about some movies. Maybe a time lapse happening and yn being the father that Lizzie always wanted for her child.

Elizabeth Olsen x M! Reader

Warnings: None but fluff. Maybe some suggestive talk

18+ MINORS DNI

Dancing Around

Lizzie was known for her roles in the MCU, her Facebook series and latest was HBO's Love and Death. Now she was starring in a new Romantic movie, escpecially with their being a dance scene.

"Ok, we have brought in a choreographer for the two of you." The director told them both as he entered the studio with a tall man behind him. "I know you have a background in dance Elizabeth, but this is essential for the movie since Y/N here choreographed the sequence." Lizzie just nodded as Y/N smiled at her and her co star. "We also have Janette here to help you Mike." He introduced the woman who was stood beside Y/N. "So please dance. We will be shooting the scene in two weeks."

As he left, Y/N had approached Lizzie with a gentle smile, holding his hand out for her to shake.

"Hi, I'm Y/N Y/L/N." He smiled at her. "I will be your dance partner for two weeks."

"I know." She smirked. "They just introduced you." She spoke referring to the director.

"Well, shall we?" They asked her as she nodded with a shy smile. The two started with the basic steps of the routine. Lizzie couldn't help the smile that etched onto her face as she had his hands on her. The butterflies in her stomach going wild as the two continued before they decided to take a small break.

"So, tell me about yourself?" Lizzie asked him as he smiled.

"Well, I am a choreographer and also I teach dance in a small studio." He told her. "It's just something that I have always loved to do."

"It makes you feel free." Lizzie stated as Y/N nodded in agreement.

"It does. It was my escape, ever since I watched Billy Elliot when I was a kid." He confessed as she smiled at him.

"I used to do ballet when I was younger." Lizzie told him as he smiled at her.

"That explains how you're a natural." He smiled as she blushed. That was how their friendship had started, even when she had to bring her 4 year old son with her to the rehearsals.

"I'm so sorry I'm late." Lizzie rushed out as she held a small boy in her arms. "His father couldn't take him this weekend and I couldn't find a sitter on such short notice."

"That's ok." Y/N smiled at her. "How about we rehearse for an hour and take this one to the arcade? Would you like that?"

"Wess." The boy nodded excitedly. "I'm Logan." He smiled up at Y/N who knelt down to his level.

"Hi Logan, I'm Y/N. Do you mind just sitting over on that chair near the big mirror while your mom and I rehearse?" Y/N asked him softly as Logan nodded and made his way over to where Y/N had directed him.

"You don't have to take him to the arcade." Lizzie spoke quietly as Y/N shook his head.

"I don't mind Lizzie." Y/N smiled as the two got into position. "Besides, it makes him happy and I get to spend more time with you."

"Thank you." Lizzie smiled softly as they moved around the studio.

"You don't need to thank me." Y/N smiled at her. That was just the start of Lizzie falling for the man in front of her. Especially when he didn't object to Logan taking his hand and dragging him to the games he wanted to play. Soon ending up in the car with McDonalds as Y/N drove the two of them home. "I'll pick you up tomorrow so you can get your car from the studio." Y/N told Lizzie who smiled before she noticed the boy in his seat asleep.

"Thank you for today." Lizzie told him. "Logan has really enjoyed it. I haven't seen him smile this much since the divorce."

"I enjoyed myself Lizzie." He told her softly. "Do you want me to help you carry him inside?" Lizzie nodded as the two got out of the car quietly. Lizzie grabbed their bags as Y/N grabbed a sleeping Logan. Following Lizzie to his room and laying him in bed, tucking him in after taking off his shoes. "I'll see you tomorrow." He told Lizzie who just kissed his cheek.

As the months went on and rehearsals had finished, both Lizzie and Y/N remained in touch with each other. Enjoying little dates at the park and the arcade with a very happy Logan.

Lizzie was shocked to see Y/N knock on her door on a night that Logan was at his father's. Even more surprised when Y/N kissed her softly.

"I have wanted to do that for so long." He whispered when he rested his forehead on hers. Without another word, Lizzie grabbed him by the collar and dragged him in side with her lips on his in a needy kiss.

That was the start of their blossoming love. Even whenever Robbie cancelled on Logan, Y/N was always there to make sure he had one hell of a weekend. Taking him to baseball games with Lizzie, the fair, the beach, even spending hours at the arcade with him until he was tired. All of this made Lizzie fall more and more in love with him.

"I love you." Lizzie confessed as Y/N left Logan's room. A wide smile on her face. "Fuck, I love you so much Y/N." She lunged forward and kissed him passionately.

"I love you Elizabeth." He spoke tenderly as he caressed her cheek, gazing into her green eyes. "Being here with you and Logan makes me so fucking happy and I never really want to leave."

"Then don't leave." She whispered as he looked at her with a smile. "Move in with me. With us. It makes perfect sense. Logan loves having you here and so do I. I feel safe with you here."

"Ok." He nodded as he kissed her head. "I'll sort out my lease on monday." He told her softly as the two made their way downstairs.

After months of Y/N living with Lizzie and Logan, the three of them fell into an easy routine. Y/N helped a lot with repairs that needed to be done, he even taught Logan a lot of things over the years. Becoming the father that Robbie ceased to be.

[zekkopunks]

I’ve never drawn old porky until now oops

+ heres: the masked man wess dance video

[x-heesy]

🅢🅦🅐🅖 🅐🅣🅣🅐🅒🅚 🦄

Yeah, uh

Uh, uh (Got the beat by Powers and we just made a banger)

Uh, yeah, uh, yeah

Pull up with the grr, pow, onomatopoeia

Hopping out the Burban, big body like Madea

Put some holes in him, now he spotted like a cheetah

How the fuck you living? Good, I wouldn't wanna be ya

I'm with your bitch and her back arched like Tina

Look to the back at you boys, you can't keep up

Bulletproof vest, looking like I'm Vegeta

Quickdraw from my hip, make him dance like Shakira, uh

Spot him outside, hold up, skrrt, hit the brakes, uh

Call him Might Guy, send his ass to the gates, uh

Y'all so pussy to the bone, need a spay, uh

Beat him up, boots to the face, uh

"Kxll, why you tripping like that? I don't like you"

Love how my foes get to bolting like a Raichu

Said he wanna get close to God, I could guide you

Money stacked up like the letters in a haiku (Yeah)

D-Dirty little bastard, yeah bitch, I'm rancid

I keep a Glock by my dick where my pants sit

He acting odd, like Cosmo, he vanish

Run up, see this shit ain't here just to brandish

Lay him down, on top his casket, I'm prancing

Stretching these bands like my money elastic

Sex, money, violence, revenge, what I practice

He disrespect, that's a suicide tactic

Uh, I just send a text, she get wet, okay, cool, uh

Say that boy feel vexed, Smith & Wess' correct moods, uh

Insert when erect, pierce cervix, she get skewed, uh

Bullets on Rize, eat your flesh, Tokyo Ghoul (Uh, yeah)

Pull up with the grr, pow, onomatopoeia

Hopping out the Burban, big body like Madea

Put some holes in him, now he spotted like a cheetah

How the fuck you living? Good, I wouldn't wanna be ya

I'm with your bitch and her back arched like Tina

Look to the back at you boys, you can't keep up

Bulletproof vest, looking like I'm Vegeta

Quickdraw from my hip, make him dance like Shakira, uh, yeah @bethanythestrange @luna---zylum @bigbonzo @boanerges20 @seanisnothing

COSMO by Kxllswxtch, Powers Pleasant

[jpbjazz]

LÉGENDES DU JAZZ

FRANK FOSTER, DE COUNT BASIE AU BEBOP

“I’m a hard bopper. Once a hard bopper, always a hard bopper.”

- Frank Foster

Né le 23 septembre 1928 à Cincinnati, en Ohio, Frank Benjamin Foster III était le fils d’un employé du Service des postes et d’une travailleuse sociale. Après avoir d’abord appris le piano, Foster était passé à la clarinette à l’âge de onze ans avant d’adopter le saxophone alto deux ans plus tard. À l’âge de quatorze ans, Foster s’était produit avec un groupe local appelé Jack Jackson and his Jumping Jacks avant de former son propre big band de douze musiciens dans le cadre de ses études au high school. Foster poursuivait toujours ses études secondaires lorsqu’il avait commencé à écrire des arrangements en autodidacte.

Déterminé à étudier sérieusement la musique, Foster avait tenté de se faire admettre au Oberlin College et au Cincinnati Conservatory of Music, mais sa candidature avait été rejetée en raison de sa couleur. Foster s’était alors inscrit à la Wilberforce University, une institution exclusivement réservés aux Noirs basée en Ohio. Ironiquement, Foster avait obtenu sa revanche des décennies plus tard lorsque le conservatoire de Cincinnati l’avait honoré lorsqu’il s’était produit avec un groupe d’étudiants de l’institution en 1987.

Durant son séjour à Wilberforce, Foster avait commencé à jouer comme soliste et arrangeur avec le groupe de danse de l’université, les Collegians. En 1947, le groupe avait remporté le Negro College Dance Band Poll, un sondage annuel qui était commandité par le Courier de Pittsburgh. Grâce à leur victoire, les Collegians s’étaient mérités un engagement d’une semaine au prestigieux Ballroom de Harlem, ainsi qu’une apparition à Carnegie Hall. Après avoir adopté le saxophone ténor, Foster avait finalement quitté l’université Wilberforce en 1949 sans avoir obtenu son diplôme pour aller jouer à Detroit durant six semaines avec le trompettiste Snooky Young.

DÉBUTS DE CARRIÈRE

Par la suite, Foster avait obtenu un contrat au célèbre club Blue Bird et dans d’autres clubs du centre-ville, où il avait accompagné des musiciens de passage comme le saxophoniste ténor Wardell Gray, qui avait été une de ses premières influences avec Sonny Stitt.

Mobilisé par l’armée en mars 1951 dans le cadre de la guerre de Corée, Foster avait été membre de la 7e Division d’Infanterie et avait subi son entraînement près de San Francisco, ce qui lui avait permis de participer à des jam sessions tous les soirs au club Jimbo's Bop City. Durant la guerre, Foster avait également combattu aux côtés de Shawn ‘Thunder’ Wallace, qui était devenu plus tard un ses plus proches collaborateurs. Démobilisé en mai 1953, Foster avait continué de se produire avec différents groupes de l’armée. Il avait aussi accompagné Charlie Parker au célèbre club Birdland avant de remplacer Eddie ‘’Lockjaw’’ Davis dans le big band de Count Basie sur la recommandation d’Ernie Wilkins.

À l’époque, Basie avait adopté depuis longtemps le concept de ‘’batailles des ténors’’, une formule qui avait été lancée par Herschel Evans et Lester Young dans les années 1930. Basie n’était donc que trop heureux de mettre en scène Frank Wess et Foster un contre l’autre. Le style agressif de Foster était d’ailleurs le parfait complément du jeu de Wess qui était principalement basé sur les ballades. La collaboration de Foster et de Wess avait éventuellement été immortalisée dans le cadre de la pièce ‘’Two Franks’’ composée par Neal Hefti.

En raison de son approche très moderne, Foster avait rapidement attiré l’attention pour sa technique irréprochable et son jeu énergique. Basie avait particulièrement apprécié les talents d’arrangeur de Foster. Comme Foster l’avait déclaré plus tard dans le cadre d’une entrevue accordée au journaliste Steve Voce, "Count would accept anything that swung and was simple." Foster, qui avait écrit plusieurs arrangements pour l’orchestre, les composait habituellement dans l’autobus du groupe ou dans les hôtels. Parmi les plus grands succès que Foster avait composés pour Basie, on remarquait ‘’Shiny Stockings’’, ‘’All Right’’, ‘’OK, You Win’’ (écrite pour le chanteur Joe Williams), ‘’Blues in Hoss' Flat’’, Back to the Apple", "Discommotion", ‘’Down for the Count’’ et ‘’Blues Backstage.’’ Il avait également écrit tous les arrangemements de l’album ‘’Easin' It’’ (1962). Les compositions et les arrangements de Foster avaient d’ailleurs joué un grand rôle dans la renaissance de l’orchestre de Basie à la fin des années 1950. Enregistrée sur l’album ‘’April in Paris’’ en 1955, la pièce “Shiny Stockings,” était éventuellement devenue le thème musical de l’orchestre et un standard du jazz. En fait, la pièce était devenue si populaire qu’on y avait ajouté des paroles à deux reprises, l’une pour la version d’Ella Fitzgerald, et la seconde pour celle de Jon Hendricks. Décrivant les circonstances de la composition de la chanson, Foster avait précisé:

"I wrote `Shiny Stockings' in 1955, We had a rehearsal at a place called Pep's Bar in Philadelphia. We had just arrived in town. Everybody was sleepy, tired, hungry, and evil. Nobody felt like rehearsing. We rehearsed `Shiny Stockings' and it sounded like a bunch of jumbled notes, just noise, and I said, `Wow, all the work I put into this, and it sounds so horrible. I know Basie will never play it.' And then something very strange happened. He continued to play and it came together. Finally, we recorded it and, well, it's the very best known piece that I have contributed to the Basie book.”

Parallèlement à sa collaboration avec Basie, Foster avait également enregistré sous son propre nom et participé à l’enregistrement de plusieurs albums de hard bop avec des musiciens comme Thelonious Monk, Kenny Burrell et Milt Jackson. Foster avait finalement quitté l’orchestre de Basie à l’été 1964 pour se consacrer à sa carrière d’accompagnateur, notamment en enregistrant avec des chanteurs et chanteuses comme Frank Sinatra et Sarah Vaughan.

Impatient de contribuer aux nouveaux courants du jazz, Foster avait formé un certain nombre de groupes ponctuels, dont le Loud Minority Big Band, tout en continuant de se produire avec groupes de New York. En 1968, Foster avait enregistré un de ses meilleurs albums en carrière. Intitulé ‘’Manhattan Fever’’,  l’album avait été publié sur étiquette Blue Note.

De 1970 à 1972, avait travaillé sur une base régulière avec les groupes du batteur Elvin Jones (qui était un des cousins de sa seconde épouse Cecilia) qu’il avait retrouvé sur une base intermittente par la suite. En 1977, Jones avait d’ailleurs collaboré à un album du Loud Minority Big Band intitulé “Well Water’’ qui comprenait une version de la pièce ‘’Simone’’ de Count Basie.

Au cours de la même décennie, Foster avait également joué avec George Coleman et Joe Farrell. De 1972 à 1975, Foster avait aussi collaboré avec le big band de Thad Jones et Mel Lewis.

Foster avait amorcé sa carrière d’enseignant comme artiste en résidence au New England Conservatory of Music de Boston en 1971. La même année, Foster avait occupé un poste de consultant dans le réseau d’écoles publiques de New York, plus particulièrement dans le District no 5 de Harlem, comme membre d���une équipe de six musiciens professionnels engagés dans le cadre d’un programme du gouvernement fédéral intitulé Cultural Enrichment Through Music, Dance, and Song. De 1972 à 1976, Foster avait été assistant-professeur à temps plein dans le programme Black Studies de la State University de New York à Buffalo (SUNY). Il avait aussi enseigné à Queens College.

DERNIÈRES ANNÉES

Habitué des festivals européens, Foster avait fait une apparition au festival Capital Jazz de Knebworth, en Angleterre, en 1982. Foster continuait d’enseigner et de se produire sur scène lorsqu’il avait reçu un appel de Basie l’invitant à revenir jouer avec l’orchestre. Après la mort de Basie en 1984, le trompettiste Thad Jones avait pris sa relève à la direction de l’orchestre. Après que Jones soit tombé malade à son tour en juin 1986, Foster avait pris sa succession jusqu’en 1995. Après avoir pris la direction de l’orchestre, Foster avait renouvelé le répertoire du groupe tout en conservant quelques vieux classiques. Même si certains vieux vétérans s’étaient montrés réfractaires à la modernisation du répertoire du groupe, le jeune trompettiste Byron Stripling avait apprécié le sens du leadership de Foster. Lorsque le groupe avait été engagé par le chanteur Tony Bennett pour enregistrer l’album “A Swingin’ Christmas’’ en 2008, c’est également Foster qui avait fait office d’arrangeur.

Après avoir quitté le groupe de Basie en 1995, Foster avait repris la direction de trois des groupes qu’il avait fondé des années avant d’avoir pris la direction de l’orchestre: The Non-Electric Company (un quartet qui se transformait parfois en quintet), Swing Plus (un ensemble de douze musiciens), et The Loud Minority Big Band (un orchestre de dix-huit musiciens). Foster avait aussi dirigé le groupe Living Color. En 1983, Foster avait également co-dirigé un quintet avec son vieux compère du big band de Count Basie, le saxophoniste Frank Wess. Il avait aussi participé à une tournée en Europe avec le quintet de Jimmy Smith en 1985.

Au cours de cette période, Foster avait également continué d’enregistrer des albums importants comme ‘’The Legend, the Legacy’’ (1989), qui comprenait la Remembrance Suite de Count Basie.

Retourné à son rôle d’arrangeur, Foster avait publié trois livres comprenant ses principaux arrangements. Foster s’était mérité de nombreux honneurs au cours de sa carrière, dont deux prix Grammy pour sa collaboration avec l’orchestre de Count Basie (le premier pour un arrangement de la composition de Diane Schuur "Deedles' Blues" en 1987, et le second pour son arrangement de la composition de George Benson "Basie's Bag" en 1990). Foster aussi été mis en nomination pour deux autres prix Grammy: d’abord pour son arrangement pour big band de la composition de Charles Trenet ‘’Beyond the Sea’’ (La Mer), puis pour un album avec le saxophoniste Frank West intitulé Frankly Speaking (1985). Foster a également été élu ‘’Jazz Master’’ par la National Endowment for the Arts en 2002. Foster avait reçu son prix en lisant la déclaration suivante:

"Although jazz has been officially declared a national treasure in recent years, far too few of its representative artists ever receive sufficient acknowledgement in the mass media.  In view of this unfortunate reality, it’s quite fitting and honorable that a prestigious entity such as the National Endowment for the Arts recognizes the artistic, aesthetic and spiritual value of this home-grown music through the American Jazz Masters Fellowship. Therefore, it is with extreme happiness and gratitude that I accept the fellowship award for the year 2002."

En 1987, Foster avait aussi été récipiendaire d’un doctorat honorifique de son alma mater, la Central State Université de Wilberforce en Ohio.

En plus d’avoir écrit des arrangements pour ses propres groupes, Foster avait également reçu plusieurs commandes. En 1980, il avait même composé une suite de jazz pour les Jeux Olympiques d’hiver de Lake Placid intitulée ‘’Lake Placid Suite.’’ La Harpers Ferry Historical Association of West Virginia l’avait aussi chargé de composer une suite de jazz d’une durée de dix à quinze minutes pour commémorer le célèbre raid de l’antiesclavagiste John Brown à Harpers Ferry. La suite a été interprétée par l’orchestre de Count Basie à Harpers Ferry en août 2006. Le Jazz at Lincoln Center avait également mandaté Foster pour composer et arranger de la musique pour le Lincoln Center Jazz Orchestra, dans le cadre de performances dirigées par le trompettiste Wynton Marsalis du 13 au 15 mars 2008. Foster avait aussi écrit les paroles, la musique et les orchestrations des chansons ‘’I Love You (Based on Your Availability)" et "Romance Without Substance Is a Nuisance", qui avaient été interprétées par les chanteurs et chanteuses Dennis Rowland et Marlena Shaw. Le 20 mars 2009, le Chicago Jazz Ensemble, sous la direction du trompettiste Jon Faddis, avait également interprété une suite en trois parties de Foster intitulée "Chi-Town Is My Town and My Town's No Shy Town" au Harris Theater de Chicago.

Foster avait aussi composé des oeuvres pour le Carnegie Hall Jazz Ensemble, le Detroit Civic Symphony Orchestra, le Ithaca College Jazz Ensemble, la Jazzmobile Corporation of New York City, le Lincoln Center Jazz Orchestra, le Malaysia Symphony Orchestra, le Metropole Orchestra of Hilversum et le Thad Jones/Mel Lewis Orchestra. En 1983, Dizzy Gillespie avait personnellement chargé Foster d’orchestrer sa célèbre composition "Con Alma" en vue d’une performance et d’un enregistrement avec le London Philharmonic Orchestra qui était alors dirigé par Robert Farnon.

Très impliqué socialement, Foster était très actif dans la Jazz Foundation of America, une organisation venant en aide aux musiciens dans le besoin, et plus particulièrement aux victimes de l’ouragan Katrina en 2005. Grâce au soutien de la Fondation, Foster avait d’ailleurs participé à un concert-bénéfice pour venir en aide aux victimes en 2008. Foster avait d’ailleurs fait don de son saxophone à la Fondation en vue que celui-ci soit mis aux enchères. Les profits de la vente ont éventuellement permis de supporter financièrement plusieurs programmes à but non lucratif de la Fondation, plus particulièrement dans le cadre de performances et de programmes éducatifs destinés aux victimes de l’ouragan Katrina à La Nouvelle-Orléans et dans le Golfe.

Victime d’une attaque en 2001, Foster avait été partiellement paralysé du côté gauche, ce qui l’avait forcé à cesser de jouer du saxophone. Après avoir continué de diriger le groupe Loud Minority dans le cadre de quelques engagements durant la majeure partie des années 2000, Foster avait confié la direction de la formation au vétéran Cecil Bridgewater. Même s’il ne pouvait plus jouer de saxophone, Foster avait continué de composer et d’écrire des arrangements à sa résidence de Chesapeake, en Virginie, où il habitait avec son épouse Cecilia Foster depuis près de quarante-cinq ans.

Frank Foster est mort d’insuffisance rénale à sa résidence de Chesapeake le 26 juillet 2011. Il était âgé de quatre-vingt-deux ans. Deux ans avant sa mort en 2009, Foster avait légué ses nombreuses compositions, arrangements et documents personnel au département des archives jazz de l’Université Duke afin qu’elles soient rendues accessibles aux générations futures.

Énormément apprécié par ses pairs musiciens, Foster était reconnu pour son style énergique ainsi que pour son tempérament sociable. Il laissait dans le deuil sa seconde épouse Cecilia (qui était également sa gérante), sa fille Andrea Jardis Innis et son fils Frank IV. Foster avait également deux fils de son premier mariage,  Anthony et Donald, ainsi que six petits-enfants.

Même si Foster était surtout connu pour sa participation à l’orchestre de Count Basie, il était beaucoup plus un musicien bop qu’un musicien de swing. Comme Foster l’avait déclaré lors d’une entrevue accordée dans le cadre d’un  programme d’histoire orale de la Smithsonian Institution en 1998, “I’m a hard bopper. Once a hard bopper, always a hard bopper.” Au cours de sa carrière, Foster avait enregistré plusieurs albums comme leader, dont ‘’Here Comes Frank Foster’’ (1954), ‘’Two Franks Please!’’ (1957), ‘’Fearless Frank Foster’’ (1965), ‘’Manhattan Fever’’ (1968), ‘’Shiny Stockings’’ (1987), ‘’Frankly Speaking’’ (1995) et ‘’Swing’’ (1998).

©-2024, tous droits réservés, Les Productions de l’Imaginaire historique

SOURCES:

CHINEN, Nate. ‘’ Frank Foster, Jazz Saxophonist, Composer and Arranger, Dies at 82.’’ New York Times, 26 juillet 2011.

‘’Frank Foster.’’ All About Jazz, 2024.

‘’Frank Foster.’’ Wikipedia, 2024.

‘’Frank Foster.’’ National Endowment for the Arts, 2024.

VACHER, Peter. ‘’Frank Foster obituary. Composer, arranger and sax player with the Count Basie orchestra.’’ The Guardian, 22 août 2011.

[soulsanitarium]

Indonesia 🇮🇩 The Snake Queen (1982) Nyi Blorong dir. Putra

🌋 The Indonesian island of Java is almost entirely of volcanic origin, and contains numerous volcanoes, 45 of which are considered active volcanoes.

🐲No wonder the underground world was believed to be full of dragons and gods. Indonesia covers 300 different ethnic cultures in 17 000 islands (!) Such a rich culture. In Indonesia, all the mythology can be about Deities and Demons in common.

🎭Before the actress Suzzanna Martha Frederika van Osch was seen on the screen playing the demon goddess Nyi Blorong, many of these characters had only vague descriptions. These mythological characters queen & Blorong are from the Java and some smaller islands. The Queen Nyai Roro Kidul is a patron of fishermen, often described with a fish tail.🧜‍♀️

🐍According to (Wessing 2007) queen is not Blorong’s mother like in the film. Blorong was born from a snake’s egg and she can also completely turn into a snake. In the film the characters of the queen and the demon are also mixed together.

Photo: Indonesian Goddess statuettes with fish & snake tail

Photos: Indonesian fashion model & Nyi Blorong TV adaptation

Demon Blorong uses people mainly for her palace, not for sex like in the movie, sexuality is the queens quality. Queen of the sea is like a mermaid. The best way to be captured in the kingdom of the sea is to dress in green like she does.💚

✂️Better copy was censored, but the dubbed version was bad in quality. Funny&campy but I think this was very interesting search…⭐️⭐️⭐️ ⭐️

🎧 Listen Indonesian Gamelan music and watch dancing from video below.

I would also recommend Suzzanna’s other film:

The Queen of Black Magic (1981, remake 2019) is another Indonesian horror classic with elements of witchcraft. A woman is accused of being a witch and thrown to her death over a cliff. A man rescues her, nurses her back to health, and is told that she must master black magic in order to exact vengeance.

[squidlykitten]

No. 6: “Do or die, you’ll never make me; Because the world will never take my heart.”

Recording | Made to Watch | **“It should have been me.”**

Kajj walked silently beside the Speaker’s procession, one hand lingering upon the trolley that carried the body down the hall, wheels clacking rhythmically against the tiles as they moved.  Grim faces ringed the trolly, familiar and clad in the traditional Motherguard orange -- Members of the Speaker’s warren, along with Mechanic Wess and Treasurer Kahna.  A sizable cohort and yet… their numbers were fewer than what they should have been.  Thinner.  He could see the mental calculus as they all looked at one another over their silent charge, could see the recognition in their eyes. The truth that none of them were willing to say. 

A pair of Caretakers were waiting for them at the end of the hall, white robes pristine and crisp, arms out and palms up in supplication and welcome as they prepared to accept their charge.  Kajj let his gaze linger on the figure on the right… he recognized this one.  The Hatchmaster himself,  Elder Hiir.  An honor. 

A hollow honor, but an honor all the same. 

The Motherguard fanned out as the Caretakers took control of the trolley, the quiet hum of sorrow rising up from their chests, the Motherguard’s voices joining in with theirs.  Kajj closed his burning eyes as he added his own song to the chorus, his rich baritone clear above the others as the Caretakers rolled the Speaker towards the middle of the room, beneath a gleaming silver machine that hung from the ceiling.  It was richly decorated and engraved, glittering with jewels that reflected a rainbow of dancing lights throughout the chamber but Kajj still saw it for what it was -- the true final death, waiting for every vincam. The Uploader.  The Way Home. 

*~Dearest hatch-mate, we now bring you to rest~* the chorus sang, watching as the Caretakers reached for the silver machine, pulling it down towards the trolley with a quiet click.  *~We bring you here, to this place of sweet endings.~* Kajj forced his eyes to open, forced himself to watch as the Caretakers pulled back the Speaker’s orange silk shroud, revealing the face of his friend, pale and still.  Calix.  

He spoke the name within his mind, that private bit of self the Speaker had shared with him so many years ago.  Calix, lover of animals, lover of tea.  Calix, with eyes as blue as yaila flowers, chitin a dusky sage green.  Calix… *~Hatch-mate, you have traveled far, now you are returning.  Home’s arms are open wide, warm and safe and yearning.~” The Caretakers rolled the speaker gently onto her side, freeing her cable from its hidden port on the back of her head.  Elder Hiir hooked her into the machine and then lowered it fully down from the ceiling, the Speaker’s face and torso disappearing beneath a shroud of jeweled silver. 

Kajj slipped one hand into his robe’s pocket, his fingers finding the small carved figure that rested there.  Once, it had rested inside of Calix’s quarters.  *~Hatch-mate, though you leave us now, your memory remains.  Your echo joins our endless song, to sing forevermore.~* The song of the chorus rose in volume as the Uploader began to whirr, Calix’s memories, her data, her very echo copied from within her implant to be sent down to Home’s databases and added to the Collective.  Eternal life, in its own way.  There were even those who said that the echos had made themselves a sort of simulation there, where they lived a kind of second life.  

Kajj could never quite bring himself to believe that.  Death was… death.  He had seen a lot of it, more and more with each passing year.  His enemies, his acquaintances… his friends. 

His family.  

Calix, of the warm heart.  Calix, of the easy laugh.  Calix, the never ending stream of facts and figures, always with a relevant piece of trivia to share.  

*~Hatch-mate, fare well, until we meet again.  Tell the others we love them.  Tell the others, we are joining them soon!~*

It should have been *me*, Kajj thought to himself as the Uploader clicked once again, the lights on the machines dimming.  He was supposed to protect her.  He was the head Guard now, since the passing of his clutchmate, it was his duty to ensure the safety of all the colony… and the Motherguard in particular.  

His fist tightened around the carved figurine, his throat burning as he stared at the machine.  

He… had been *sleeping* when Calix had fallen.  *Sleeping* when the research station was attacked.  Why hadn’t he insisted on going with her?  Why had he allowed her to go alone? 

The mourning song faded, Kajj’s own sputtering out with it, leaving his chest feeling numb and empty as the room fell to silence, as the Speaker’s data left the body behind and left them with just a shell upon the trolley.  

The Speaker was gone. 

*Calix* was gone. 

…and it should have been him, instead. 

[rockhyrax]

Spectacle Radio ep.98 :: 03.30.23 :: This is my anxiety survival broadcast

Akira Mitake - Egg Anti-Clock Kenji Kawaii - Mikadroid Jane Arden & Mihai Dragutescu - Sleepwalking (Anti-Clock)

Celia Hollander - End Titles from Dad & Step-Dad

The Man Who Saw Tomorrow Los Chichos - El Vaquilla (Yo, El Vaquilla) Ankoku Tairiku Jagatara - Tango (Carnival in the Night) Seagull Screaming Kiss Her Kiss Her - Sentimental Journey (Egg) Jess Franco - Death Whistles the Blues Wess & the Airedales - Just Tell Me (Paranoia) Bill Dean - Gypsy Woman (Lords of Flatbush) Egg Ganjasuarus Rex *** Cappuccino // Hell Dance With Me (used in Deprisa, Deprisa 1981) The End // from Un, dos, tres, al escondite ingles (Ivan Zulueta, 1969) Marisol & Duo Dinamico // Solo a ti (from Buscqueme a esa chica, 1964) Orson Welles // I Know What It Is To Be Young (But You Don't Know What It Is Like to Be Old) (single from 1984) Freddie Redd Quartet // O.D. (from Shirley Clarke's the Connection, 1961) Tracy Huang // theme from Center Stage (Stanley Kwan, 1991) bed: Barry Fasman // music from The Lone Breaker (Stephen Beck, 1985) *** Alan Silverstri // theme from Delta Force (Menahem Golan, 1986) Ryudo Uzaki // music from the Dagger of Kamui (Rintaro, 1985) Paul Sabu // music from Hard Rock Zombies (1985) Neil Young // Goin' Back (from Human Highway, 1982) Robert Florczak // N'Chi Ya Nani (from Roar, 1981) Lewis Motisher // music from Life Is Flashing Before Your Eyes (Vince Collins, 1984) bed: the Lone Breaker

[yesgirlsims]

"Well, a lot has changed since this picture was taken. Dad and Hunter dragged the couch outside because mom demanded that we all could be in it. The trailer is much to cramped for that, still is.

What changed? Mom and dad had another baby, my sister Jolene. Hunter is turning into a man and so is Toby. Toby is a lot like dad. Hunter seems to dance to the beat of his own drum. Little Tessa is in school now, so is Wess. He aged up and decided to let his hair grow out. I really don't know where that hat is now.

Me? I'm engaged and will graduate college soon. Zachary and I plan to get married and raise our own family right after I graduate. I'll miss it though. Our household is crazy, but its mine. We're the Bagley's, I wouldn't want it any other way."

- Tara-Lynn Bagley (pictured behind the couch, pink top), aspiring gen 2 heir.

[aseeenka]

dancing with wess

[123pinkaddison]

nobody up until now has ever animated pokey doing the legendary wess dance, so i decided that i’ll be the soul to carry that responsibility

this took me 5 days to make 

[squishy-pixelz]

undefined

Wess Dance Microgame in Warioware DIY

[theramseyloft]

Available as of 11/7/2021

Bard

Ringneck Dove

Tangerine Pearl cock

EXTREMELY human friendly!

Exactly as talkative as he is friendly.

His coo is fairly high pitched, so noise warning, this idiot will constantly try to woo you.

Ringneck doves are only Pigeons lite care wise.

They are significantly more confinement tolerant than pigeons and need to be caged for their own safety with frequent out time for exercise.

They are VIOLENTLY antisocial! 

An attempt to get this bird a mate will result in a dead hen!

Be prepared to be the perpetual center of his eternal serenade, or do not apply.

Adoption fee is waived.

We only need the box and shipping covered.

Popcorn (Adult cock)

Rescue $20

Racing homer cock

Not remotely afraid of people, just kind of indifferent when there are hens for him to woo.

He’d make a great partner for another rescue, and had a decent chance of bonding to a person that doesn’t mind letting him bond at his own pace.

He’s a high priority to place because of his obsession with bulldozing Brightheart off of her nest in his attempts to tread her.

He’s recently begun to develop hyperkeratosis, making him a special needs bird that will need to stay indoors.

Wukong 

Loft Bird $30

Chinese Owl cock.

Wu is an excellent father that would serve a breeding program well.

He’s gotten up on my knee all of once, because his wife did.

Todoroki  NPA 20 8 BM 2859 (Adult cock)

Rescue $20

Tippler cock

He’s make an excellent breeding cock for a tippler project, but he’s too flighty and fractious to be happy as a single pet.

He doesn’t like people, bur he’s very sweet to his lady and would also be a good partner for another rescue or a lovely addition to a decorative loft.

Wess (6 month old cock)

Retired $20

Wukong x suki

He was allowed to hatch a single clutch and was demonstrably the WORST father.

He sat the eggs faithfully, but refused to make physical contact with the hatchlings and didn’t attempt to feed them until they were two weeks old, and then reluctantly.

Truthfully, that he’s pretty is all he really has going for him.

He’s a high priority to place for the same reason Popcorn is.

Bridget (5 month old cock)

Rescue $20

Yep! This is the skinny kid with a broken wing and foot that was found under the overpass.

He’s not interested enough in people to seek interaction when there are birds to hang out with.

I think he could bond as a single pet with a very patient care taker, but it would take him a long time.

He’d be happiest with at least a partner of his own species.

Scan (5 month old cock)

Loft Bird $30

Cherub x Tandy

Indifferent to humans, and a bit of a bastard to other birds.

Particularly likes to bully hens that have nested too close to the ones he likes.

He had to come in 11/4 because he was back on his bullshit attacking setting hens.

Velour (5 month old hen)

Curious $40

Satin x Chiffon

She’s too busy trying to be a mom to pay me much mind, but she occasionally gets up in my lap between attempted clutches.

She could bond with a person one on one, potentially, but I think she’s be happiest partnered up with another bird.

Rusty (5 Month old cock)

Comfortable $50

Ginger x Danica

Rusty is a big, strong, flashy man! I am more of a dance platform than anything to him.

He has good odds of bonding one on one to a person, but he’s a blend of two extremely energetic breeds, so he isn’t going to want to hold still for long.

Checkers (5 month old cock)

Curious $40

Ginger x Danica

Checkers is on the mellower side of curious.

He’ll hop up into my lap on occasion, but is mostly content to do his own thing with his wife.

He also could potentially bond to a person, but would be happiest partnered with a hen.

Berry (4 Months Old hen)

Loft Bird $30

Cherub x Tandy

Entirely indifferent to people.

She’s pretty and bold and knows what she wants, which make her fun to watch, but not so much to interact with at this point.

Shinobi (4 Months Old, hen)

Comfortable $50

Leonard x Elliot

Out going little hen who likes laps enough to kick other birds off of them.

She’s a blend of very energetic breeds, so she’ll be fun to watch and play with.

Mote (4 Months, hen)

Loft Bird $30

Wukong x Suki

Mote has lost interest in me. She might open up with another person in a different environment, but I can’t guarantee it in good conscience. 

Flint (14 Weeks sex unknown)

Curious $40

Nobu x Leela

Flint’s a bit on the flighty nervous side, but he’s occasionally brave enough to get up into my lap.

Moth (12 weeks, sex unknown)

Loft Bird $30

Cherub x Tandy

Though curious enough to get near me on occasion, he has not actually tried to touch me yet.

Cardinal is reserved. Payment Pending

Pidove (12 weeks old, sex unknown)

Loft Bird $30

Pidove is not remotely interested in me.

They don’t seem to have much interest in other birds at this point either.

Hard to say how they might develop.

Abys (12 weeks old, cock like behavior)

Curious $40

While not unfriendly or indifferent like the other birds in this classification, Abys is aloof.

Tall, elegant, graceful, and he knows it

He cot up in my lap today, after seeing his sister Slate plating with my finger tips.

Chances of bonding to a new person look promising.

Styx (11 Weeks Old)

Comfortable $50

Styx is a fairly outgoing little bird. (No guess as to the sex)

They like their lap and shoulder time, but is quite esoteric about exactly when they want it.

They’re a friendly little bird who will make some one a great companion.

Friday has been reserved. Payment pending

Wally (9 weeks old cock?)

Comfortable $50

Wess x Dolly

Wally discovered my lap two days ago and now wants to be in it most of the time I’m sitting.

He won’t fight for a space, but he will eagerly snatch the first available one.

He is an aggressive pain in the ass to other birds, but would likely do very well as a house pet.

Though we prefer local pick up, shipping will be available anywhere within the continental US for the next two weeks.

Due to USPS being understaffed and getting overwhelmed with the Christmas rush of packages last year, the cut off date for shipping this year is the week before Thanksgiving.

Shipping will resume the week after newyears.

For people in closer states to me, transportation can be arranged during that period for the cost of fuel round trip. (my little mirage is shockingly fuel eficient!)

Fees are not required of any one interested in fostering one of our rescues, as foster homes are just the next step in the rescue process for healthy birds.

Please email theramseyloft@gmail.com to apply or with questions.

[calder]

New theory: the faces sing a capella when they think no-one's around

if you do the wess dance you can make them laugh and you can go inside them and get a treasure

[squidlykitten]

No. 6: “Do or die, you’ll never make me; Because the world will never take my heart.”

Recording | Made to Watch | **“It should have been me.”**

OCs: Elder Kajj, Speaker Calix

Wordcount: 819

Kajj walked silently beside the Speaker’s procession, one hand lingering upon the trolley that carried the body down the hall, wheels clacking rhythmically against the tiles as they moved. Grim faces ringed the trolly, familiar and clad in the traditional Motherguard orange -- Members of the Speaker’s warren, along with Mechanic Wess and Treasurer Kahna. A sizable cohort and yet… their numbers were fewer than what they should have been. Thinner. He could see the mental calculus as they all looked at one another over their silent charge, could see the recognition in their eyes. The truth that none of them were willing to say.

A pair of Caretakers were waiting for them at the end of the hall, white robes pristine and crisp, arms out and palms up in supplication and welcome as they prepared to accept their charge. Kajj let his gaze linger on the figure on the right… he recognized this one. The Hatchmaster himself, Elder Hiir. An honor.

A hollow honor, but an honor all the same.

The Motherguard fanned out as the Caretakers took control of the trolley, the quiet hum of sorrow rising up from their chests, the Motherguard’s voices joining in with theirs. Kajj closed his burning eyes as he added his own song to the chorus, his rich baritone clear above the others as the Caretakers rolled the Speaker towards the middle of the room, beneath a gleaming silver machine that hung from the ceiling. It was richly decorated and engraved, glittering with jewels that reflected a rainbow of dancing lights throughout the chamber but Kajj still saw it for what it was -- the true final death, waiting for every vincam. The Uploader. The Way Home.

~Dearest hatch-mate, we now bring you to rest~ the chorus sang, watching as the Caretakers reached for the silver machine, pulling it down towards the trolley with a quiet click. ~We bring you here, to this place of sweet endings.~

Kajj forced his eyes to open, forced himself to watch as the Caretakers pulled back the Speaker’s orange silk shroud, revealing the face of his friend, pale and still.

Calix.

He spoke the name within his mind, that private bit of self the Speaker had shared with him so many years ago. Calix, lover of animals, lover of tea. Calix, with eyes as blue as yaila flowers, chitin a dusky sage green. Calix…

~Hatch-mate, you have traveled far, now you are returning. Home’s arms are open wide, warm and safe and yearning.~

The Caretakers rolled the speaker gently onto her side, freeing her cable from its hidden port on the back of her head. Elder Hiir hooked her into the machine and then lowered it fully down from the ceiling, the Speaker’s face and torso disappearing beneath a shroud of jeweled silver.

Kajj slipped one hand into his robe’s pocket, his fingers finding the small carved figure that rested there. Once, it had rested inside of Calix’s quarters.

~Hatch-mate, though you leave us now, your memory remains. Your echo joins our endless song, to sing forevermore.~

The song of the chorus rose in volume as the Uploader began to whirr, Calix’s memories, her data, her very echo copied from within her implant to be sent down to Home’s databases and added to the Collective. Eternal life, in its own way. There were even those who said that the echos had made themselves a sort of simulation there, where they lived a kind of second life.

Kajj could never quite bring himself to believe that. Death was… death. He had seen a lot of it, more and more with each passing year. His enemies, his acquaintances… his friends.

His family.

Calix, of the warm heart. Calix, of the easy laugh. Calix, the never ending stream of facts and figures, always with a relevant piece of trivia to share.

~Hatch-mate, fare well, until we meet again. Tell the others we love them. Tell the others, we are joining them soon!~

It should have been me, Kajj thought to himself as the Uploader clicked once again, the lights on the machines dimming. He was supposed to protect her. He was the head Guard now, since the passing of his clutchmate, and it was his duty to ensure the safety of all the colony… and the Motherguard in particular.

His fist tightened around the carved figurine, his throat burning as he stared at the machine.

He… had been sleeping when Calix had fallen. Sleeping when the research station was attacked. Why hadn’t he insisted on going with her? Why had he allowed her to go alone?

The mourning song faded, Kajj’s own sputtering out with it, leaving his chest feeling numb and empty as the room fell to silence, as the Speaker’s data left the body behind and left them with just a shell upon the trolley.

The Speaker was gone.

Calix was gone.

…and it should have been him, instead.