Search results for 9 nymphs
39, 
04:56, 
2007-08-22 03:43:04 Description: Smoke on the Water Live Sonarsound Tokyo October 2006
Señor Coconut and his Orchestra (feat. Argenis Brito)
Yellow Fever!
Essay Recordings AY CD 11
Release date: June 9 2006
(More) Smoke on the Water Live Sonarsound Tokyo October 2006
Señor Coconut and his Orchestra (feat. Argenis Brito)
Yellow Fever!
Essay Recordings AY CD 11
Release date: June 9 2006
Atom™ on his latest album
As early as the eighties, the Yellow Magic Orchestra was merging the eclectic Exotica attitude of Martin Denny with an ultimate update of Japanese music. "Martin Denny and his line-up created an imaginary musical landscape of luscious tropical delights: damp, foreboding jungles, vibrantly plumed birds in full flight, grimly silent Tiki gods in clearings overgrown by creepers, sleepy fishing villages on bamboo stilts, volcanoes erupting with molten orange lava, alluringly smiling little brown nymphs in grass skirts -- the land of lotus blossoms -- in a word: Exotica. If rock'n'roll is the musical equivalent of a good hard fuck, Exotica brings us the multi-orgasmic joys of tantric sex in endlessly flowing combinations of mystic union. Or, in the words of Lex Baxter: 'Ports of Pleasure'" (Stuart Sweezy). Today I am trying to go one step further by transferring the Yellow Magic Orchestra 'back to the future': a digital, fully artificial simulation and cut and paste style recreation of Latin Exotica sound. We may call it 'hypereclectic'. I have left both the historical timeline and ethnical space and move back and forth between musical periods and styles of Latin music. YMO covered Martin Denny's originally Exotica style "Firecracker" in a futuristic yet folkloric manner. Now I am covering the cover and transforming it back into a simulation of a Martin Denny sound.
In "Yellow Fever!" I combine the production techniques of the last three Coconut albums "El Gran Baile" (1997), "El Baile Aleman" (2000) and "Fiesta Songs" (2003): "El Gran Baile", was not based on song structures. It was abstract cut and paste. It became the prototype of the Electrolatino genre. Latino samples fused with the track logic of European electronic music. "El Baile Aleman" put the focus on Kraftwerk covers that were meant to sound as though they had been played by a Latino line-up. But this simulation was created by sampler, without 'real' musicians. The fusion of Latino and Electro that was set in motion in "El Gran Baile" is given a new slant -- partly because of the production method, but also by processing prototypical songs (Kraftwerk). "Fiesta Songs" abandons the obvious reference to my electronic roots to concentrate on simulating an acoustic retro-Latin sound, covering Anglo-American pop hits. In places, the simulation is revealed by digital artefacts. Again, I wanted to try taking a new direction in my production approach: instead of total programming, I recorded musicians for the first time, merging the material and original Latino samples to create something completely new.
"Yellow Fever!" combines these three working methods and approaches: abstract cut and paste emerges in the interludes between the tracks, and a digital/electronic sound in the "El Gran Baile" style reappears. It contrasts with the acoustic passages, reveals the simulation and is a musical style in its own right. As in "El Baile Aleman" programming and covering feature strongly here, merging with yet another milestone in the history of electronic music. The Yellow Magic Orchestra tracks undergo the same kind of distortion that was applied to the Kraftwerk songs: bringing Electronica back to the future! The third step involves working with session musicians, as to some extent on "Fiesta Songs". The acoustic aspect of the music is perfected by the detailed structuring of complex arrangements, but at the same time it is contrasted more strongly by the inclusion of digital elements. The album as a whole is an extremely complex patchwork of thousands of parts. Within a single song the musical course of things changes dozens of times. You could see "Yellow Fever!" as my first experiment on the way towards hypereclectic music. I experiment with breaking down all musical boundaries -- but this time "only" within the Latino genre. Another important point is the cinematic principle: every moment of "Yellow Fever!" is meant to provoke images. In this respect, there is a very close correlation with the concept of Exotica. I'm not just interested in recreating styles. Above all, I want to trigger emotions, images, déjà-vus, and so on. (Less)
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![America's Next Top Model[Cycle 1][Episode 3]](http://img.youtube.com/vi/GAWT39qLDJI/2.jpg "America's Next Top Model[Cycle 1][Episode 3]")
19, 03:46, 2008-01-22 16:08:51 Description: After the 2nd elimination only 5 girls remain.
=======
Inez
Mika
Shana
Deja
Dakota
=======
The 5 remaining models all do a high fashion sunglasses ad. While many girls rocked it...one just (More) After the 2nd elimination only 5 girls remain.
=======
Inez
Mika
Shana
Deja
Dakota
=======
The 5 remaining models all do a high fashion sunglasses ad. While many girls rocked it...one just didn't make the cut.
The elimination is tough but one girl had to pack her bags and leave the competition.
Who will remain.
It's the BEST there is.
Dont forget to RATE COMMENT and SUBSCRIBE.
Message me if you have any ideas.fun heidiklum tyra banks runway supermodel models finale topmodel antm danielle melrose eva+pigford antm5 antm3 antm6 mika shana inez xmen sims2 sims animation rihanna fashionweek madonna china nymphs beauty hotgirls sexy victoria'secret gisele bundchen alessandra+ambrosio adriana+lima selita+ebanks nick+cannon britney+spears britney spears cool awsome antm+finale antm+winnersSIMSNEXTTOPMODEL ANTM SNTM CNTM INTM Beauty Fashion Model Naima Danielle Molie sou Lesile Cari dee Melrose Eugena Kahlen Shandi Marcedes Yuhanna Elyce Shanon Adrianne Yaya Ya Ya Da Costa Eva The Diva diva modeling Saliesha+ ANTM cycle 9 Episode 1 2 3 4 5 6 7 8 9 10 11 12 Tyra Banks Jay Alexander Cover Girl Seventeen Magazine Elite model Management cycle 1 2 3 4 5 6 7 8 Adrianne Yoanna Eva Naima Daniel Nicole Caridee Jaslene Make Overs Make-Overs Rihanna Cut.
Sims 2 next top model cycle 1 2 Sims 2 aquastone productions incredibledarlz04 darlz04 america's next top model cwtv nigel barker twiggy fashion runway michelle amanda AJ ambreal jenah chantal heather bianca sarah victoria saleisha kimberly natasha renee janet lisa mila ebony tyra mail ANTM CNTM ANTM ANTM ep. 1 2 3 4 5 6 7 8 9 10 12 13 14 Recap episode cwtv melrose yoanna jael samantha cassandra fashion pictures portfolio photography photos high fashion gargoyles recycable materials ebony quits the competition Ambreal was given another chance cover girl commercial final three finale outlast double lip shine S2NTM ANTM cycle 2 3 4 5 6 7 8 9 season finale teaser commercial Dodash Video2Dag Runway (Less)
Channel: youtubeTags: advertising antm arts commercials entertainment fashion film game news performing runway secret series short supermodel trailer tv tyra versace victoria's video web winner
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23, 00:47, 2007-08-16 00:35:59 Description: Centaurs are ancient strange creatures in ancient Greek semi-horse and semi-human presentation by the author Gregory Zorzos.
CENTAURS. That is, the "bullkillers," are according to the (More) Centaurs are ancient strange creatures in ancient Greek semi-horse and semi-human presentation by the author Gregory Zorzos.
CENTAURS. That is, the "bullkillers," are according to the earliest accounts a race of men who inhabited the mountains and forests of Thessaly. They are described as leading a rude and savage life, occasionally carrying off the women of their neighbours, as covered with hair and ranging over their mountains like animals. But they were not altogether unacquainted with the useful arts, as in the case of Cheiron. (Hom. Il. i. 268, ii. 743, in which passages they are called ph?res, that is, th?res, Od. xxi. 295, &c.; Hesiod. Scut. Herc. 104, &c.) Now, in these earliest accounts, the centaurs appear merely as a sort of gigantic, savage, or animal-like beings; whereas, in later writers, they are described as monsters (hippocentaurs), whose bodies were partly human and partly those of horses. This strange mixture of the human form with that of a horse is accounted for, in the later traditions, by the history of their origin. Ixion, it is said, begot by a cloud Centaurus, a being hated by gods and men, who begot the hippocentaurs on mount Pelion, by mixing with Magnesian mares. (Pind. Pyth. ii. 80, &c.) According to Diodorus (iv. 69; comp. Hygin. Fab. 33), the centaurs were the sons of Ixion himself by a cloud; they were brought up by the nymphs of Pelion, and begot the Hippocentaurs by mares. Others again relate, that the centaurs were the offspring of Ixion and his mares; or that Zeus, metamorphosed into a horse, begot them by Dia, the wife of Ixion. (Serv. ad Aen. viii. 293; Nonn. Dionys. xvi. 240, xiv. 193.) From these accounts it appears, that the ancient centaurs and the later hippocentaurs were two distinct classes of beings, although the name of centaurs is applied to both by ancient as well as modern writers.
The Centaurs are particularly celebrated in ancient story for their fight with the Lapithae, which arose at the marriage-feast of Peirithous, and the subject of which was extensively used by ancient poets and artists. This fight is sometimes put in connexion with a combat of Heracles with the centaurs. (Apollod. ii. 5. § 4; Diod. iv. 12; Eurip. Herc. fur. 181, &c.; Soph. Trachin. 1095; Nonn. Dionys. xiv. 367; Ov. Met. xii. 210, &c.; Virg. Georg. ii. 455.) The scene of the contest is placed by some in Thessaly, and by others in Arcadia. It ended by the centaurs being expelled from their country, and taking refuge on mount Pindus, on the frontiers of Epeirus. Cheiron is the most celebrated among the centaurs.
As regards the origin of the notion respecting the centaurs, we must remember, in the first place, that bull-hunting on horseback was a national custom in Thessaly (Schol. ad Pind. p. 31.9, ed. Boeckh), and, secondly, that the Thessalians in early times spent the greater part of their lives on horseback. It is therefore not improbable that the Thessalian mountaineers may at some early period have made upon their neighbouring tribes the same impression as the Spaniards did upon the Mexicans, namely, that horse and man were one being. The centaurs were frequently represented in ancient works of art, and it is here that the idea of then is most fully developed. There are two forms in which the centaurs were represented in works of art. In the first they appear as men down to their legs and feet, but the hind part consists of the body, tail, and hind legs of a horse (Paus. v. 19. § 2); the second form, which was probably not used before the time of Phidias and Alcamenes, represents the centaurs as men from the head to the loins, and the remainder is the body of a horse with its four feet and tail. (Paus. v. 10. § 2; Plin. H. N. xxxvi. 4.) It is probably owing to the resemblance between the nature of the centaurs and that of the satyrs, that the former were in later times drawn into the sphere of Dionysiac beings; but here they appear no longer as savage monsters, but as tamed by the power of the god. They either draw the chariot of the god, and play the horn or lyre, or they appear in the train of Dionysus, among the Satyrs, Fauns (Panes), Nymphs, Erotes, and Bacchantes. It is remarkable that there were also female centaurs, who are said to have been of great beauty. (Philostr. Icon. ii. 3.) (Less)
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13, 04:56, 2008-04-21 16:41:57 Description: Smoke on the Water Live Sonarsound Tokyo October 2006 Señor Coconut and his Orchestra (feat. Argenis Brito) Yellow Fever! Essay Recordings AY CD 11 Release date: June 9 2006 Atom™ on (More) Smoke on the Water Live Sonarsound Tokyo October 2006 Señor Coconut and his Orchestra (feat. Argenis Brito) Yellow Fever! Essay Recordings AY CD 11 Release date: June 9 2006 Atom™ on his latest album As early as the eighties, the Yellow Magic Orchestra was merging the eclectic Exotica attitude of Martin Denny with an ultimate update of Japanese music. "Martin Denny and his line-up created an imaginary musical landscape of luscious tropical delights: damp, foreboding jungles, vibrantly plumed birds in full flight, grimly silent Tiki gods in clearings overgrown by creepers, sleepy fishing villages on bamboo stilts, volcanoes erupting with molten orange lava, alluringly smiling little brown nymphs in grass skirts -- the land of lotus blossoms -- in a word: Exotica. If rock'n'roll is the musical equivalent of a good hard fuck, Exotica brings us the multi-orgasmic joys of tantric sex in endlessly flowing combinations of mystic union. Or, in the words of Lex Baxter: 'Ports of Pleasure'" (Stuart Sweezy). Today I am trying to go one step further by transferring the Yellow Magic Orchestra 'back to the future': a digital, fully artificial simulation and cut and paste style recreation of Latin Exotica sound. We may call it 'hypereclectic'. I have left both the historical timeline and ethnical space and move back and forth between musical periods and styles of Latin music. YMO covered Martin Denny's originally Exotica style "Firecracker" in a futuristic yet folkloric manner. Now I am covering the cover and transforming it back into a simulation of a Martin Denny sound. In "Yellow Fever!" I combine the production techniques of the last three Coconut albums "El Gran Baile" (1997), "El Baile Aleman" (2000) and "Fiesta Songs" (2003): "El Gran Baile", was not based on song structures. It was abstract cut and paste. It became the prototype of the Electrolatino genre. Latino samples fused with the track logic of European electronic music. "El Baile Aleman" put the focus on Kraftwerk covers that were meant to sound as though they had been played by a Latino line-up. But this simulation was created by sampler, without 'real' musicians. The fusion of Latino and Electro that was set in motion in "El Gran Baile" is given a new slant -- partly because of the production method, but also by processing prototypical songs (Kraftwerk). "Fiesta Songs" abandons the obvious reference to my electronic roots to concentrate on simulating an acoustic retro-Latin sound, covering Anglo-American pop hits. In places, the simulation is revealed by digital artefacts. Again, I wanted to try taking a new direction in my production approach: instead of total programming, I recorded musicians for the first time, merging the material and original Latino samples to create something completely new. "Yellow Fever!" combines these three working methods and approaches: abstract cut and paste emerges in the interludes between the tracks, and a digital/electronic sound in the "El Gran Baile" style reappears. It contrasts with the acoustic passages, reveals the simulation and is a musical style in its own right. As in "El Baile Aleman" programming and covering feature strongly here, merging with yet another milestone in the history of electronic music. The Yellow Magic Orchestra tracks undergo the same kind of distortion that was applied to the Kraftwerk songs: bringing Electronica back to the future! The third step involves working with session musicians, as to some extent on "Fiesta Songs". The acoustic aspect of the music is perfected by the detailed structuring of complex arrangements, but at the same time it is contrasted more strongly by the inclusion of digital elements. The album as a whole is an extremely complex patchwork of thousands of parts. Within a single song the musical course of things changes dozens of times. You could see "Yellow Fever!" as my first experiment on the way towards hypereclectic music. I experiment with breaking down all musical boundaries -- but this time "only" within the Latino genre. Another important point is the cinematic principle: every moment of "Yellow Fever!" is meant to provoke images. In this respect, there is a very close correlation with the concept of Exotica. I'm not just interested in recreating styles. Above all, I want to trigger emotions, images, déjà-vus, and so on. (Less)
Channel: youtube Rate it: Rate:
16, 03:45, 2008-04-21 18:07:59 Description: CENTAURS Strange creatures in ancient Greece by Gregory Zorzos. CENTAURS. That is, the "bullkillers," are according to the earliest accounts a race of men who inhabited the mountains and (More) CENTAURS Strange creatures in ancient Greece by Gregory Zorzos. CENTAURS. That is, the "bullkillers," are according to the earliest accounts a race of men who inhabited the mountains and forests of Thessaly. They are described as leading a rude and savage life, occasionally carrying off the women of their neighbours, as covered with hair and ranging over their mountains like animals. But they were not altogether unacquainted with the useful arts, as in the case of Cheiron. (Hom. Il. i. 268, ii. 743, in which passages they are called ph?res, that is, th?res, Od. xxi. 295, &c.; Hesiod. Scut. Herc. 104, &c.) Now, in these earliest accounts, the centaurs appear merely as a sort of gigantic, savage, or animal-like beings; whereas, in later writers, they are described as monsters (hippocentaurs), whose bodies were partly human and partly those of horses. This strange mixture of the human form with that of a horse is accounted for, in the later traditions, by the history of their origin. Ixion, it is said, begot by a cloud Centaurus, a being hated by gods and men, who begot the hippocentaurs on mount Pelion, by mixing with Magnesian mares. (Pind. Pyth. ii. 80, &c.) According to Diodorus (iv. 69; comp. Hygin. Fab. 33), the centaurs were the sons of Ixion himself by a cloud; they were brought up by the nymphs of Pelion, and begot the Hippocentaurs by mares. Others again relate, that the centaurs were the offspring of Ixion and his mares; or that Zeus, metamorphosed into a horse, begot them by Dia, the wife of Ixion. (Serv. ad Aen. viii. 293; Nonn. Dionys. xvi. 240, xiv. 193.) From these accounts it appears, that the ancient centaurs and the later hippocentaurs were two distinct classes of beings, although the name of centaurs is applied to both by ancient as well as modern writers. The Centaurs are particularly celebrated in ancient story for their fight with the Lapithae, which arose at the marriage-feast of Peirithous, and the subject of which was extensively used by ancient poets and artists. This fight is sometimes put in connexion with a combat of Heracles with the centaurs. (Apollod. ii. 5. § 4; Diod. iv. 12; Eurip. Herc. fur. 181, &c.; Soph. Trachin. 1095; Nonn. Dionys. xiv. 367; Ov. Met. xii. 210, &c.; Virg. Georg. ii. 455.) The scene of the contest is placed by some in Thessaly, and by others in Arcadia. It ended by the centaurs being expelled from their country, and taking refuge on mount Pindus, on the frontiers of Epeirus. Cheiron is the most celebrated among the centaurs. As regards the origin of the notion respecting the centaurs, we must remember, in the first place, that bull-hunting on horseback was a national custom in Thessaly (Schol. ad Pind. p. 31.9, ed. Boeckh), and, secondly, that the Thessalians in early times spent the greater part of their lives on horseback. It is therefore not improbable that the Thessalian mountaineers may at some early period have made upon their neighbouring tribes the same impression as the Spaniards did upon the Mexicans, namely, that horse and man were one being. The centaurs were frequently represented in ancient works of art, and it is here that the idea of then is most fully developed. There are two forms in which the centaurs were represented in works of art. In the first they appear as men down to their legs and feet, but the hind part consists of the body, tail, and hind legs of a horse (Paus. v. 19. § 2); the second form, which was probably not used before the time of Phidias and Alcamenes, represents the centaurs as men from the head to the loins, and the remainder is the body of a horse with its four feet and tail. (Paus. v. 10. § 2; Plin. H. N. xxxvi. 4.) It is probably owing to the resemblance between the nature of the centaurs and that of the satyrs, that the former were in later times drawn into the sphere of Dionysiac beings; but here they appear no longer as savage monsters, but as tamed by the power of the god. They either draw the chariot of the god, and play the horn or lyre, or they appear in the train of Dionysus, among the Satyrs, Fauns (Panes), Nymphs, Erotes, and Bacchantes. It is remarkable that there were also female centaurs, who are said to have been of great beauty. (Philostr. Icon. ii. 3.) (Less)
Channel: youtubeTags: ancient bears bikini black CENTAUR CENTAURS creatures god gods Greece Greek harry potter Strange ufo white Zorzos
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![America's Next Top Sim Model[Episode 4][Cycle 1]](http://img.youtube.com/vi/I35XvZCsCj0/1.jpg "America's Next Top Sim Model[Episode 4][Cycle 1]")
6, 03:46, 2008-04-22 12:22:24 Description: It's the final four! ======= Inez Mika Shana Dakota ======= The final for get ready for an overseas trip. The pressure is on when the girls must pose and forest nymphs. The deliberation is (More) It's the final four! ======= Inez Mika Shana Dakota ======= The final for get ready for an overseas trip. The pressure is on when the girls must pose and forest nymphs. The deliberation is extremely tough for Tyra but in the end only three girls remained and out of those three one of them will become America's Next Top Sim Model. Who will it be folks? Don't forget to COMMENT RATE and SUBSCRIBE. It's the BEST there is on youtube. fun heidiklum tyra banks runway supermodel models finale topmodel antm danielle melrose eva+pigford antm5 antm3 antm6 mika shana inez xmen sims2 sims animation rihanna fashionweek madonna china nymphs beauty hotgirls sexy victoria'secret gisele bundchen alessandra+ambrosio adriana+lima selita+ebanks nick+cannon britney+spears britney spears cool awsome antm+finale antm+winnersSIMSNEXTTOPMODEL ANTM SNTM CNTM INTM Beauty Fashion Model Naima Danielle Molie sou Lesile Cari dee Melrose Eugena Kahlen Shandi Marcedes Yuhanna Elyce Shanon Adrianne Yaya Ya Ya Da Costa Eva The Diva+ ANTM cycle 9 Episode 1 2 3 4 5 6 7 8 9 10 11 12 Tyra Banks Jay Alexander Cover Girl Seventeen Magazine Elite model Management cycle 1 2 3 4 5 6 7 8 Adrianne Yoanna Eva Naima Daniel Nicole Caridee Jaslene Make Overs Make-Overs Rihanna Cut. Sims 2 next top model cycle 1 2 Sims 2 aquastone productions incredibledarlz04 darlz04 america's next top model cwtv nigel barker twiggy fashion runway michelle amanda AJ ambreal jenah chantal heather bianca sarah victoria saleisha kimberly natasha renee janet lisa mila ebony tyra mail ANTM CNTM ANTM ANTM ep. 1 2 3 4 5 6 7 8 9 10 12 13 14 Recap episode cwtv melrose yoanna jael samantha cassandra fashion pictures portfolio photography photos high fashion gargoyles recycable materials ebony quits the competition Ambreal was given another chance cover girl commercial final three finale outlast double lip shine S2NTM ANTM cycle 2 3 4 5 6 7 8 9 season finale teaser commercial Dodash Video2Dag Runway (Less)
Channel: youtubeTags: advertising america antm arts commercials entertainment eva fashion film game girls model news performing runway saleisha series short supermodel trailer tv tyra video web week
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0, 01:56, 2009-05-08 23:50:08 Description: Spanked 'em on Spring Creek in near-perfect water conditions on 5-7-09. Pimpin' nymphs in the buckets - fish aggressive and feeding in shallow runs and seams. Probably eating sulphur nymphs (More) Spanked 'em on Spring Creek in near-perfect water conditions on 5-7-09. Pimpin' nymphs in the buckets - fish aggressive and feeding in shallow runs and seams. Probably eating sulphur nymphs - took fish on both a bhhe and a muskrat (scud/sowbug). Had 9 to hand in about an hour, including these two fatties. (Less)
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