Even when the crowd obscured the dancers at the vigil on Friday, you could hear the chant they moved to: "Ooooooo'Shae Sibley!" Waist-length braids swung as dancers strutted and spun, toes pointed skyward as they dipped into death drops, and wrists flicked in staccato above the hundreds of people bobbing and wiggling to the music pumping from a nearby speaker, clutching signs and craning their necks or holding their phones aloft to record the action.
Soon, the giant circle surrounding the dancers splintered off into smaller groups as people chatted with each other, or swung by the pile of flowers and signs to lay down their own offerings or capture the scene on their phones. "He would have loved this," one attendee said to her friend, as she snapped a photo. "This is beautiful."
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Having an unguided sexual intercourse is like dancing at the gate of hell. Sex is a tool created by God for couples to procreates according to the design of God, as good as it is and plays a major role in reproduction, it can also be a tool to destruction. Satan uses it to trap men and women and attack their destiny. Pastor D. K Olukoya in this sermon teaches about the dangers of unguilded sexual interaction and how to guide against it.
Then just as i was going to sleep, i saw Wyll practicing dance moves "for a new partner". And the first thing i had in mind was "OMG, he's practicing because he wants to dance with Karlach!" And then he says that the partner he was talking about is me. I am a big rude half-orc. I said that he's an idiot for signing a pact with Mizora, i said that he's no better than what he thought Karlach to be, i laughed at his noble heritage, i mocked his pointless heroics, i joked at his dance moves. And yet he is inviting me to be his dance partner. I promised to break his pact previously, but now i'm thinking i'd rather let Mizora torture him in the hells for eternity.
Where the Hell is Matt? is an Internet phenomenon that features a video of Dancing Matt (Matt Harding) doing a dance "jig" in many different places around the world in 2005. The video garnered popularity on the video sharing site YouTube. There are now five major videos plus two outtakes and several background videos on YouTube. Matt dances alone in the first videos. In 2008 others join with him doing the dance "jig"; in 2010 he does the Diski Dance in South Africa. In 2012 he works with other dancers, sometimes using a local dance or another dance step.[1]
As of August 2008, Harding is represented by Creative Artists Agency.[8] His videos are viewable on YouTube, Google Video, Vimeo and his own site wherethehellismatt.com. His "Where the Hell is Matt? (2008)" video has been watched over 43,700,000 times on YouTube since 2011 and Harding's YouTube channel is ranked "#83 - Most Subscribed (All Time) - Directors" as of December 22, 2010.[9][10]
This month was a return to form. Ever since Rain Project, I've always had this urge to make a true boss battler, combining platforming and bullet hell. With November's Omakase, I finally took the dive with Bullet Dance.
If God creates (Genesis), then the opposite of this is the devil being a destroyer (taker.) Also of note, artists (including singers and dancers) are also creators/makers. That is, until their light is snuffed out.
According to Greek mythology, the Furies were female deities assigned to administer vengeance and punishment upon earthly transgressors. In the Duncan choreography, they are condemned souls. The accompanying operatic text refers to them as, "howling hell hounds with foam-dripping fangs."
Writers then and now have offered various interpretations of these strange and sometimes deadly crises. It has been suggested that the dancing maniacs of 1374 and 1518 were members of a heretical dancing cult. Contemporary observers, however, made clear their view that the dancing was a sickness. Nor did the Church, at a time when heresies were quickly suppressed, believe the dancers to be anything but victims of a terrible affliction, natural or divine. In recent decades a vogue for simple biological explanations has inspired the view that epidemic madnesses of the past were caused by the ingestion of ergot, a mould containing psychotropic chemicals (Backman, 1952; Matossian, 1989).
Fear and loathing
The years preceding the dancing epidemics were exceptional in their harshness. The 1374 outbreak maps on to the areas most severely affected, earlier in the same year, by one of the worst floods of the century. Chronicles tell of the waters of the Rhine rising 34 feet, of flood waters pouring over town walls, of homes and market places submerged, and of decomposing horses bobbing along watery streets (Backman, 1952). In the decade before the dancing plague of 1518, famine, sickness and terrible cold caused widespread despair in Strasbourg and its environs (Rapp, 1974). Bread prices reached their highest levels for a generation, thousands of starving farmers and vine growers arrived at the city gates, and old killers like leprosy and the plague were joined by a terrifying new affliction named syphilis.
That the dancing plagues were reliant on cultural belief-systems is apparent from the fact that they were concentrated in just those communities where we know there to have been a pre-existing belief in the possibility of dancing curses being sent down from Heaven or Hell. In 1374 the dancers believed that Satan had unleashed an irresistible dance, hence they not only danced interminably, but also begged for divine intercession, hurried to holy sites, and submitted gladly to exorcism (Backman, 1952). The people of Strasbourg in 1518 were convinced that a saint called Vitus had unleashed a dancing curse (Martin, 1914; Waller, 2008). And so, having entered the possession state, it seems that they acted according to the conventions of the St Vitus myth: dancing for days on end. The dance turned epidemic, as it had in 1374, because each new victim lent further credibility to the belief in supernatural agency. Indeed, the Strasbourg epidemic exemplifies the awesome power of suggestion: the city authorities ensured that the outbreak got out of control by having the dancers gathered together and left to dance in some of the most public spaces in the city (Waller, 2008).
At the first light of dawn, a column of exhausted mirrors returns to their sleeping chamber, while other insensate objects and the creatures within the game palace begin to restructure silently. The gigantic orange bouquets aligned in the centre of the atrium compete with each other, manifesting individuality through their exuberant scent. As the light inside the palace alters, an intense beam of sunlight enters the voiceless palace through the ever-closed crystal gate, casting prisms of dancing light across the white marble floor.
Notice how the greenery framing the outside of the gate contrasts with the bleak panorama of fire and ice inside. If you look carefully you can see tiny figures in torment on the hills. These successive hills represent the different circles of hell, where the souls of people guilty of different sins are punished in an appropriate manner. Those guilty of the sin of lust, for example, are buffeted about by the winds of passion and desire in the second circle.
To the pagan mind, then, the cave and spring water at Caesarea Philippi created a gate to the underworld. They believed that their city was literally at the gates of the underworld%u2014the gates of hell. In order to entice the return of their god, Pan, each year, the people of Caesarea Philippi engaged in horrible deeds, including prostitution and sexual interaction between humans and goats.
After Jesus spoke to his disciples about storming the gates of hell, he also gave them another word of caution: "If anyone is ashamed of me and my words, the Son of Man will be ashamed of him when he comes in his glory" (Luke 9:26).
Check out the vid ... you can see Bill's muscle surrounding him while he puts in some serious work on the dance floor ... with club dancers in tow. They danced to Waka Flocka Flame's "Grove St. Party" and Nicki Minaj's "No Frauds" ... two classics.
The second half of the show! Where the first hour and half I was lulled into a most festive frame of mind, I was suddenly (figuratively) thrown into the fires of hell! Gone with the holy, angelic voices and snowy effects. Instead, a giant lizard with rolling golden eyes took over the screen! And it just went down from there. I mean way down. Like to the portal of hell down. Suddenly the women were wearing impossibly shorter, barely crotch-covering dresses. They were gyrating on a catwalk overhead, strapped to a pole with a chain. The stage lit up with awful red/orange lights. Then out shot out the real flames! Way too many and way too close to be cozy. In fact, I could feel my eyeballs drying out in the instant heat. The guitarists seemed more menacing and lewd. At one point the women singers sang/chanted in Omen-esque Latin. They danced in a circle that conjured images of a coven. I imagined that the gates of hell would soon open and Satan himself would take center stage!
As for the scantily-clad females gyrating while chained to a pole, they are professional dancers (and singers) and the pole is question is a safety anchoring device. The chains are actually safety harness straps and not metal chains that keep the performers from falling off the rising stage platforms.
It was my first time and Had to leave after I started feeling all the evil coming from stage!!! They said the devil has a place in this and I freaked.. then the flames and symbols of hell made me cringe! I was glad to get out !
Her amazing story has become known around the world, not so much because of her miraculous healing, but rather because of her near death experience, during which she claims she saw heaven, hell and purgatory.
We were in the badlands, that tortured area below the Red River where nothing grows. The only movement in the landscape was the occasional noisy pump jack creaking and thumping as it sucked the last reluctant drops from the once-abundant Burkburnett oil field. We had entered that lethal zone where the body begins to lose reality; it was only an assembly of distant aches and unvoiced complaints. We pushed on in a trance. Every mile seemed to carry us nearer the central furnace of hell itself. 2351a5e196
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