The path to visibly reclaiming oneself, one's space, is tricky.
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Within Voodoo, Santeria, and other nature-based faiths, Florida Water is used for cleansing and protecting oneself and one's space.
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The first house record, 'On And On' is described by Wikipedia as a 'pastiche' of loops including Player One's 'Space Invaders.
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Each player's world is an infinite, procedurally generated wilderness, and the point is to fill one's space with sprawling digital contraptions, castles and forts, circuits and ships—but that's not for everyone.
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Steward's work shares floor space with three large sand mandalas created by Matthew Deibel, in his interpretation of Stand-Your-Ground laws that enable gun violence on the basis of a perceived threat to one's space.
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Arcade game sounds were one of the foundational elements of the electro music genre, which in turn inspired many other electronic dance music genres such as techno and house music, which were sometimes referred to as "bleep music". Space Invaders inspired Player One's "Space Invaders" (1979), which in turn provided the bassline for Jesse Saunders' "On and On" (1984), the first Chicago house track. Warp's record "Testone" (1990) by Sweet Exorcist sampled video game sounds from Yellow Magic Orchestra's "Computer Game" and defined Sheffield's bleep techno scene in the early 1990s. After the 1980s, however, chiptune music began declining in popularity.
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The is a mysterious creature whose pelt is used as a material for making hairs of Madō Brushes, while it itself is the only creature that can restore a brush's fading power, though hunting down the Spirit Beast without permission is strictly forbidden. The Spirit Beast can usually only seen by extremely rare chance, and perception of its appearance differ from one person to another. Those who seek the Spirit Beast intentionally must possess a ceremonial blade and travel through a certain path in a certain manner, and remain untainted by evil qi along the way. The Spirit Beast exists in a different plane of existence, as such, a final ritual of synchronizing one's space-time with that of the Spirit Beast's is needed.
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At the age of sixteen, Saunders became exposed to Chicago's night club scene, enthralled by the sounds of Frankie Knuckles and others in the scene. It wasn't long before he became a nightclub headliner, and in 1982, he opened up his own nightclub, the Playground. Attendance figures soon outnumbered those of the Warehouse and Saunders used the opportunity to incorporate his original material into his sets. By 1983 he was producing his own music and in early 1984 he released the first official house music record along with Vince Lawrence, "On & On", on the label they made together, Jes Say Records. Saunders composed the track with Lawrence in order to replace a record which had been stolen from Saunders' collection, the "On & On" bootleg disco megamix by Mach (1980). That megamix, a pastiche of loops from several disco records, particularly the bassline from Player One's "Space Invaders" (1979) and Lipps Inc's "Funkytown" (1980), had been Saunders' "signature" tune as a DJ; it was one that other DJs in the city didn't have or didn't play.
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