In Jungian analytical psychology , senex is the specific term used in association with this archetype.
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Examples of the senex archetype in a positive form include the wise old man or wizard. The senex may also appear in a negative form as a devouring father e. Uranus , Cronus or a doddering fool. In the individuation process, the archetype of the Wise old man was late to emerge, and seen as an indication of the Self.
The antithetical archetype, or enantiodromic opposite , of the senex is the Puer Aeternus.
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In fiction, due to the influence of Merlin , a wise old man is often presented in the form of a wizard or other magician in medieval chivalric romance and modern fantasy literature and films ; notable examples include Gandalf from The Lord of the Rings and Albus Dumbledore from Harry Potter. See List of magicians in fantasy for more examples.
The Elder Kettle, who serves as a father figure to the Cup Brothers in Cuphead , closely follows this role. When the brothers get roped into The Devil's scheme to gather the contracts, it is the Elder Kettle who helps the brothers in their plan to eventually turn against their master. Sir Alan Lascelles used the pen-name "Senex" when writing to The Times in setting out the so-called Lascelles Principles concerning the monarch's right to refuse a prime minister's request for a general election.
She is killed by Ergo Proxy. It is possible the name Senex is in reference to the age, and immortality of the Proxies. In the roleplaying game Mage: The Ascension , Senex is the wise old leader of the Euthanatos magickal tradition. Full Cast and Crew. A young girl buys an antique box at a yard sale, unaware that inside the collectible lives a malicious ancient spirit. The girl's father teams with his ex-wife to find a way to end the curse upon their child.
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The Haunting in Connecticut The Exorcism of Emily Rose An American seminary student travels to Italy to take an exorcism course. Edit Cast Cast overview, first billed only: Miss Shandy as Brenda M. Professor McMannis Iris Quinn Lab Tech David Hovan Edit Storyline The basketball coach Clyde and his wife Stephanie divorced a couple of months ago and their teenage daughter Hannah and the girl Emily 'Em' live with their mother and spend the weekends with their father.
Fear the Demon that doesn't fear God. Edit Details Official Sites: Through it all was the silvery swathe of the trumpet. Miles worked past his acoustic 60s quintet, a group that played as if it were suspended in vast, airless darkness, and soaked in the electric bath of Bitches Brew.
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His group got freakier, blacker, bloated with intensity, finally going supernova in the Japanese concerts of Agharta and Pangaea. Yet the trumpet was still a parched little voice in the storm. Through that record, and the subsequent Star People and We Want Miles, besides a series of dishearteningly variable gigs, Miles felt his way back via a mix of his splayed electric brew and a firmer, funkier sound.
The corner was turned with last year's Decoy: With his latest tour band, the music was warm and outgoing by contrast: You're Under Arrest is the brightest, airiest Miles LP for 20 years, a set tailored to radio possibilities — hence Time After Time and a pretty hum through Michael Jackson's Human Nature — without surrendering to faceless dance music.
Nobody could jive to the twisting Katia or the title track. It sounds, still, like Miles; no one else.
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Live, Davis's band whip the material into a long, intricate, abstract fresco of badass flourishes, backbeat stomping and brief, violent solos. Davis doctors them through the switchbacks of the sound: I keep playing and editing and playing and editing myself out … and I try and stop on a high point to leave someone else something to do.
But when I hear it through, things that sounded bad for a long time sound bad only a few seconds. But it happens so fast that when you listen to it again, you tell where you check yourself. If you jump on a horse and see he's on the wrong foot, you keep checking him until he gets to the fence — that's what I do when I'm playing. I like to find a place to leave for someone else to finish it. That's where the high comes in.
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If I know I left a perfectly good spot for someone else to come in — like, there it is! Sell out your plans! Specially when you put all that time in. But I don't sing. I have to play. When you do it, it seems like forever if you're not doing it well. When I hear it again I think — damn, I thought that was too long. I said, Bob, don't fish around for a tone centre. There's certain numbers where he just stands up and goes doo-dur-dum- trying to find the key. The key is already there! I say, Bob, when you start playing just try and finish what somebody's left.
Don't just play till it dies. If he tries to find a tone centre, he'll just fuck around. I hate flatted fifths. I say, listen man, when you play you gotta help the rhythm section. Don't just lean on them. Tony [Williams] used to have that trouble with Wayne [Shorter]. Wayne'd get drunk and try and play himself sober. They'd play like this" — Miles bangs a Perrier bottle on the table — "and Wayne'd just go durrr-durr-durr, for maybe 30 minutes.
And Tony'd get tired of it. Wayne was just leaning on him. They know when the highs come up, what to push — but when a guy's just playing, you have to help the rhythm section. A lot of tenor players get into this kind of shit —". He gets up suddenly and hunches up in front of me, a mime of a convoluted tenor solo twisting his arms. I notice his hands, the fingers manicured but as starved and stick-like as a crone's. He sits again and takes back the pad. And the rhythm players? I have Steve [Thornton, percussion] up there now, I tell him to play single strokes.
And I got Vince [Wilburn] up there, he's got a nice touch, he doesn't lose time. You remember that, don't you? His idol is Freddie White. Daryl [Jones, bass] and Vince played together in school in Chicago. Seems to me that guys like that only ever come up playing these tight, funky rhythms.
The percussive looseness discovered by Elvin Jones and Tony Williams has stiffened up again because young players don't even want to try and play that way. The way every rock'n'roll record sounds like something else but not all together. Everything other drummers play, if you're playing drums, they all hear. They know how to play everything now. It's the flood of records. Drums and trumpet and bass … it's like a big tree of goodies.
You can just buy this record and pick this off and get this bass and flap it up! The good drummers don't play all that in-between stuff, only the bad drummers do to break up the time. Because they can't lay in the pocket. He has to learn that basic stuff first. He's in his 20s. He'll go buy a jacket like you got — no, a grey one. Grey, black, white — but he won't do this. Davis gestures to his own clothes. Sumptuous black leather trousers, a beautiful red and black wrapover. Me, I like to wear shit that shines. A l'il chain here.
See this shit here? I put on all brown last night. I was going to take my wife out to dinner. Shit, I took that shit off, man. It was raining and shit. I said, wait a minute! Let me get this shit off! So I wore a l'il short blazer bolero jacket, put this belt on … I was alright then. I had all that brown on and I said Goddamn! I did it once and walked down 8th Avenue. A brown suit I had made, big shoulders … maybe 35 years ago. I looked in the mirror and didn't see myself.
Shit I wear after six. Shit I wear after Shit I wear in the day time. Shit I wear while I'm riding my horse. Watch here Sartorials aside, what strikes me about the contemporary Davis is his return to melody. What hurt about the jungle-funk sweat music of his early 70s outfits was its terrible murk: And Miles loves the tang of melody, the cut of a good song: In concert, he patiently untangles long chains of carefully tuned phrases, and whole songs are written. The comparison is stylistically farfetched, but I was reminded of the great Ellingtonian tenorman Ben Webster, who spent his autumnal years playing tunes so tenderly that he didn't bother to improvise around them.
Well, you know, the way Ben's tone was … I can hear him playing now in my head. That's a style that's almost gone now. Who plays like that? What's Lucky doing now? Lucky Thompson, the brilliant tenorman, reportedly a casualty — sick and neglected, somewhere in the south. Well, that style's almost gone. On a song like Human Nature you have to play the right thing.
And the right thing is around the melody. I learned that stuff from Coleman Hawkins.
Coleman could play a melody, get ad-libs, run the chords — and you still heard the melody. I play Human Nature, varies every night. After I play the melody, that tag on the end is mine to have fun with. It's in another key … uh, D natural. Move up a step or so to F natural.
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Then you can play it any way you want to. It's a show of strength when a musician like Davis chooses to treat such tunes as standards. Melody might be dying in pop music: How's it gonna die, man? With all those singers?