Drill team dancer on

Drill team dancer with long brown hair smiling on one knee in a black short dress with gold trim and white fringe on the front. Wearing a black hat with gold trim and white boots. Holding black and gold Pom poms. Standing on a football field. Wearing white accessories. Wearing a thick white belt with silver holes on the waist. Wearing short white gloves 

Drill team dancer with long brown hair smiling on one knee in a black short dress with gold trim and white fringe on the front a black hat with gold trim and white boots with black and gold Pom poms on a football field with white accessories 

In the center of Salome is depicted as a young dancer. The woman's upper body is bare, while the neck, décolleté, hair and arms are adorned with gold jewelry, set with precious stones. A green mini skirt of light fabric is wrapped around her hips, through which the contours of the hips and legs shine through. In both pictures Salome supports her left arm on her hip. The right arm is raised in each case, with the forearm stretching upwards at a 45-degree angle from the horizontally outstretched upper arm in the large-format painting and the hand falling towards the face in an open gesture, while in the small-format depiction the hand grasps the hair in a more natural position. In both pictures, the head is tilted back over the left shoulder, so that the dancer looks to the side and shows the viewer the chin area. In both paintings a dark-skinned servant is standing on the left behind the dancer. This figure watches Salome with his head slightly bowed and his eyes fixed. He presents her the severed head of John the Baptist on a golden platter, which is surrounded by a radiant blue halo. This makes it stand out in the painting. The background consists of a black starry sky with shimmering gold, red and white stars. In the full portrait, the lower area is occupied by a light-colored balustrade, behind which several houses with red-lit windows can be seen, and at the very bottom by the light-colored floor. These elements put the scene in a spatial perspective. On the left edge of the painting another person is shown in front of the parapet. This red-clad person is Herod Antipas, who carefully watches the dancer. Other differences in the images relate to the details of the jewelry and the depiction of the servant.

In the center of Salome is depicted as a young dancer. The woman's upper body is bare, while the neck, décolleté, hair and arms are adorned with gold jewelry, set with precious stones. A green skirt of light fabric is wrapped around her hips, through which the contours of the hips and legs shine through. In both pictures Salome supports her left arm on her hip. The right arm is raised in each case, with the forearm stretching upwards at a 45-degree angle from the horizontally outstretched upper arm in the large-format painting and the hand falling towards the face in an open gesture, while in the small-format depiction the hand grasps the hair in a more natural position. In both pictures, the head is tilted back over the left shoulder, so that the dancer looks to the side and shows the viewer the chin area. In both paintings a dark-skinned servant is standing on the left behind the dancer. This figure watches Salome with his head slightly bowed and his eyes fixed. He presents her the severed head of John the Baptist on a golden platter, which is surrounded by a radiant blue halo. This makes it stand out in the painting. The background consists of a black starry sky with shimmering gold, red and white stars. In the full portrait, the lower area is occupied by a light-colored balustrade, behind which several houses with red-lit windows can be seen, and at the very bottom by the light-colored floor. These elements put the scene in a spatial perspective. On the left edge of the painting another person is shown in front of the parapet. T

In the center of Salome is depicted as a young dancer. The woman's upper body is bare, while the neck, décolleté, hair and arms are adorned with gold jewelry, set with precious stones. A green skirt of light fabric is wrapped around her hips, through which the contours of the hips and legs shine through. In both pictures Salome supports her left arm on her hip. The right arm is raised in each case, with the forearm stretching upwards at a 45-degree angle from the horizontally outstretched upper arm in the large-format painting and the hand falling towards the face in an open gesture, while in the small-format depiction the hand grasps the hair in a more natural position. In both pictures, the head is tilted back over the left shoulder, so that the dancer looks to the side and shows the viewer the chin area. In both paintings a dark-skinned servant is standing on the left behind the dancer. This figure watches Salome with his head slightly bowed and his eyes fixed. He presents her the severed head of John the Baptist on a golden platter, which is surrounded by a radiant blue halo. This makes it stand out in the painting. The background consists of a black starry sky with shimmering gold, red and white stars. In the full portrait, the lower area is occupied by a light-colored balustrade, behind which several houses with red-lit windows can be seen, and at the very bottom by the light-colored floor. These elements put the scene in a spatial perspective. On the left edge of the painting another person is shown in front of the parapet. This red-clad person is Herod Antipas, who carefully watches the dancer. Other differences in the images relate to the details of the jewelry and the depiction of the servant.

In the center of Salome is depicted as a young dancer. The woman's upper body is bare, while the neck, décolleté, hair and arms are adorned with gold jewelry, set with precious stones. A green skirt of light fabric is wrapped around her hips, through which the contours of the hips and legs shine through. In both pictures Salome supports her left arm on her hip. The right arm is raised in each case, with the forearm stretching upwards at a 45-degree angle from the horizontally outstretched upper arm in the large-format painting and the hand falling towards the face in an open gesture, while in the small-format depiction the hand grasps the hair in a more natural position. In both pictures, the head is tilted back over the left shoulder, so that the dancer looks to the side and shows the viewer the chin area. In both paintings a dark-skinned servant is standing on the left behind the dancer. This figure watches Salome with his head slightly bowed and his eyes fixed. He presents her the severed head of John the Baptist on a golden platter, which is surrounded by a radiant blue halo. This makes it stand out in the painting. The background consists of a black starry sky with shimmering gold, red and white stars. In the full portrait, the lower area is occupied by a light-colored balustrade, behind which several houses with red-lit windows can be seen, and at the very bottom by the light-colored floor. These elements put the scene in a spatial perspective. On the left edge of the painting another person is shown in front of the parapet. This red-clad person is Herod Antipas, who carefully watches the dancer. Other differences in the images relate to the details of the jewelry and the depiction of the servant.

Make a big head cartoon of a young white guy, with very short black hair, that has blue eyes, wearing a red hat, and had a little facial hair that is black, and is smiling big. 

"Traditional Acehnese house (Rumoh Aceh), 10 meters long and 8 meters wide. Elevated structure on 3-meter tall wooden stilts. Distinctive boat-shaped roof, 15 meters long, with 60-degree slope and upward-curving ends reaching 7 meters at the peak. Walls of dark teak planks featuring intricate geometric carvings, especially on the triangular gables. Central front door flanked by two windows with ornate wooden shutters. 2-meter wide wrap-around veranda with carved balustrades. Wooden staircase with 10 steps leading to the entrance, adorned with traditional Acehnese patterns. House predominantly in rich brown tones with black accents on structural elements. In the foreground, a group of 9 men performing the Saman dance. Dancers seated in a tight row, wearing black and gold traditional Acehnese attire. Their upper bodies moving in synchronized, rhythmic motions - clapping, arm-waving, and torso-swaying. Setting: Rural Aceh landscape at golden hour. Lush green rice paddies in the middle ground, backed by misty blue mountains. Warm, orange sunlight casting long shadows and giving the scene a golden glow."

A scene with two girls in a boudoir. Brunette Dita von teese in gold satin underwear with sheer black nylon stockings and long gloves, is with blonde Anita Pallenberg, wearing red satin underwear with black nylon stockings and boots. They're doing yoga squats. One is from the front, the other from the back.

A scene with two girls. Brunette Dita von teese in gold satin underwear with sheer black nylon stockings and long gloves, is with blonde Anita Pallenberg, wearing red satin underwear with black nylon stockings and boots. They're doing yoga squats. One is from the front, the other from the back.

A scene with two girls. Brunette Dita von teese in gold satin underwear with sheer black nylon stockings and long gloves, is with blonde Anita Pallenberg, wearing red satin underwear with black nylon stockings and boots. They're doing yoga squats. One is from the front, the other from the back.

A scene with two girls. Brunette Dita von teese in gold satin underwear with sheer black nylon stockings and long gloves, is with blonde Anita Pallenberg, wearing red satin underwear with black nylon stockings and boots. They're doing yoga squats. One is from the front, the other from the back.

(Ultra-realistic, photorealistic), a seductive mature woman, aged 50-60, with flawless skin, sultry eyes, and long dark hair cascading in soft waves. She is wearing a provocative seethrough cream-white lace lingerie set, her nipples and cameltoe showing, with sheer stockings held by garters and black stiletto heels, her curves highlighted by delicate floral lace patterns. She stands confidently in a dimly lit elevator with golden mirrored panels, one hand tracing the curve of her hip while the other brushes her hair. Her hips sway seductively as she walks forward, locking her teasing gaze with the camera. The soft cinematic lighting casts warm highlights on her skin and subtle shadows, creating an intimate and sensual atmosphere. Shot in 8K resolution, with rich colors, hyper-realistic textures, volumetric light effects, depth blur, and cinematic film grain, using a Nikon D850, f/1.6 lens, Kodak Portra 400

Black gold white background

5 members which includes two black females, two asian females and one white female. photoshoot in the subway platform wearing black outfits

Make a big head animated cartoon, that looks hand drawn, of a young white guy, with very short black hair, that has blue eyes, wearing black big frame glasses, wearing a black ball cap, and wearing a pink button up shirt that says P!NK and has a short scruffy black beard and short scruffy black mustache, and is smiling big.