How to muzza dance

Remembering Zyzz: The Greatest Muzza Ever

All images supplied.

Back when Tiesto was headlining Stereosonic, I was working as a videographer at the festival, filming acts as they partied and mingled with the crowd. It was a fun job, and the only real rule was to avoid letting too many "bros" hog the camera. It seemed like a weird rule until I left the safety of backstage. Suddenly I was surrounded by a colosseum of topless heroes—all desperate to have their picture taken. As I shuffled past a group of shredded robots, one of them gestured to his abs and yelled at me, "You mirin, brah?!" I ignored him and kept moving, but the saying stuck with with, and I Googled it later that day. That's when I discovered the messiah of all this madness: Zyzz.


Aziz "Zyzz" Shavershian was a 22-year-old bodybuilder, stripper, and model based in Sydney. He became an internet sensation around 2008 with a slew of motivational videos that tracked his evolution from a skinny "sad cunt" to a god. He wanted to inspire other young rejects or outcasts to stop being "sad cunts". Zyzz's disciples—dubbed the Aesthetics Crew—followed his ideology of shredding at the gym to emulate "the Gods" and transform "jelly" (jealous) followers into "mirin' (admiring) sick cunts."

Aziz "Zyzz" Shavershian. All photos supplied.

Zyzz was born in Russia and moved to Sydney in the early 90s. His older brother, Said "Chestbrah" Shavershian told me that, growing up, Zyzz was pretty different to the persona he became known for. "[He] was the dux of Marist College Secondary School, he was studying commerce, and at the age of 21 ran a successful protein company," Said explained. "But that's nothing compared to the influence he had within the sport of bodybuilding. He was the reason the [International Federation of Bodybuilding] introduced men's physique categories, which focus more on cutting for aesthetics rather than being big and bulky."

In that strange way, which seems almost commonplace now, Zyzz and his crew became internet celebrities in their early 20s, long before Instagram fame was a thing. They were flown all around the country for appearances at nightclubs and shows. Some of his YouTube clips have reached over 10 million views. In the comments section, fans still refer to him as "the patron saint of ectomorphs" and "the manifestation of God's energy."


But it wasn't just Zyzz's titanic ego and cut abs that made him iconic. He tapped into a movement, long before anyone else even saw what was happening. See,
migrant communities have long revelled in identities that meld their homeland's culture with that of white Australia. But around the mid-2000s, ethnic millennials had created an alpha subculture that seemed kind of new. It was Muzza culture—the scene I was born into and genuinely adored.

Feeling good by looking good was a concept that had been totally ignored by the generation of Muzzas before Zyzz. But I think the mantra struck a chord, and explains Zyzz's legendary status. I remember when I was 16 and I saw a bunch of Muzzas at Noble Park McDonald's. Those guys weren't concerned with body image at all, which probably explains why fast food car parks were a common meeting place. Originally, theirs was a culture was obsessed with modifying cars—from canary yellow Holden VLs to Japanese imports like Supras or Skylines. They'd be executing demos at the first sign of any rain. Their therapeutic rush came from pistons, blowoff valves, and throttles.

I remember the first time my older cousin took me into the city in his R34 Nissan Skyline to check out the annual Auto Salon show. This was the era of Fast and the Furious and cars had insane paint jobs with names like "Candy Apple." The guys there had flawless long mullets that had been straightened and waxed for hours, wide body kits, and scantily clad "Marias" (the female answer to Muzzas) by their sides. There were ravers everywhere, Melbourne shuffling to trance music on improvised dance floors in front of the car with the loudest subwoofers.


This Muzza culture came to life most nights on Chapel Street. Once an exclusive precinct frequented by models, the cast of neighbours and footy players it became the home of the Chap Lap (i.e. "dosing it" in your hotted-up car down Chapel Street.) This naturally led to Muzzas filling up the area's main nightclubs, like Chasers and Viper Lounge, with raving Muzteks.

Anyone who went clubbing in Melbourne around the mid-2000s would've found themselves surrounded by sweaty run 'n' sniff t-shirts from local label Stevie, which cost about $120 each. For those older Muzzas, it was all about fluorescent colours, stringer singlets, bum bags, and rosaries (even the Muslims wore rosaries with the crucifix removed)—all set to a soundtrack of Sneaky Sound System.

When Zyzz stepped onto the podium, the scene took on new aesthetics—before him, being a Muzza mostly meant performing hypermasculinity in an abstract way, through the modding and performing on your vehicle. Zyzz internalised this, focusing on applying the same principle to sculpting his body. Muzza culture had always been this strange balancing act: extremely metrosexual ideals, a confronting hunger for violence. The marriage of getting ripped at the gym and raving. Specifically, shirtless "Spartan" Muzz raving at outdoor trance festivals, which provided Muzzas with their outlet.

I remember the first time I saw one of Zyzz's YouTube videos. His total disregard for "jelly" haters combined with his sense of callous honesty gave him this radiating charisma. Take this infamous lecture:


"It's just a fucking act, there is no Zyzz. Everyone has a little bit of Zyzz in them. You're a fucking sick cunt if you want to be brah! So stop being a fucking sad cunt, alright? Go out, get bitches and just be a fucking sick cunt."

Online, Zyzz projected an image of Muzza culture as a quest for self-actualisation. But in a scene full of alpha males that could often be isolating, Zyzz made motivational videos that encouraged disenfranchised teenagers to be the best versions of themselves. He trolled and mocked haters with memes, and shrugged off the seriousness that's so ingrained in professional bodybuilding. And he did all this with language and tone lifted straight from migrant suburbia.

RIP Zyzz. All images supplied.

Six years back someone told me Zyzz had died. I remember hoping it was just another internet hoax. But it wasn't. In 2011, at the young age of 22, Zyzz suffered a heart attack in a sauna while on holiday in Thailand. The media saw his death as a warning about the excessive use of anabolic steroids, although the autopsy later revealed a previously undiagnosed congenital heart defect. In any case, Zyzz's message to us was never about steroid abuse—it was about exploiting the gym as a therapeutic measure to feel good about ourselves.

Every year since Zyzz's death, the culture I grew up with has slowly faded away. The Muzz dance is probably the last remaining echo of Zyzz's influence on hectic Muzza culture. A recurring staple of most his videos, he perfected the art and encouraged the sport at every local music festival, from Defqon and Stereosonic to Two Tribes.


Today at most trance events, on the periphery, you might still be able to find a few of the last topless hedonists. They've been working on their physique and moves all year round, purely to put on a show for us. We, the boring spectators, who are probably there for something bland like the music. Theirs is a modern Gymopaedia, the ancient Spartan celebration where naked youths displayed their athletic skill through war dancing. The "aesthetics crew" are god-like sculptures performing rituals of war, on a spiritual mission that exerts circular dance manoeuvres as though they were a tribal rite, taught only by being in the presence or emulating the icon Himself. Or as Zyzz would say:

"You gotta go to the gym. You gotta be a shredded cunt. You gotta fuck bitches. You gotta not give a fuck. Because that's what the Zyzz cunts do. None of this sad cunt shit. We're all going to make it bro, that's it. That's what the revolution is."

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'I want to win Wimbledon'

Andy Murray couldn’t… could he?

The two-time Wimbledon champion will be back on the hallowed turf of Centre Court on Monday in what could be the start of a wondrous swansong.

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Murray is a two-time Wimbledon champion, with his last title coming in 2016


The 35-year-old has battled back from a near career-ending hip injury that kept him out of the game for such a long time.

Since he reached the quarter-finals of Wimbledon back in 2017, he has struggled to reach the levels that made him an 11-time Grand Slam finalist.

Of course, that is understandable after the serious resurfacing operation he had in 2019 in order to preserve his career – and has left him with a metal hip.


Just seeing him back on a tennis court is remarkable and his results have steadily been improving.

Murray showed impressive form on the grass heading into Wimbledon, reaching the final of Stuttgart.

But an ab injury contributed to his defeat to Matteo Berrettini, who was last year’s Wimbledon finalist, and that was great cause for concern.

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Murray picked up an injury on the eve of Wimbledon, causing him to miss Queens



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He has battled back to be ready for Wimbledon and we will find out just how fit he is when he plays in the first round against James Duckworth on Centre Court on Monday, after Novak Djokovic and Emma Raducanu have completed their games.

Murray has been up there with the greats of his generation, winning three Grand Slam titles in an era defined by Roger Federer, Rafael Nadal and Novak Djokovic.

They made up the big four, who for a number of years were the odds on favourites to reach the semi-finals of Slams.

Murray may well have a few more Grand Slams to his name if it were not for his brilliant rivals, losing in eight finals to either Federer or Djokovic.


But while Murray has spent the weeks, months and even years on the treatment table, the ‘Big Three’ have continued.



Murray is a three-time Grand Slam champion, but has lost in eight more finals

A 36-year-old Nadal has battled excruciating pain in his foot, caused by an incurable condition, to win the first two Grand Slams of 2022.

Murray may be looking on and thinking – ‘if they can do it, then why not me?’


He undoubtedly has the grit and courage to win Wimbledon again, but his body holding up for two weeks playing seven matches of five-set tennis is another matter.

Murray would not be at Wimbledon if he did not think he could be competitive.

“I want to win the tournament, that’s the goal,” Murray told GQ ahead of this year’s tournament. “To be honest, I went into it last year without being well prepared physically.

“I wasn’t feeling great, I had quite a few injuries and niggles in the build-up to it, and I was really quite close to missing the tournament. So my hope for the event is that I feel really good right now.”




Lendl and Murray have reunited for probably the final time

Murray has put everything in place to be as successful as possible to try and win Wimbledon.

Even hiring his old coach he was with for all three of his Grand Slam victories – Ivan Lendl.

The two-time Olympic gold medalist was a good player before first working with Lendl in 2012, but became a great one under his tutelage.


The 62-year-old himself was one of the greats of the sport, winning eight Grand Slam titles and losing in 11 finals.

He spent 270 weeks as world number one and won an incredible 94 career titles – third in the all-time list.

Lendl helped Murray break his Grand Slam duck in 2012 when he won the US Open, just a few months on from losing in the Wimbledon final.

The Scot had lost four Grand Slam finals before eventually getting over the line.




Murray won the US Open in 2012, when Lendl was his coach

Lendl was also in Murray’s camp when he finally won Wimbledon in 2013, before the pair split in 2014.

The pair reunited once again in 2016, the year the British star claimed his second Wimbledon title, before parting ways again in 2017.

Murray has spent much of the last five years recovering from injury and trying to get back to his best.


“Andy said one thing, he said ‘Look I don’t know how much time I have left and I want to go with people I know what I’m going to get,'” Lendl told The Daily Mail.

“That makes perfect sense. We talked about it and decided we would give it a try.”

To use the phrase popularised in recent years by the Netflix series about Michael Jordan and the Chicago Bulls… it could be Murray’s ‘Last Dance’.


According to the legends of the ancient Greeks, the muse of dance was called Terpsichore. She had eight sisters. In the summer evenings, they, holding hands, led round dances. On Greek frescoes and vases, sisters - muses hold hands. The dance was closely connected with music, singing, word, game.

Terpsichore is the muse of dance and choral singing. In Greek mythology, the daughter of Zeus and Mnemosyne, one of the nine muses, the patroness of dance (sometimes choral singing). Depicted as a young woman in the pose of a dancer, with a smile on her face. She had a wreath on her head, in one hand she held a lyre, and in the other a plectrum. She is "enjoying round dances." Muse, reveals to people the harmony between the external and internal, soul and body.
Ancient dance was based on strict adherence to rhythm, on a combination of rhythmic step and appropriate hand movements. Dancing was a compulsory subject in gymnasiums. It was believed that Terpsichore, the companion of the god of harmony Apollo, teaches the soul to combine correctly with the body. Postures and movements should be beautiful and harmonious, the dance should reflect the mood of thought and feeling.
The attitude towards dance in Ancient Greece is evidenced by the fact that Terpsichore was included in the pantheon of deities. The Greeks understood dance very broadly, considering it both as gymnastics, a means of healing the body, and as a mimic art.
There is a myth according to which Terpsichore is the mother of the singer Lina (according to another version, his mother is Urania).
According to one version of the myth, Terpsichore gave birth to sirens from the god of the river Aheloy (Apoll. Rhod. IV 892-896; option: the sirens are the children of Melpomene).
This muse is associated with Dionysus, attributing to her the attribute of this god - ivy (as the inscription on Helicon dedicated to Terpsichore says).
There is evidence that a temple dedicated to the Muses existed in the Pythagorean school. In this temple, Pythagoras gave instructions to his students. Terpsichore, Erato and Thalia were in charge of earthly physics, the science of elements, stones, plants and animals.

Terpsichore and dance were not invented by the ancient Greeks for fun and pastime. Muse and dance are the result of a thoughtful contemplation of Nature, where everything moves in rhythm according to unwritten laws.

To understand the spirit of the dance, it is enough to immerse yourself in the rustle of dense foliage. Without leaving the branches, the leaves dance and sing, giving birth to a symphony of green hues that enchants the eye and ear. It is enough to sit on the seashore for a minute, turning your face to it, and surrender to the will of the tireless rhythm with which the waves run ashore. It is enough to trace the flight of a bird or a falling leaf in autumn. Just look at how the clouds dance in the sky, taking thousands of fantastic forms in turn. In the end, it is enough just to be able to read that open book, the pages of which life turns before us every day, but in which we value - and even then not always - only the cover.

No, Terpsichore is not dead, because beauty never dies. Yes, perhaps no one will notice her presence, but everything Genuine is immutable ....
The Muse of Dance has always been, is and will be among us. True, few people already know her name and the art that she patronizes, But perhaps a vague longing has awakened in someone's body, it has long lost its wings and can no longer fly or step. And it can only raise its gaze to a fleeting vision, and the soul implores it to become again the same as before.
After all, the soul can dance. It lives in each of us, and it all depends on how much we fetter it ourselves. If the soul is trembling, the Greeks called it the name of grace and harmony, then - there is Terpsichore.

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Terpsichore - the story of the character of ancient Greek myths, the muse of singing and dancing

The story of the character

Ancient Greek mythology is curious about the cult of the gods of Olympus and the veneration of their children, who represent the third generation of exalted beings. Greece was famous for its enlightened minds and artists. Therefore, the muses who inspired creation enjoyed special respect. 9 women, daughters of the supreme god - the Thunderer Zeus, represent a harmonious triad. They personified science, crafts and arts. Each of the muses was necessary for the comprehensive development of the state, the improvement of education and new achievements in all areas.

Origin story

The Muses were originally thought to be inspirational nymphs. They are able to bestow talent in a particular direction or a tendency to manifest themselves in one form or another of art. Over time, the number of muses has changed. The myth says that each of them is the daughter of Zeus.

Thunderer Zeus

The first mention of these creatures tells of Meletus, whose privilege was reflection, Mneme, who is in charge of memory, and Aeda, whose element was the song. The ancient Greek poet Hesiod sang of nine girls, the children of Zeus and Mnemosyne, the goddess of memory. According to legend, the girls were born at the foot of Olympus. Beautiful in appearance, they were distinguished by sincerity and demonstrated wonderful talents.

Hesiod said that if the muse decided to endow a mere mortal with talent, she accompanied him from infancy. The girls patronized those who recognized their strength and believed that the talent was not unfounded. Muses prone to insolence were punished. Ancient Greece at first believed in muses favoring the poetic sphere, but later patrons of the exact sciences appeared. Each sister assumed responsibility for the area entrusted to her. They had specific duties and distinctive attributes.


Terpsichore was the muse of dance and choral singing and was often depicted as a dancer with a slight smile. Her head was decorated with a wreath, and in her hands the girl held a lyre and a plectrum. Terpsichore dominated the harmony between the inner and outer, creating a strong and conflict-free relationship between the soul and the human body. Terpsichore is described in literary works as "enjoying round dances".

Herodotus described the appearance of the patroness of music and dance in the fifth book of the Muses cycle. In the work, the historian left descriptions concerning the attitude of the ancient Greeks to various areas of scientific activity, crafts and arts, describing the image and perception of muses by compatriots.

The muse of dancing and singing

The dance of the ancient era was based on precise observance of the rhythm and its combination with the movements of arms and legs. The myth said that Terpsichore accompanied Apollo, teaching mortals to combine the spiritual with the physical. According to her precept, in dance one should take exquisite poses and use aesthetic gestures, reflecting thoughts and mood, creating a harmonious action.

The muse of dance was an important character for the ancient Greeks and a representative of the divine pantheon. The dance was highly valued in the state and was identified by the degree of seriousness with gymnastics. In gymnasiums, there was a separate subject that taught harmonious movement to music.

God Dionysus

Terpsichore's biography is ambiguous. According to some sources, she gave birth to the future singer Lin, and according to others, in alliance with the god of the river Aheloy, she gave birth to sirens. Alternative versions report that Lin is the son of Urania, and the sirens are the daughters of Melpomene.

Terpsichore is associated with Dionysus, drawing attention to the fact that she is often depicted with ivy, which was a symbol of the god of winemaking.

There is evidence that the Pythagorean school had a temple where Pythagoras taught his students. Terpsichore, Erato and Thalia, patronesses of the physical principle, elements, flora and fauna, were sung here.


Contrary to popular belief, the patroness of dancing and singing was invented by the ancient Greeks not in the name of entertainment. Ancient inhabitants believed that dance is an action aimed at contemplating and understanding nature, in which its own laws of movement reign. Terpsichore advised in entertaining dances at weddings and taught to convey emotions and a subtle connection with the culture of her native country and nature through movement. Dance was perceived as a harmonious movement of the soul and body in symbiosis. The Greeks knew how to hear and listen to music and associated it with the heartbeat. The lack of talent did not allow everyone to realize themselves in this direction.

Screen adaptations

The Muses are considered minor characters in the ancient Greek pantheon. The image of Terpsichore is rarely used in cinema, but references to it and the use of her name are common. The muse is mentioned in documentaries describing research in the field of mythology and theology, as well as in feature films dedicated to the art of music and dance.

Still from the film "Prisoners of Terpsichore"

The film "Prisoners of Terpsichore" released in 1995 is a vivid example of the mention of the name of the muse in the cinema. This is a Russian-made ballet film that describes the interaction of a teacher - Professor Sakharova and soloist Balakhnicheva. The dramatic plot tells about the period of training of the dancer of the Kremlin ballet, inspiration and a difficult path made thanks to talent, diligence and love for the art of dance.

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