#Enrico Glori

[perfettamentechic]

22 aprile … ricordiamo …

21 aprile … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2023: Barry Humphries, John Barry Humphries, attore, sceneggiatore e doppiatore australiano. Si affermò inoltre come drag queen, creando il personaggio di Dame Edna Everage (noto anche semplicemente Dame Edna). Noto per l’interpretazione di Claire Otoms in Ally McBeal. Si sposò quattro volte: il primo matrimonio, con la ballerina Brenda Wright, dal 1955 al 1957; il secondo matrimonio, con la…

[di-biancoenero]

Enrico Glori e Clara Calamai ne Il Fornaretto di Vnenezia (1939) di Duilio Coletti. Da un racconto popolare veneziano. I costumi sono di Bianca Emanuela Bacicchi.

[kronika-ilustrowana]

Смуглому брюнету со страстным взглядом и милой блондинке с молочно-белой кожей есть, как мы видим, что сказать друг другу. Не будем мешать влюбленным! Но кто они? Не ломай голову, читательница, это Энрико Бенфер и Мэри Глори. 

[brother-emperors]

for enjoyers of rome and comics:

Les Aigles de Rome (The Eagles of Rome) by Enrico Marini is set in first century CE Rome and it’s a fucking visual and narrative delight. It’s like taking a bite of a delicious meal, the story arc and interpersonal character drama combined with the density of life in the backgrounds makes each page a fantastic time.

Dead Romans by Fred Kennedy & Nick Marinkovich. Also set in the early Roman Empire! My feelings for this one are a little more complicated, but it there’s a sort of Hollywood movie appeal to the plot, and the illustrative work of the comic is stunning, a visual feast for the eyes and worth checking out for that alone.

Cléopâtre, la reine fatale by Thierry Gloris & Joël Mouclier. Dramatic spectacle, drama, delicious visuals, and I'm kind of obsessed with the visual tone of it. The character interactions and snapshot glimpses into the interlocking relationships everyone has are honestly a high point for me with this one.

[lestappenforever]

So, it’s official, Adrian is leaving in the first quarter pf 2025.

No one can even deny the fact that he is an Engineering Mastermind, and he is one of the pillars of Red Bull’s success. Building this team from the ground to its glory, and we can’t deny that he will be missed, and we (as Red Bull fans) will miss seeing him on that pit wall. And I do hope and wish him the best in his next step, whether that is Ferrari, Aston Martin or retirement.

But let’s be real (we as Red Bull fans again). Adrian is not and was not the only engineer who worked on the car all by himself. He’s not the designer of the car. Actually read somewhere that the RB19 and RB20 mainly were Pierre Waché and Enrico Balbo. And let’s be real, these 2 have been involved in the design of Red Bull’s cars for quite a while, and both have definitely learned from the best. Also, a car is not only a design, there’s an engine, the’s mechanical components, there’s a shit ton of systems, so it’s not only Adrian who brought Red Bull their massive success, its him and everyone in Milton Keynes. Let’s not underestimate the people who are maybe not as well known, or not shown in the spotlight in the cars design, as well as the other engineering principles.

And finally, let’s not forget the man in the cockpit and how much of a machine he is. From everything he’s dine so far, in addition to taking an overweight, not the fastest car in 2022 and turning it into a championship winning car.

All that we can hope (again as Red Bull fans) is well for Adrian, stability in the team, and mo other major departures, because that would be the downfall, Max to be happy and NOT LISTEN TO TOTO WOLFF

(That’s kind if my take, because I saw a lot of people saying Red Bull downfall because Adrain is leaving) (also hoping he’s going to shift his focus to hypercars and not go to another team just because it will hjrt seeing in a different team)

A lot of excellent points here!

Red Bull will absolutely notice his absence and miss him, but you're absolutely right: he's not the only talented engineer and brilliant mind at Red Bull. I do, however, think there's a big chance Red Bull will have to scramble to remain as good as they are once they're going to have to build their own engines for the first time, and there is no guarantee whatsoever they will succeed. We'll just have to wait and see.

Personally I'm thrilled for Newey. He's been with the team for almost two decades and he's been so important in all the success they've had. It's no secret that he's been eyeing new challenges for years, and with the shit that has gone down at Red Bull over the past few months, I don't blame him at all for finally leaving. I will always admire and support people leaving jobs, families, relationships, friends, etc. that they no longer feel comfortable staying on, even if it of course sucks that he's leaving as a Red Bull fan.

We'll see what the future holds for this genius, but I don't know, babe. I wouldn’t mind seeing him in another F1 team. And @valyrfia with her Lestappen Ferrari teammates in a Newey designed car agenda? I would absolutely love to see that. I've always been a driver-over-team kind of F1 fan at the end of the day, and as we're clearly not going to get Charles and Max as teammates at Red Bull, I would be more than happy to see them as teammates at Ferrari. (As long as Ferrari would be able to build them a competitive car, that is.)

[italiangothicwriteblr]

“Are you serious?”

Enrico had never seen Niccolo this angry. His aureate eyes held a roughness that sent a chill down Enrico’s spine, and he spoke in a low hiss. Enrico supposed this was how he treated enemies.

All those times Nic would offer to ‘handle’ a situation, this was what he hadn’t wanted Enrico to see. When he would shoo him out of the room with a kiss, or tell him to stay in bed.

“I’m sorry.”

He barely knew why he was apologizing, why Niccolo was so upset. Enrico was the one about to shackle his life to a madman!

“Brutal way to ask for a divorce, you know. Couldn’t even tell me in person, had to let the news that you’re marrying Nero reach me naturally?”

“He asked! And he said...he said the Consiglio might hate me less if I....” Enrico stammered

“Please,” Niccolo huffed a derisive laugh, “if that was all you wanted, I’m just as connected as he is. Clearly, he won you over some other way. Could have been fucking before the war, for all I know. After a decade, you could at least tell me the truth. You’re good at that.”

The words were designed to hurt, and they both knew it. Enrico watched as the reality of what he had said sunk in.

“I didn’t mean...” Niccolo started, but Enrico cut him off.

“Yes, you did. And it’s okay. I didn’t think you would care, but I didn’t consider the optics. I certainly didn’t intend to embarrass you.”

“You seriously think that’s why I’m upset? I didn’t come all the way here for a formality. I don’t appreciate when my enemies get their hands on what’s mine.”

Enrico could have started weeping, for how much sense it made. After what had happened, he was going to let Nero Trapani wear the Principe’s crown, while the second-in-command to their late, beloved king languished in exile. How could he have been so foolish? In his rush to cleanse his loved ones of the miasma borne from being associated with him, he had forgotten about the honors he would be taking away. 

If Niccolo was willing to accept a stain to his reputation in exchange for the crown, Enrico would allow it willingly. Even if he had to break his own heart.

Marriage to Nero disgusted him, but anything was better than the love of his life returning to him for nothing more than glory.

But it was what he deserved. His repentance.

“You’re right. Of course you are. I thought I was doing the right thing, and I’m sorry.” Enrico tried to keep his voice level.

“Are you saying you want me to stay?” Niccolo was smiling now, and had put his hand on Enrico’s cheek like no time had passed. 

Ever the gentleman, apparently Niccolo planned to observe all the formalities. Didn’t he know that Enrico would have him here regardless? Anything Nic had felt for him died when their country had fractured, but the crown was his by oath. Enrico didn’t need, and truly didn’t want, him to pretend.

Repentance. Enrico reminded himself again. Maybe this was Niccolo’s way of enacting a slow revenge on the man who killed his closest friend. He had always been brilliant with manipulation, and Enrico would happily play his target.

“Of course I do,” Enrico tried his best to seem naive to the machinations, letting the besotted smile he had been fighting break through. 

[tomboyjessie13]

Jojo incorrect quotes feat. my OC - Timeline (Ver. 6.0)

(The quotes that are not included on here are either for DA or just one off gags, I would also like to apologize if there’s any inconsistencies with the plot, either I forgot or I’m still developing my OCs)

Before the Crusades ~~~~~~~~~~~~~~~~~~~~~~~

- Medea's first arrival to Cairo and DIO's Mansion a la Dracula: Link

- Medea’s reaction to T. D’Arby’s doll collection: Link

- Medea attempts(and fails) to kill DIO with garlic: Link

- Part 1: Jean Pierre Polnareff

- Medea tells off DIO about the state of Islamic Cairo: Link

- Medea deals with DIO’s vampirism: Link

- DIO exposes Joseph’s affair to Medea: Link

- Part 2: Enrico Pucci

- Medea gets shot by the arrow and gains new powers: Link

- Medea gets sick after being shot by the Arrow: Link

- Medea and the other servants discover that Eris committed murder out of jealousy: Link

- DIO seducing Medea into “spending the night” with him: Link

- Part 3: Hol Horse

- Medea gets possessed by Anubis: Link

- Medea loses at "Dragon's Lair": Link

- Medea rants about Jason drunkenly to Mariah and Midler: Link

- Medea tells Steely Dan to fuck off: Link

- Part 4: Muhammad Avdol

- Medea threatens to kick Nukesaku's ass: Link

- Medea takes in a kitty despite DIO's anti-cats and dogs rule: Link

- The Agents of DIO have a private party at Danial's Cafe: Link

- Medea messes with Nukesaku alongside T. D'Arby and Kenny G: Link

- Part 5: Noriaki Kakyoin

- Midler drunk dials Medea: Link

- Medea gets one hell of a Birthday present from DIO: Link

- Medea and T. D’Arby goes shopping + Kakyoin’s walkman: Link

- Part 6: Finale

Part 3 - Stardust Crusaders ~ East and West Asia ~~~~~~~~~~~~~~~~~~~~~~~

- Narrator explains the Greek tragedy of Medea and Jason: Link

- Medea’s reaction to Jotaro being 17, not an adult: Link

- Jotaro kicks Medea’s ass during their first meeting: Link

- Medea discovers that J. Geil is dead: Link

- Medea visits the Taj Mahal while waiting for the Crusaders: Link

- Medea chews out Jotaro during their stay in New Delhi: Link(I finally fixed it)

- The Crusaders hide out in an Indian Theater while Medea stalks them: Link

- Medea reluctantly rides with the Crusaders after Enyaba's defeat in Pakistan: Link

- Medea fights the Crusaders before Avdol showed up alive and well, scaring her off: Link

- DIO finds out that Avdol is alive, and Medea failed to kill the Crusaders: Link

Part 3 - Stardust Crusaders ~ Battle in Egypt ~~~~~~~~~~~~~~~~~~~~~~~

- Medea tries(and fails) to assassinate the Crusaders at the hospital and gets carried off by Jotaro: Link

- Medea brags about the 9 Glory Gods to Joseph: Link

- Crusaders takes Medea captive after arriving in Aswan: Link

- Polnareff confuses Medea's Irish for Chinese: Link

- Joseph using Medea’s Irish heritage to mess with her: Link

- The Crusaders discovers that DIO pays Medea peanuts while counting their money: Link

- Medea tries framing the Crusaders for possessing drugs: Link

- Iggy raids Medea’s items and pushed her into the Nile: Link

- Medea makes herself and the Crusaders breakfast: Link

- Joseph makes Medea wear his Hamon mask: Link

- Medea and Polnareff dancing to "Footloose": Link

- Medea has a nightmare of DIO threatening her: Link(this is actually a dribble, but it counts)

- [Flogging Molly] causing a morning mishap with Medea and Polnareff: Link

- Medea’s reaction to Joseph becoming young again via Sethan: Link

- Mariah and Alessi fight aftermath + Medea’s humiliation: Link

- DIO finds out that Medea failed her mission and activates his “fail safe” on her: Link

- Medea and Kakyoin bond in the hospital + Medea’s backstory: Link (Slightly outdated due to my fanfic)

- Medea calls out Kakyoin’s idiocy over the [High Priestess] fiasco: Link (outdated)

- Kakyoin and Medea eat Sesame Honey Dumplings from “Jojolion”: Link (non-canon)

- Eris tells Medea that she killed some of DIO's agents for their failure while looking for Kakyoin: Link (Slightly outdated due to my fanfic)

- Kakyoin and Medea saved Oingo from being consumed by [Nephthys]: Link(feat. Eris Raitt)

- Kakyoin tells Medea about Morioh when she worries about becoming homeless and jobless upon DIO's defeat: Link

- Kakyoin reunites with the Crusaders and Medea returns to Cairo, alive and well: Link

- The Crusaders’ last dinner together before facing DIO + Plot twist: Link(I’m keeping the dinner scene, not sure about the plot twist however)

- Medea tells the Crusaders about the time she dyed DIO's hair out of revenge for mocking redheads: Link (Outdated)

- Joseph and Medea break the fourth wall to talk about Islamic Cairo and how DIO fucked one of the districts up: Link

- Joseph tells Medea about the Stone mask: Link

- Medea explains who Kenny G and [Tenore Sax] are to Polnareff and Avdol: Link

- Medea and Polnareff after the events of “The Miasma of the Void, Vanilla Ice”: Link

- Medea and DIO’s confrontation before “DIO’s World”: Link

- Last Train Home ~Medea’s Lullaby~ : Link

Part 4 - Diamond is Unbreakable ~~~~~~~~~~~~~~~~~~~~~~~

- Medea’s first appearance of the arc: Link(feat. Noriko and Keiji)

- Medea hears school bathroom singing: Link

- Medea and Jotaro witnessing Josuke playing “Pepsi Man”: Link

- Medea at Rohan’s house: Link

- Medea’s dealing with Okuyasu and Noriko crying over a Chao dying: Link(feat. Noriko)

- Medea threatens to kick Rohan's ass for using [Heaven's Door] on her: Link

- Medea badmouths Joseph to Josuke: Link

- Medea meets Yoshikage Kira for the first time: Link

- Keiji defends Medea from his racist ex-girlfriend: Link

- Medea visits the Higashikatas for school grades and video games: Link

- Josuke visits Medea’s home: Link(feat. Noriko)

- Jotaro, Medea, and Josuke have a serious discussion during their drive to S-City: Link

- Medea meets Kira once again by accident and her students try drawing him: Link

- Medea is shocked to find that her mother-in-law invited Kira for breakfast: Link

- Medea finds out that Kira is the serial killer: Link

Part 6 - Stone Ocean(feat. her daughter, Noriko) ~~~~~~~~~~~~~~~~~~~~~~~

- Noriko gets her idol concert ruined by Pucci: Link

[maxwell-grant]

If you're still doing the character opinion bingo... N'Doul, please? :D

The N'Doul fight is an all-timer in the series for sure and a pretty stark contrast with later Stand battles, where 90% of the challenge was figuring out how the Stand works so they can counter it. Geb is as simple as Stands can get, conceptually, it’s major advantage being how it benefits from the terrain and N'Doul's own cleverness. He's an excellent introduction to Egypt as the place where shit is gonna get real for the Crusaders, almost taking out the entire party and even disabling Kakyoin all the way to the finale, only beaten by the recent addition of Iggy into the mix. He's a very solid villain and an optimal choice as a entry-level showcase of "this is what a JJBA fight looks like", not surprising that this was the first fight to be adapted into animation as well. 

N'Doul and most of the other 9 Glory Gods benefit a lot from Part 3 being saturated with colorful one-note baddies for the Crusaders to routinely beat, because it does wind up making him stick out all the more with his taciturn, focused personality, perfectly befitting a fight that’s entirely based on tense silence punctuated by sudden quick viciousness. A lot of what makes N'Doul memorable is because of that contrast between him and most of the other minions of DIO personality-wise as well as visually, because he's designed to be attractive in a way comparable to Kakyoin, and that throws off your brain a little when you're used to the Crusaders dealing with terribly-dressed sneering cartoons. 

To a better extent than Hol Horse, N'Doul wouldn't look at all out of place among the Crusaders as an ally. I’d even say that, in a way, N’Doul reads to me now as a prototype for Enrico Pucci, in the sense of him being this solemn, driven young man with a tragic background driven into DIO’s arms by a need for salvation, and having a number of similarities with the heroes that only serve to punctuate the tragedy that is their suicidal allegiance to evil. I think it’s something that Araki’s been flirting with since Bruford in Part 1 and that saw it’s real potential taking form with Pucci, with N’Doul as the important middle step as someone who was driven to evil out of loneliness and lack of purpose and despair and being manipulated by someone who knew how to prey on his basic human needs. It’s with characters like N’Doul and Wammu that you see Araki first experimenting with that moral greyness he’d eventually make much more extensive use of as the series went along.

What I like most about N'Doul, though, is what he does for the narrative as an enemy for Jotaro to overcome in particular. As the Samurai to Jotaro’s Cowboy, the two get to have a wonderful showdown moment befitting that vibe, and more so than that, I think N’Doul works great as a showcase for Jotaro’s character development because he’s an enemy that Jotaro ends up getting emotionally invested in, an enemy that does go some way towards changing him. More specifically, I think of N’Doul as kind of the benchmark for Jotaro’s growth, the point that fully marks how Jotaro stopped being “just” the next JoJo and fully cemented himself as Jotaro Kujo, the iconic hero in his own right.

This probably has more to do with Araki’s changing tastes and likely not intentional but, I’ve been rewatching Part 3 recently and it just never stops feeling weird hearing Jotaro be called “JoJo” for much of the beginning. Obviously the series needs to keep the JoJo name going, and we’d sat through two other sagas starring guys everyone called JoJo, but with Jotaro, it just constantly feels discomforting, impersonal even. It’s a name that nobody actually close to him calls him, tied to a bloodline he has no connection to until that connection starts killing his mom. He gets called JoJo by his annoying classmates and his distant grandfather and the Crusaders he barely knows at first, and as the part progresses and they become closer and we spend more time with Jotaro, everyone calls him by his actual name. But at first, that name is an antiquated leftover, something that just points to Jotaro as just The Next JoJo and not his own person, a guy who’s just part of the story without belonging in it, if that makes sense.

Because Jotaro’s initially defined a lot by that distance between him and the greater history of conflict he’s getting dragged into. He didn’t grow up with Dio or stories about him, he didn’t take up martial arts to save the world, and unlike with Joseph, the vampire asshole hurting his family didn’t even have the decency to show up at his front door first before trying to kill him. He was just a high school student with an attitude problem one day, and then out of nowhere he gets “possessed” by an unfathomably dangerous thing that pushes him to lock himself up in jail for everyone else’s sake, and next thing he knows, he has to travel across the world with his grandpa and some other guys he barely knows, avoiding superpowered murderers every hour of every day with no rest, so he can go kill some evil thing he didn’t even know existed, because otherwise his mom’s gonna die. 

And it’s through the course of Part 3 that we see him grow as a person and as a fighter, grow closer to the Crusaders who all start to know him better than anyone else ever did. We see him become the guy that evildoers around the world fear, we see how he owns that legacy he has within the Joestar bloodline and the destiny that comes with it, and in the following parts Jotaro takes over Joseph’s role as the main tether to it that everyone else has, older and more responsible and carrying that weight on his shoulders (for better or worse and, by the time of Part 6, definitely for the worse).

And I think it is N’Doul who really starts this transition for him on-screen because of how he shakes things up, not merely because he’s more than just another bloodthirsty maniac among the dozens Jotaro’s beaten up over the past days, but because he’s someone so devoted to that evil thing that he kills himself in front of Jotaro. Jotaro had seen people die, he’d seen DIO’s subordinates be offed in front of him, but this is the first time he sees someone commit actual suicide in front of him over DIO, and he’s powerless to save him as he did for Kakyoin and Polnareff (while this is probably not intentional, the fact that Star Platinum exhibited enough strength to smash car-sized diamonds and punch holes straight through DIO definitely makes it seem like Jotaro was pulling his punches quite a bit over the part)

Jotaro meets N’Doul, a man with virtues and qualities that Jotaro recognizes enough to feel some kind of kinship towards him, and he has to watch that man skewer his brains out in front of him using his own Stand. We don’t really get much talkative introspection out of Jotaro in general because of the way he’s written but, prior to the N’Doul fight, the only other time we’d been allowed enough into Jotaro’s headspace was a brief moment in the Death 13 arc where Jotaro reflects that he’s 4.000 miles from home and it’s been 4 weeks and he’s getting worried they won’t make it in time. As in, his driving motivation still remains just getting to DIO in time to save his mom. Obviously not something anyone can criticize him for worrying about but,

In the aftermath of the N’Doul fight, we see Jotaro thinking about DIO specifically, really the first time we see him even address him proper after the beginning where he doesn’t even think DIO exists. DIO is weighing on his mind, he wonders what kind of man is he, the kind of power he has over people’s minds, what other horrors he’s gonna throw their way. He gets emotional yelling at a dying N’Doul and asking him to tell him why, why are you killing yourselves for that man, why is this worth dying for to you people, and N’Doul uses his dying breath to open up about his background and power, and give him the Evil Savior speech. And I think this is kind of when Jotaro finally internalizes what kind of power DIO has, something that makes him existentially monstrous and dangerous on a bigger level than just the things he’s done to his family and friends, or to countless others before and now, or that he’s causing to his mom right this second, or even that he’s done to the fanatics under his thrall he’d sent to die fighting them.

Enya was one thing, and all the Crusaders were pretty shaken about that even then, but this? That’s the kind of thing that gets Jotaro to make a grave, because there’s nothing else he could possibly do, for a guy he’d just seen rip off the faces of innocent people and blind his friend. For a guy that Jotaro didn’t want to kill, a guy who really, really didn’t have to die, a guy who could have been something else, something better, really just something at all, other than just another corpse with DIO’s name on it. 

I think of this as the moment where Jotaro truly internally grows into the hero of the story, as the only one who could stop DIO. Who came to understand DIO a little better than the others. Jotaro grows to be DIO’s nemesis not just because he’s equally powerful, or equally determined, or better at stacking up bullshit tricks to win fights, but because he refuses for even a second to entertain DIO, because he'd seen again and again the horrors DIO can wreak if he gets even an inch worth of breathing room (and it STILL doesn’t stop Jotaro from falling for DIO’s bullshit and almost dying in DIO’s World). There is no history between the two as there was with Jonathan, nothing other than savagery and hatred. DIO’s been shitting over everything and everyone for years and it just so happens that Jotaro was given a mop to clean it up. Jotaro was the enemy DIO deserved.

At no point did Jotaro get a choice in the matter, when it came to entering this journey, it was either this or sitting by watching his family die. But here, we see how personally he’ staking it to oppose DIO for reasons other than his mom’s predictament. Iit’s also important that, immediately following N’Doul’s burial and Jotaro’s thinking, we get the scene where he bonds with Iggy, saying he’s not mad for Iggy having screwed him over during the fight and that he doesn’t blame Iggy for being pissed that he got dragged away from home to fight in the desert, and extending the gum as an olive branch, a pretty far cry from what the self-proclaimed “nobody ever said Jotaro Kujo was nice" guy from early in the part would have done (also not an inaccurate way to describe what Jotaro himself went through, no wonder he’s the first to sympathize with Iggy).

Though his trials were countless, it was N’Doul that most prepared Jotaro mentally for the battle against DIO and his unending evil, not just in Cairo, but in the following decades. And I think of N’Doul’s burial as the moment that made Jotaro choose, of his own volition, to step up into his role as DIO’s Enemy, for all the good that would do him. Maybe evil needs a savior, but so do those who need to be saved from it. 

I realize I spent most of this post about N’Doul talking about Jotaro but honestly I do think of that as a mark of him being a great villain, I think he brought out something real special out of Jotaro as a character during that fight. 

[richardtrager]

@vialaviolenza said : “ You… don’t like me very much, do you? ” From Enrico Pucci for Trager's patient verse.

The hum follows him everywhere now like a fly buzzing around his ears...like a swarm. And if he isn't careful, that swarm is gonna make a nest right where it counts. Like any reasonable man would do, he ignores it, plays it off, casts it aside...but it's fucking everywhere now. It's in the pipes that line the narrow halls where they shuffle them along like cattle, it's in the tiny buzz that the lights in his cell emit, it's in the fizz of the industrial grade freezers in the kitchen...and it's in the engine. Of course that's where the sound comes from. It's spreading like an infestation and the treatment is its hive. If he could just cauterize its pathways before he bleeds out...he'd be home free. 

He can hear it now, vibrating against his eardrums with a relentless whine....or maybe it's just the droning, grating bass that is Pucci's voice? 

Pulled out of his thoughts by the one and only guy who's name sounds like a vaganal disease, which may be for the best truth be told, Trager turns to the side to give him a glance. "Listen, Pacha. It isn't about LIKE or DON'T LIKE....okay bud? This isn't daycare. None of these drooling little freaks like anyone." Richard indicates the rest of the rec yard with a swooping hand, his skincare-less routine really showing out in all its glory in the sunlight. "They're all too jazzed up to care..." That, or their brains have been stirred around with a fucking spork, but why scare the new guy? No point in it now. He's one of the only people around this dump Richard can have a conversation with without the other party smacking their foreheads into a wall or pissing their fucking pants.

"But lucky for you, Ole' Rick's still cognizant. Of course I like you, pal." Does he sound convincing? Truth be told, he isn't trying very hard. Just about the only pep he gets in his step the past few weeks come from the little fruit cups they serve for breakfast and that sugar rush wore off hours ago. God he wants another. 

[amethystrp]

At midday on 2 September 1319, a Venetian sailor leapt from the bow of a massive ship––aptly named the Innocenza––and crawled onto a gondola, appearing to cut through the murky waters of the Moskva with a sabre as he propelled himself toward the planks of its foremost wharf.  Seafarers, merchants, and courtesans who lingered by the port watched from a distance as the Venetian unsheathed his sword, clearing a path for his cronies to follow.  By the dozen, Venetians began to spill out from the belly of the Innocenza and into the emerald-green water, slithering through the canal like guileful serpents, their tunics painted in the crimson-red cross of the crusades.  Fear-mongering mystics drove onlookers away in great hordes, declaring the end was nigh––the forerunners of the Antichrist had arrived; they would plunder their dwellings, violate its maidens, shatter its relics and, like they’d done in Constantinople a century prior, sack the ancient city of Moscow until it was no more than an echo of its former glory. The tenth Crusade had begun ... or had it?

By the early afternoon, a great fleet of Venetian ships had arrived in Moscow, leisurely yet relentlessly nearing the its harbour––which was, by now, a liquid reflection of Moscow itself: of the depth of its fear, the murk of its uncertainty, whirled by the September wind and the billowing white sails of the Venetian’s formidable armada.  The piercing sound of brass trumpets and the dull boom of the ships’ gongs thrummed across Moscow, trembling the walls of the Kremlin, where terror gripped the Tsar’s royal guests as they made quick work of caching their valuables and absconding into their private chambers, awaiting the pillage––awaiting the carnage.  Venetian sailors were now proudly teeming at the wharf, mingling with and, at times, brusquely confronting other European seafarers, who feared the Venetians would seek to plunder their own vessels.

As the last of the warships moored in the lagoon––each brightly-painted, emblazoned with the Doge of Venice’s magnificent crest, and cramped with high-status warriors packed tightly together––silence descended.  The man whose intelligence, riches, and foresight controlled this mighty fleet then dismounted onto Russian soil and, in chivalric tradition, swayed to his knees to bless the ground beneath him.  This man, Enrico Dandolo, hailed from continental Europe’s most unforgiving city: carved out by dark waterways where suspicions abound and his enemies litter the seabed, where his citizens are wealthier than Croesus and where Constantinople’s long-looted relics glint beside the spoils of a maritime empire––he is, in the year of 1319, the richest man in Europe.  As he rises, he is greeted by the sight of two men, flanked by armies that appear to glitter like beaten brass in the late summer sun.  These men are Maximilian, Holy Roman Emperor, and Alexander, Tsar of all Rus’.

The Doge is quietly and prudently escorted to discreet lodgings, in an unmarked location within the fraught city of Moscow, where the three rulers speak in hushed tones.  Time appears to stand still, and above the pitiful wailing and writhing of the city’s inhabitants, the call to prayer lifts into the balmy air.  It is not until Enrico, Maximilian, and Alexander appear at the crenelated walls of the Kremlin that prancing heralds reveal a truce had been sealed, sanctified by the Tsar’s white-robed patriarchs.  Guests of the Doge––including bands of nobles, autocrats, holy men, their servants, soldiers and eunuchs––begin, with the Tsar’s blessing, to seep out from the underbelly of the Venetian flotilla, pouring into the city and breathing in an air humid with both prophecy and song.  They are driven toward the gates of the Palace where they are received, both by the Vasilyeviches and their guests, in state: a magnificent feast awaits them to mark and celebrate the Venetian–Muscovy Pax Romana.

2 September 1319––one of the most momentous days in Moscow’s history––was ending, and it would crescendo with dancing, revelry, and sumptuous feasting ...  or so the Doge, and his guests, were led to believe.

𝑰𝑵 𝑪𝑯𝑨𝑹𝑨𝑪𝑻𝑬𝑹 𝑫𝑬𝑻𝑨𝑰𝑳𝑺.

WHEN: 2 september 1319.

WHAT: a flotilla of venetian warships arrive in the moskva canal at mid-morning; once a truce is reached, the tsar hosts his new guests at a banquet in the palace of the facets.

WHERE: the harbour (morning–afternoon); palace of facets (evening).

WHO: all guests of tsar alexander.

𝑶𝑶𝑪 𝑫𝑬𝑻𝑨𝑰𝑳𝑺.

THE VENETIAN INVASION is an event to mark the start of AMETHYST: CHAPTER II.  All muses are invited to feast and make merry with the Tsar’s newest guests, members of the Venetian League and Bavarian Alliance. This event will last a week, beginning on 9.2.22 and ending on 9.8.22.  All members are encouraged to participate in this trend and write-event related threads ... and get into the action before we release our forthcoming plot drop ... Please tag  any event-related threads, graphics, and other paraphernalia with #amethyst.invsion.  Please also note that this event is concurrent with the promotion of our newest crop of characters, which will be officially released this evening at 4PM EST.

The event will mark the opening of Amethyst, set to begin tomorrow, 2 SEPTEMBER, @ NOON EST.

[piers-wifey]

piers i just wanted to let you know that your stars headcanons give me so much life they're so accurate and funny i hope you give us more soon

Awww, thank you so much nonnie! That really means a lot to me! And don't worry, there's more on the way!

—-

To be honest, I still want to bite Capcom for not giving us more S.T.A.R.S. lore. Like, have you seen them?? They're awesome! They're badass! And what did Capcom do? Kill them off. I mean, why give them all personalities and make them look like a super elite team if like, half of them never really plays a role in the game and gets portrayed as a bunch of incompetent idiots? I mean I get it, zombies and monsters weren't part of their training, but the only reason Becca, Wesker, Chris, Jill and Barry made it is fucking plot armor. (And because one of them is a villain)

Forest? Is already dead.

Edward? All that is found of him is his severed hand. His screentime in RE0 was also severely limited.

Joseph? Gets killed in the first two or three minutes of the intro.

Kenny? Gets killed right at the beginning of the game.

Enrico? Also doesn't have much screentime and, if I'm not mistaken, is the only S.T.A.R.S. member that figured out before anyone else, that there was a traitor among them.

Richard? Is the ONLY S.T.A.R.S. (Bravo team) member that gets his short 'moment of glory' aka sacrificing himself for Jill/Chris and proving that the S.T.A.R.S. weren't as 'incompetent' as Capcom portrayed them.

Kevin? (Who isn't even a S.T.A.R.S. member I know, but fuck it! I make the rules now) Also dead. No chance of getting a glimpse of his personality. All we can assume is that he's an adventurous guy, and a bit of an adrenaline junky.

Brad? Appears briefly in RE3 and then gets immediately killed by Nemesis.

—-

I'm so sorry this turned into a rant, I tend to get a little too passionate sometimes haha. But yeah, as you can see, I'm still salty that Capcom robbed us of so many great characters.

[perfettamentechic]

22 aprile … ricordiamo …

22 aprile … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2020: Shirley Knight, attrice statunitense. Sposò l’attore Eugene Persson, da cui ebbe  e con l’attore John Hopkins.  (n. 1936) 2011: Helen Stenborg, Helen Joan Stenborg, è stata un’attrice americana di teatro, cinema e televisione.  Ha recitato occasionalmente con il marito, l’attore Barnard Hughes, con il quale è stata sposata per 56 anni dal 1950 fino alla sua morte. (n. 1925) 2006: Alida…

[djmusicbest]

Apple Music NYE 2024 (DJ Mix) by Hiroko Yamamura

  DATE CREATED: 2024-02-08 Tracklist : (still) WON'T4GETU (Mixed) - Seth Troxler, Shouse & Dennis Ferrer.mp3 Acid Love Affair (Mixed) - Ōsé.mp3 Asphyxia (Mixed) - David Castellani.mp3 Bellhouse 1 (Mixed) - Kyle Geiger.mp3 Devon (Oliver Huntemann Remix) - Oliver Schories.mp3 Fleeting Glory (Drumcell Mutation) - Paradaux.mp3 Forms 222 (Mixed) - The Advent.mp3 Heavy (feat. Steffanie Christi'An) - Dantiez, Kevin Saunderson & Inner City.mp3 I Call Upon ... (Mike Servito Pump Mix) - Mike Servito & Love Letters.mp3 Man Vs Nature (Mixed) - Luis Flores.mp3 Nairobi Candles Smart (Mixed) - Jesse Siminski.mp3 Ode to Earth (Mixed) - Jay Lumen.mp3 Reflection (Mixed) - Charlotte de Witte & Enrico Sangiuliano.mp3 Shadows (Mixed) - Virgil Enzinger & Submerge.mp3 Smirker (Mixed) - Marc Houle.mp3 Soulful (Mixed) - Adam Beyer.mp3 The Girls Go Walking (Mixed) - Cole Knight.mp3 The Good, The Bad & the Acid (Mixed) - Anja Schneider.mp3   Download FileCat Read the full article

[muznew]

Apple Music NYE 2024 (DJ Mix) by Hiroko Yamamura

  DATE CREATED: 2024-02-08 Tracklist : (still) WON'T4GETU (Mixed) - Seth Troxler, Shouse & Dennis Ferrer.mp3 Acid Love Affair (Mixed) - Ōsé.mp3 Asphyxia (Mixed) - David Castellani.mp3 Bellhouse 1 (Mixed) - Kyle Geiger.mp3 Devon (Oliver Huntemann Remix) - Oliver Schories.mp3 Fleeting Glory (Drumcell Mutation) - Paradaux.mp3 Forms 222 (Mixed) - The Advent.mp3 Heavy (feat. Steffanie Christi'An) - Dantiez, Kevin Saunderson & Inner City.mp3 I Call Upon ... (Mike Servito Pump Mix) - Mike Servito & Love Letters.mp3 Man Vs Nature (Mixed) - Luis Flores.mp3 Nairobi Candles Smart (Mixed) - Jesse Siminski.mp3 Ode to Earth (Mixed) - Jay Lumen.mp3 Reflection (Mixed) - Charlotte de Witte & Enrico Sangiuliano.mp3 Shadows (Mixed) - Virgil Enzinger & Submerge.mp3 Smirker (Mixed) - Marc Houle.mp3 Soulful (Mixed) - Adam Beyer.mp3 The Girls Go Walking (Mixed) - Cole Knight.mp3 The Good, The Bad & the Acid (Mixed) - Anja Schneider.mp3   Download FileCat Read the full article

[loosealcina]

ITALO MONTEMEZZI'S L'AMORE DEI TRE RE AT LA SCALA, NOVEMBER 12, 2023

If you ask a music enthusiast: 1913?—there’s more than a good chance he/she’ll answer: Le Sacre du printemps. (Maybe some peculiar individual will go with: Olivier Messiaen turns five—but that would be a big outlier we’re just allowed to ignore). You can also start a conversation from there, packed with fascinating characters and items: a bunch of angry people in the audience, Vaslav Nijinsky in the wings, a rough array of odd meters/irregular beats, a (possibly made-up) cab ride to the Bois de Boulogne after the show… Yet La Scala is currently spreading the news that another answer is possible. You might have guessed by now: 1913 can stand for L’amore dei tre re, as well. I’ll provide you with the storyline first. In the middle of an occupied land, a castle is both home and prison to Fiora; she was forced to marry one of the conquerors (Manfredo [who seriously worships her, no less]), but she’s secretly seeing her former lover (Avito). Given Manfredo is often out and about fighting his enemies, his elderly father—a blind baron named Archibaldo—decides to morph into a bizarre figure, part guardian of public morals, part outright jailer (plus ardent torturer, and more). I think I can give my own private finale away at this point: as all the lights were turned on and I headed for my humble abode, I was feeling a little hesitant and confused, but essentially underwhelmed. It was obviously thrilling—and, to some extent, rewarding in itself—to make the acquaintance of L’amore dei tre re in the flesh.

(It should be noted that this title comes with a pretty unique, elusive aura. After a Milanese début, its glory days—in fact, its several glory decades—did involve [quite interestingly] the States, and a number of genuine superstars: Arturo Toscanini, Victor De Sabata, Enrico Caruso… Then, some kind of vanishing act seemed to be successfully carried out. In short: this is the first staging of L’amore dei tre re at La Scala since 1953). Yet, to me, the negative factor was hard to miss. I failed altogether to establish an emotional connection with the music I was listening to. Many scholars tend to mention Claude Debussy and Richard Wagner when they comment on this work, but I couldn’t perceive anything remotely reminiscent of those two operatic worlds. Furthermore, probably the worst bit: L’amore dei tre re didn’t appear to explore any significantly different/personal path, either. Apart from the circumstance that I wasn’t equipped with a proper heart (old story—I think you already know it), I put at least part of the blame on the performance. Pinchas Steinberg and the orchestra were extremely steady between forte and spirited. Spirited and forte. As for the production created by Àlex Ollé/La Fura dels Baus, it was the definition of plain, unadventurous illustration. Perhaps a certain restraint—as an example: the relative scarcity of old-school pseudo-medieval ornamentation—could be saluted as a highlight. But I’d say this revival as a whole is likely to be more an inhibitor than an encouragement as far as the curiosity about Italo Montemezzi’s best-known opera is concerned.

[byneddiedingo]

Arletty and Claude Dauphin in The Pearls of the Crown (Sacha Guitry, 1937) Cast: Sacha Guitry, Jacqueline Delubac, Lyn Harding, Renée Saint-Cyr, Enrico Glori, Ermete Zacconi, Barbara Shaw, Marguerite Moreno, Arletty, Marcel Dalio, Claude Dauphin, Raimu, Jean-Louis Barrault. Screenplay: Sacha Guitry, Christian-Jaque. Cinematography: Jules Kruger. Art direction: Jean Perrier. Film editing: William Barache, Myriam Borsoutsky. Music: Jean Françaix. Sacha Guitry's The Pearls of the Crown is a romp through French and English history that tells the story of how four pearls came to be placed on the royal crown of Great Britain -- and what happened to three other similar pearls that didn't make it. It purports (with tongue in cheek) to be a true story, and it gives Guitry a chance to play four distinct roles, including Francis I and Napoleon III. It also features cameos by some celebrated French actors, including Arletty in blackface as the queen of Abyssinia, Claude Dauphin as her pearl-hunting lover, Jean-Louis Barrault as the young Napoleon I, and Raimu as the owner of one of the three missing pearls. Guitry's wife and frequent co-star, Jacqueline Delubac, plays a key role as the wife of the chief pearl-hunter, Jean Martin (Guitry), as well as bits as Mary Stuart and Josephine de Beauharnais. It's made in three languages -- four if you count the gibberish spoken by the queen of Abyssinia and her courtiers -- but mostly in French. Engaging enough, though you may want to bone up on French and English history to get the full value.