#Yoly's meta

[kitsunefyuu]

"Destroy everything that gave rise to that house."

I remember that line Tomura gave in reference to the tragedy and all that terrible hardship. To destroy society to it very foundation to give rise to something different. I imagine people think that if it all because of AFO it some how 'cheapens' the critic on society.

But the thing is AFO is the very PRODUCT of societies very foundation that was built on the blood of innocence. He is born from it poverty, it starvation, it cruelty, and abuse of power. He watched as people tore each other apart, forced to kill since youth while many people pretended to be on the side of good. He took in everything that society itself tried to pretend it didn't have and made it his identity to exploit because Society ALLOWED him to do so.

All for One would not have existed if there had been even one person that looked at those feral children in the streets. Saw they had powers and yet still extended a hand, but because no one did a monster was born from societies very malice. Trying desperately to have what everyone else has, to imitate everything else society can give but also to exploit others with no regard for who is crushed. Just like how society allows people to fall through the cracks, as AFO says society makes it easy to turn good people into villains.[MHA: Vigilantes]

Showing and exploiting the very weakness in that society. So him becoming that very house, to laying the foundation and being part of constructions. He is something to be defeated yet is not something that could easily go away just with a few words.

It like a poetic way of saying as long as Society continues to be the way it is, then All for One will never allow himself to die. That is what Tomura and Izuku need to fight against as long as society doesn't change another AFO will rise to exploit it.

[faorism]

if they are straight silently going to ignore maria shipp's existence, i might just mentally rewrite things so she was always eliots mcsweeten and who he was assigned to lure as a friend as a govt in. she will rightfully be happily married to a big butch lesbian and maria will be mentioned exclusively as a bannano-esque "hey please arrest this guy, here's a whistleblower holding a package with all the evidence"

[imetapoeta]

Comprobado IN FRAGANTI: La Negrura Sigiloso se come las flores de Magnolias (“Las Karinas” del Jardín y a sus hermanas: Yoli-Tina-Laura y Ambar. !SE BUSCA! Recompensa: La bandera Dominicana: Arroz con habichuela y carne. Llamar al 1-800-NO-TE-METAS. https://www.instagram.com/p/B-mbiqwDNKN/?igshid=kri083isyokn

[spitfirehiphop]

The Mighty Capeech - Better Dayz

The Mighty Capeech – Better Dayz

The Mighty Capeech drops off his new single titled ‘Better Dayz’.

The Mighty Capeech says ain’t nothing changed, hip-hop is still hip-hop and real MCs can switch flows on any beat. The Mighty Capeech blesses us with a new track ‘Better Days‘ that hits eardrums hard.

Over a melodic piano loop produced by Yoli, Capeech flips his style to complement a trap banger. Listen to the single…

[luisbeltranrodriguezlb]

13 MEDALLAS PARA EL GEDYSA PARA EN EL ENCUENTRO DE ATLETISMO POPULAR DE NERJA

Un buen número de medallas vinieron de regreso para Antequera y su comarca del Encuentro de Atletismo Popular de Nerja celebrado en las pistas del estadio Enrique López Cuenca. Desde primera hora de la mañana y durante tres horas se celebraron en el tartán nerjeño diferentes pruebas de atletismo con un gran resultado para el club Gedysa que obtenía trece preseas gracias a Javier Moreno primero alevin en fondo y segundo en longitud, Javier Ramos segundo benjamin en resistencia y velocidad, Ana Gómez tercera alevin en longitud, José Pérez primero cadete en velocidad y segundo en peso, Mario Espárraga primero cadete en resistencia, Alejandro Valle tercero benjamin en resistencia y velocidad ,Yoli Sánchez segunda master en peso, tercera en resistencia y tercera en velocidad además de la participación de Rubén Escalante, David Gutiérrez y Alejandro Gil.

JAVIER ARCAS SE IMPONE CON ROTUNDIDAD EN LA CARRERA DE ESTEPA

Javier Arcas sigue demostrando cada fin de semana su excelente estado de forma en esta ocasión participando en la carrera contra la droga celebrada en Estepa. Desde el pistoletazo de salida el antequerano no dio opción a sus rivales e impuso un fuerte ritmo que nadie pudo seguir llegando al recinto ferial donde estaba ubicada la meta con más de dos minutos de diferencia respecto a su inmediato seguidor. Otro podio conseguía su compañero de club David Jiménez tercero en la categoría de veteranos B,  participando también Juan David Velasco y Juan Velasco Rivas.

DIEZ PODIOS PARA EL GEDYSA EN EL CROSS DE CASARICHE

El ya consolidado circuito de campo a través de Miguel Ríos abría el telón en Casariche como primera de las diez pruebas puntuables para el Gran Premio Circuito Diputación de Cordóba. El club Gedysa participaba con un buen número de atletas consiguiendo subir hasta en diez ocasiones al podio en las diferentes categorías de las que constaba el evento, primeras posiciones conseguían Ángela Tirado,Yolanda Velasco, Alonso Cano, Javier Moreno y Samuel Navarro. Segundos puestos conseguían Carmen Nieves Navarro, Irene Cano y Pablo Cuevas y terceros puestos Francis Cuevas y María Escobar. También participaban Antonio, Gonzalo y Arturo Gambero, María del Mar González, Yolanda Sánchez y Pablo Pérez Astorga.

VICTORIA EN ALEVIN PARA JAVIER RAMOS EN ALMOGIA

En la ya recta final del extenso circuito de carreras populares de la Diputación de Málaga el joven atleta antequerano Javier Ramos se hacía en la prueba de Almogía con unos valiosos puntos en forma de primer puesto para liderar a falta de varias pruebas la clasificación conjunta del circuito en categoría alevin.

NUESTRAS PRÓXIMAS PRUEBAS

Importante cosecha de medallas y pódium para el Club Gedysa este pasado fin de semana 13 MEDALLAS PARA EL GEDYSA PARA EN EL ENCUENTRO DE ATLETISMO POPULAR DE NERJA Un buen número de medallas vinieron de regreso para Antequera y su comarca del Encuentro de Atletismo Popular de Nerja celebrado en las pistas del estadio Enrique López Cuenca.

[tropicalcubanholiday]

Cabaña Yobel & Yoli

Cabaña Yobel & Yoli

Cabaña Yobel & Yoli is an exceptional private lodging house located in the famous Viñales region. This accommodation is known for the hospitality of its hosts and good service, as well as for its style and especially its restaurant. Since his host Obel is an international chef with more than 15 years of experience working for the best restaurant in Cuba. This is why it is very desired by visitors…

[rudyroth79]

Un vechi și bun prieten, cunoscut om de teatru, m-a mustrat atunci când mi-am declarat aici pentru prima oară neîncrederea în capacitatea teatrului de echivala cu mijloacele lui specifice ceea ce înfăptuiește proza cu mijloacele ei specifice; și îmi luasem măsuri de precauție, recunoscusem că sunt câteva dramatizări, nu multe, care au produs mari spectacole. Mustrarea primită nu mi-a schimbat însă felul de a gândi. Și pentru însemnările de zi trebuie, probabil, să fiu certat cu asprime.

Spectacolul Teatrului Ghesher cu ”Vânătorii de zmeie”, piesa scrisă de americanul Matthew Spangler după romanul cu același titlu al scriitorului afgan Khaled Hosseini, nu face decât să-mi confirme opinia. Cartea e superbă și a meritat cu prisosință să devină best-seller (2003). E ceea ce s-ar putea numi un roman total – el se alcătuiește din mai multe romane, strâns împletite între ele; unul e social, despre bogați și săraci, despre stăpâni și servitori într-o lume în care aceste categorii sunt încă separate și opuse categoric; un alt roman din interiorul cărții e cel istoric, fiindcă ”Vânătorii de zmeie” surprind trecerea Afganistanului de la monarhie la republică (1973), venirea la putere a comuniștilor (1978), ceea ce a înlesnit invazia sovietică în țară (1979), transformarea țării în Statul Islamic Afganistan (1992) și victoria vremelnică a talibanilor (1994 – 1998); un al treilea roman e unul etnografic – Hosseini descrie datini și obiceiuri specifice țării lui; romanul este, pe un alt plan, un veritabil Bildungsroman, în care un  puștan de 12 ani devine adolescent și apoi adult și traversează, rând pe rând, experiențe și drame de adult; ”Vânătorii de zmeie” se citește și ca o parabolă filosofică, fiindcă e povestea unei redempțiuni, a eroului central care are de ispășit o ticăloșie săvârșită la sfârșitul copilăriei; și, last but not least, e o carte poetică, de un interns lirism, îmbibată de metafore – ca mulți înaintași renumiți, Hosseini pune în slujba ideilor sale chiar și clișee de melodramă; întrepătrunderea măiestrită în carte a tuturor acestor planuri îi dă un farmec extraordinar.

Matthew Spangler, autorul dramatizării, precizează că a imaginat în adaptarea lui un povestitor al întâmplărilor pentru a scoate în relief istoria eroului central ca istorie a unei izbăviri; de altfel, romanul e scris la persoana întâi; numai că povestitorul din roman relatează toate evenimentele prin optica lui subiectivă, trăindu-le ca parte a maturizării lui, ca parte a unei deveniri, pe când povestitorul din spectacol relatează întâmplările, cu optica lui de adult, asistând tăcut, pasiv, la ilustrarea lor de către alți actori…

Dramatizarea păstrează conștiincios, ca într-un digest onest, peripețiile romanului, punctele lui nodale, propozițiile-cheie, dar, firește, nu poate face acest lucru decât rezumând acțiunea la scheletul ei epic și văduvind-o astfel total de ceea ce constituie atmosfera ei, căldura ei omenească, freamătul viu al emoțiilor dinlăuntru. În loc de cafea, publicului i se dă să bea cicoare.

Niv Manor a construit pentru montarea de la Teatrul Ghesher un podium nu prea înalt, prevăzut, și dinspre scenă, și dinspre ssală, cu câteva trepte; în prima parte a spectacolului treptele sunt acoperite cu plăci care le transformă într-un fel de derdeluș; actorii reușesc totuși, cumva, să-l urce și să-l coboare. În partea a doua treptele sunt dezvelite. În dreapta și în stânga construcției sunt locuri pentru niște tobe mari, cu ajutorul cărora sunt punctate – bum-bum-bum – momente deosebit de dramatice din text. Costumele, create de Avia Bash Sokol, mai toate în culori stinse, sunt pitorești și expresive.

Regizorul Noam Shmuel e și autorul ilustrației muzicale a spectacolului, alcătuită din fragmente ale unor compoziții de Fernandez Berridi, Alberto Iglesias, Ahmad Zahir și alții.

Ce se mai poate spune despre regia spectacolului, înainte de a comenta pe scurt realizările actoricești? Preocuparea principală a regizorului a fost să găsească modalități teatrale ingenioase de ilustrare a istoriei pe care o povestește spectacolul. Zmeiele viu colorate sunt manevrate, la vedere, cu ajutorul unor prăjini; un volan montat la capătul unei prăjini, manevrat și el la vedere, semnifică un automobil; un fel de clăbuci sculptați care alunecă dintr-o parte într-alta pe deasupra scenei semnifică, presupun, niște nori; un dreptunghi decupat prin lumini pe podeaua scenei semnifică un camion care transportă emigranți; ghirlandele de becuri suspendate peste scenă semnifică festivitățile menționate de două ori în cursul piesei; reflectoarele care se plimbă peste spectatorii din sală semnifică urmăririle care au loc în cursul acțiunii; câteva momente de maximă tensiune sunt subliniate cu fum care se înalță din spatele principalului loc de joc din spectacol. Etc., etc., etc. Toate aceste idei reprezintă convenții teatrale simple și clare, în sine perfect acceptabile, al căror efect este că subliniază teatralitatea întregului, întărind aspectul de joc și de joacă al acestuia, în dauna adevărului omenesc de care e îmbibat romanul. Câțiva pași de dans (mișcare – Amit Zamir) întregesc peisajul.

Avi Azulay este Amir, personajul central, povestitorul. E sobru și la obiect, transmite energie bine stăpânită și asistă atent, în tăcere, la episoadele în care partenerii lui joacă, plini de nerv, ceea ce el povestește. Yoli Seker – Amir în copilărie – e cât se poate de corect în rol, dar n-aș spune că transmite acea cutremurare a propriei nemernicii care îl va obseda pe erou de-a lungul întregii vieți; nici nu cred că ar fi putut să facă asta îngrădit de convenția prin care doi actori își împart același personaj, prezentat la vîrste diferite. Hillel Cappon este și Hassan, copilul de 12 ani, și, mai târziu, Sohrab, fiul lui Hassan; în amândouă rolurile, dar mai ales în cel de al doilea, actorul sugerează vârsta (și caracterul) pesonajului vorbind în falțet, și producând sunete dezagreabile și obositoare.

Minunată este prezența lui Doron Tavori în rolul tatălui lui Amir. Personajul acestuia e subtil colorat și comunică, jucat cu economie de mijloace actoricești, autoritatea dură și echivocul moral al neîmblânzitului pater familias. Cald și înțelegător e Ghilad Kletter în rolul lui Rahim Khan, prietenul înțelept și generos al tatălui lui Amir și apoi al lui Amir. Carmel Kandel e foarte gentilă în ceea ce a mai rămas în dramatizare din figura Sorayei. Firas Nassar încearcă din răsputeri să evite clișeele în rolul odiosului Assef.

Dintre actorii care apar în câte două roluri, trebuie neapărat menționat Alexander Senderovici, deosebit de convingător ca Ali, ceva mai puțin în rolul generalului Taheri.

Una peste alta, publicul pare foarte mulțumit de ceea ce îi oferă spectacolul. De altfel, cercetând afișul teatrului, constați numaidecât că Ghesher a știut să le creeze spectatorilor săi anumite reflexe: ”Peregrinările lui Odysseus” sunt după Homer, ”Eu sunt Don Quijote” e după Cervantes, ”Gulliver” e după Swift, ”Părinți și copii” e după Turgheniev, ”Relatare despre regele David” e după Stefan Heym, ”Sclavul” e după Bashevis Singer… Despre ”Orestia” am dat seamă mai demult – e după Euripide…

Arhiva rubricii Cronica de teatru

Vezi și arhiva rubricii Cronica muzicală

”«Vânătorii de zmeie» la Teatrul Ghesher de Gheorghe Miletineanu Un vechi și bun prieten, cunoscut om de teatru, m-a mustrat atunci când mi-am declarat aici pentru prima oară neîncrederea în capacitatea teatrului de echivala cu mijloacele lui specifice ceea ce înfăptuiește proza cu mijloacele ei specifice; și îmi luasem măsuri de precauție, recunoscusem că sunt câteva dramatizări, nu multe, care au produs mari spectacole.

[secretolivo]

ADROMICFMS 4

Me perdí en Madrid, el adelanto de ADROMICFMS 4 (YungBeef)

ADROMICFMS 4 All Dis Ratchets On Me I Can’t Feel My Soul Todas las yolis en mi, ya no siento el alma

Me perdí en Madrid es el adelanto de la tercera mixtape de Yung Beef (Los Santos, La Mafia del Amor, Pxxr Gvng, Kefta Boyz) bajo las siglas de ADROMICFMS. Se publicará en febrero por La Vendición Records.

Un trabajo en el que vuelve el mejor Yung Beef, producido por el niño prodigio Steve Lean,…

[micomunidad]

Arqueólogos: Hallan la impresión de un sello de hace 2.700 años cimenta la existencia de "Gobernador Bíblico" de Jerusalén

Arqueólogos: Hallan la impresión de un sello de hace 2.700 años cimenta la existencia de “Gobernador Bíblico” de Jerusalén

Dr. Shlomit Weksler-Bdolah, director of the excavations at the Western Wall plaza on behalf of the Israel Antiquities Authority, holds the rare First Temple sealing her team published in December 2017. (Yoli Shwartz, Israel Antiquities Authority)

(miComunidad.com) JERUSALÉN, ISRAEL.- Arqueólogos: Hallan la impresión de un sello de hace 2.700 años cimenta la existencia de “Gobernador Bíblico” de…

[kitsunefyuu]

This Chapter Climax: MHA 418

We are basically at climax of the war arc as Izuku was able to connect to Tenko. To assure him and show that he is still there for him at the least wanting to help him lost his hatred. It was painful, terrible, he lost his arms but he didn't get up holding his arm.

Because Tenko was crying and Izuku would not abandon him. He knows how important it is to hold a lost child's hand.

It's such a gentle and soft thing to see. He even presses his forehead against Tenko in a loving manner. But even if might be able to let go of his hatred, the thing that kept him going because it the only way to justify why he is like this... He still wants to be a hero to his friends, the other villains.

It's a touching moment, showing how from the villain's side they truly were the underdogs. They were on their own heroes journey just on the inverse side of the broken and the damned. It's beautiful but then a memory that belongs to neither Tomura or Izuku breaks that moment.

It's Kotaro, Tomura's dad looking surprised and smiling at a 'construction' worker. They talk like good friends, he is asked about Tenko and admits still has no powers. Something is very very wrong.

As there is one being that will despise the idea that there is some kind of choice. That you can live like that, listless yet still doing things for others? To allow yourself to become weakened by those around you much less someone that should be your enemy!?

All for One emerges no longer held back by Tenko's will and consumes the boy. Flinging Izuku away with venom as says how Tenko has never made a single decision of his own. Now the true fight with a true villain shall begin.

This chapter honestly has me going mental not just because AFO returned but the fact they were able to humanize Tomura and all the villains. To show they had endured so much terrible truama and yet all the heroes still tried to help them let go of their hatred. The nasty feelings in their heart because they cared, and Tomura moment impressed and brought me joy.

And AFO coming in was expected as it was literally mentioned by AFO Prime that the vestige has a trump card he can use. Bakugou saying he died can also mean he has been reborn. Meaning Hori was definitely planning to activate it now especially now that Tomura is no longer suppressing him. With Izuku no longer having OFA this is actually dangerous at the moment they are in the vestige but who is to say it won't get worse.

Because AFO is the actual true threat as the two hundred year old monster who has been living in debauchery for so long. It makes you wonder how is Izuku going to handle this. His real body it wrecked it was being puppeteer by Blackwhip which he no longer has. There aren't many heroes around as they went him to handle Tomura.

Ain't looking good for our hero, All for One ain't here to give a happy ending and that's why I'm excited.

[kitsunefyuu]

About Izuku’s Arm Status

I feel it should be clarified that Izuku did not literally, as in his real body, lose his arms, yet being key word it can change. As all of that was in the vestige, however, last time we checked his real body was in a horrid state. Being puppeted by Blackwhip because it was literally held together by feral determination. Similar to Dabi, most of his muscles had been torn apart because of Second Gear quirk and his constant abuse of power.

So while he didn't lose his arms, without OFA he is very much vulnerable. He has no way to defend himself in real life and apparently has disappeared from view from the camera people. Which does not bode well for our hero, so time to stay tune as it seems he going to deal with AFO in that mind palace.

Without any quirks, or powers, he is going to delve into the darkest depth of AFO as he trapped Tomura. Whose hatred has disappeared because of Izuku rendering him helpless. And whether he can defeat/overcome the man born from societies malice as wades through the man's memories without vanishing remains to be seen.

[kitsunefyuu]

Ok these scans are already a 100 times better compared to that original leak. So like I thought that leaker probably just rushed those leaks and lost a lot of certain nuances.

Like it wasn't that Hana was older it was because she was raised well so didn't have any trauma. He chose Tenko because since was just born AFO can orchestrate the trauma for him. To get the hatred and strong emotion he needed.

There also a kind of hollowness in AFO's tone now it not aggressive it dead inside. It hollow as if he is just doing this on autopilot because there is nothing else.

The whole tone of the scan changed and it actually makes me feel more hopeful. Thank god someone new translated! Also Izuku losing his arm's just sad man.

[kitsunefyuu]

I'm feral

IF IT WASN'T FOR THE EXAM IN 30 MINUTES I WOULD BE MAKING MY OWN DAMN ANALYST. BUT GUESS I'LL WAIT UNTIL THE OFFICIAL TRANSLATION COMES OUT. BECAUSE THIS CHAPTER IS GREAT AND NOT JUST BECAUSE OF AFO BUT EVERY PART OF IT TUG AT THE HEART.

I LOVE TENKO AND IZUKU. THEY ARE PRECIOUS, AND AFO COMING AT THE END SOLIDIFIED HIS ANGER AT THE ALMOST EMOTIONAL VIBES THEY HAD. AT TENKO CALLING HIMSELF A HERO TO HIS FRIEND! I'M GOING MENTAL.

[kitsunefyuu]

I am so happy my theory of bad parents or no parents is true. AND NO PARENTS EXPLAINS SOOOO MUCH MORE ABOUT AFO BEHAVIOR~!

No one ever told him no. No one ever provided him warmth or affection. He lived in the street like a dog and was reactionary. His little brother threw something at him so of course he kicks. Little kids are very reactionary.

People threaten him? He attacks.

How is a little kid supposed to know you shouldn’t do that. And the more people act like he’s a monster the more he believes. Not a single adult reaches out instead they looked at him like a disease before even he did anything.

Maybe he was predisposed to be selfish but the evil is no one dares to ever help him or his brother ever. So he only learned everyone is out for themselves.

And yet he still cares for his little brother. Even if believes it because he is his, his brother alive because he cared in his selfish twisted way.

[kitsunefyuu]

All for One is my favorite because had all the potential to be a good person. But was put in all the literal worse situation becoming a product of everything. Yet there was still one good thing he created, Yoichi was a good person and OFA exists because he tried to share his power with his little brother.

And I find it beautiful and ironic that Yoichi had wished so much that AFO saw his own potential in being good. But for someone who only seen the worse the only ‘good’ being his little brother he sees as being forced to rely on him. Rather then Yoichi genuinely caring, it just tragic and a recipe for everything to go wrong.

And AFO to complete the transformation into the monster everyone saw him as at birth. That little baby crying for someone to help him and his brother to the monster who accidentally murdered his own brother now demanding everyone to look at him and never look away. Poetry.

[kitsunefyuu]

Thanks for your thoughts on the lov/villains in bnha! What you said is the clear truth, thanks again for voicing it ⭐💯💯

You're welcome! I think what Horikoshi is trying to show is that hero society lacks compassion. Which in turn creates even more villains.

Because I know people would think I'm apologizing or exonerating the villains but that isn't what I'm saying at all. I'm saying they need HELP, and they still have rights as human beings.

Which is constantly being deprived of them because they are VILLAINS! Which allows them to be treated like they are nothing more then pure evil beings when that isn't the case.

In Vigilante, AFO actually TALKS about this point.

I may not have finished Vigilante but spoilers are required.

Chapter 92 of Vigilante

Notice how points out what they used the term villains but only when people with super powers showed up. They could have just kept calling them criminals.

Do you see in our society calling them 'villains'? No but they are dehumanized calling them Villain is to dehumanize them even more.

Then what about heroes?

Heroes fit the mold society WANTS. This is what the people accept as comfortable and as their norm.

But this implies a stable environment, that they are given the things needed but not every person like that. Many might need help for their stability but...

Oh, look at that? He says society allows him to collect and turn anyone feral and crazy.

Because society ALLOWS him to very easily as they won't help anyone with instability. They are villainized even if they aren't trying to cause trouble one mistake will ruin them for life.

I love All for One because he POINTS OUT the flaws in society. He calls out the fact this very society makes villains that end up with no choice but to run to him.

The only person who literally could not care about whatever you do and will 'negotiate' with you. But he is the devil pretending to be a messiah preying on those with no way to escape.

So makes me so mad when people complain about the villains fighting for their life. Or that they are working for AFO when hero society never gave them any other choice. And that is literally what AFO wants, it why he tries to deny Tomura autonomy to the heroes.

He doesn't WANT them to save them because then they might leave so yeah. I am here for villains being saved because they are all lost and hurt people who yes did terrible things. But was never given any options in the first place besides this man who promises them anything as long as they sell their soul to him.