#english phonics song

[tenkidstv]

Phonics Song with TWO Words - A For Apple - ABC Alphabet Songs with Sounds for Children

https://www.youtube.com/watch?v=7UWxL6XDIQg

[enjoythescientificmind]

The English Alphabet

[ranjith11]

Letter G song | letter g song phonics | kutuki phonics song | alphabet phonics song

Welcome to the Kutuki world of fun and learning! 📚 In this video, we invite you to join us on an exciting journey through Kutuki Stories, Adventures, Videos, Rhymes, and more! 🌟 Explore the Kutuki app, your gateway to a world of educational entertainment. Dive into captivating Kutuki Videos that weave enchanting stories and adventures

[agendabymooner]

pag-ibig, traducido (love, translated) || cs55 fic

carlos sainz x ofc (filipino!content creator!ofc)

EXTENSION TO RIDE HOME

Summary: Magdalena ‘Magda’ and Carlos Sainz can bring the two worlds together through words and actions. OR, moments in which the Filipino woman and her Spanish husband learned to love each other while learning more about what they know about themselves. 

Content warning: Use of explicit language, shitty Tagalog/Filipino and Spanish translations, a lot of Spanish colonial and Filipino history jokes, parental abandonment, brief reference to religious and cultural practice (weddings), mentions elopement, secret marriage, briefly mentions PR relationships/girlfriends, time skipping, what is beta reading lol

Note: The last part of this story is loosely based on the idea given to me by @clairalle and the song 'Paninindigan Kita' by Ben&Ben so thank you so much! ❤️

Letting you all know that some Filipino dialogue here are translated based on how I know it in both English and Tagalog language??? And also, there are some words in here that are the same in context BUT written in two different spellings - some of the words are spelled based on phonics or how it sounds. Enjoy xx

masterlist

i. 2016 — shit, ayos ka lang?

Ramona Magdalena normally had the patience for Tesco. She wasn’t sure what it was, but everything had her seething with no apparent reason. She tried to figure out what went wrong. 

It was only 3 p.m., for goodness sake! 

Her third year at the university was supposed to make things easier, but the way she clenched at the handle of her shopping cart as she sped through the aisles of Tesco showed nothing of the sort. 

She was so tense, her jaw clenching as she asked herself repeatedly if there was an actual reason for her getting worked up over something. 

Her mother, Alma, was being herself; she was merely calling to see how the university was for Magda. Alma only told Magda about her cousins in the Philippines and how they were looking forward to getting the “balikbayan” box in August, only for the younger woman to respond grumpily. Alma was a dear— so clearly Magda’s grumpiness had nothing to do with her mother’s daily check-in. 

She appreciated her mother’s efforts to keep up with Magda’s well-being; after all, Alma did everything she could as a single parent who immigrated to the UK long before she took Magda. 

So no. She loved her mother so much that she wouldn’t get unreasonably cranky towards her. Not easily, at least. 

But her questions withered away when her speed walking was interrupted by her shopping cart crashing into a figure. Her eyes widened, and she shook herself out of her thoughts. 

“Mierda!” Shit! An accent escaped out of the man’s mouth. 

Now, Magda had been a citizen of the UK for a while now— she knew when to speak English and how to utilize her vocabulary in a reasonable manner. But everything seemed to be in panic mode as she exclaimed, “Shit! Ayos ka lang?” Are you okay?

The man was still groaning, bent over as he clutched to his stomach. He glared at her for a moment as he asked, “¿Por qué no observas a dónde vas?” Why can’t you watch where you are going?

“Hah?” She cocked her head slightly. She only picked up on the first two words. Por qué? Why? 

He’s Spanish, Magda deduced. She stepped away from the cart and walked towards him, “I’m so, so, so sorry! I wasn’t paying attention to where I was going—“

“Obviously—“ he muttered hastily, still touching his aching side. 

“I’m also in a rush, and I’m so frustrated and tired. Three years into adulthood and I can’t make shit right,” Magda hadn’t even realized that she was ranting to a stranger as she rambled, “GCSE clearly didn’t do shit to me because I’m still here bitching about what to cook— punyeta naman kasi, ‘di ba.” What the fuck, am I right?

He stared at her for a moment, not even interrupting her as she spoke. But the silence made Magda pause as her face flushed red, earning a soft smirk from the man. “Mama said I have a problem with speaking too much without thinking.” 

He chuckled at her rambling before sticking his hand out, “We can call it… truce— I think is the word?” 

“Yeah, okay, truce,” she reached out and introduced herself while shaking his hand, “I’m Magdalena.” 

“I’m Carlos.” 

“So, like… you’re Spanish, right? Or do you just speak Español? I’ve only picked up on some words because they’re quite similar— or I suppose I learned it through some song from years ago.” 

“I am actually Spanish; good guess. And you said puñeta— I can assume you also speak Español?” 

“Oh, hah, about that— no. That’s not spoken in Spanish. That’s— yeah, that’s something.” 

ii. 2017 — irog means love

“Ate Magda! Totoo ba?” Is it true?

“Jowa mo galing Spain?” Your boyfriend is from Spain? 

Magda almost died laughing as she FaceTimed her cousins, who were certainly supposed to be asleep at this time. The Philippines was seven hours ahead, and with her cousins being awake at two in the morning, she could assume that they had a holiday. Everybody always sleeps in if it’s a long weekend or a national holiday. 

But she hadn’t expected their night to be spent gossiping about Magdalena’s boyfriend, Carlos. 

“Niño, bakit ‘di mo gamitin yang utak mo sa school kaysa sa jowa ko?” Why don’t you use your brain for school instead of my boyfriend? Magda huffed out her laugh, making her other cousin Paloma laugh next to Niño. Paloma’s laughter caught Magda off guard as she called out, “Oi, Lomi, don’t be laughing— ikaw ang nagpasimuno nito. Akala mo ‘di ko alam?” You started this. You think I didn’t know?

“Papa brought it up,” Paloma defended herself with a cry, “he kept calling you a national hero, and I had to ask why.” 

“Ano ba naman ‘yan,” what the hell. Magdalena cried out as her head slumped against the couch, raising it to look at her cousins on the screen, “Tell your papa to keep his mouth shut. I love Tito Gerry— I do, but he needs to stop making jokes about that.” 

“—About what?” Magda seemed to be more drawn towards her uncle’s joke that she hadn’t heard her boyfriend enter her flat with a curious look. He had just arrived from Milton Keynes, and this was a surprise as he normally arrived later than this. 

Carlos had taken off his shoes and placed his bag down, walking around the couch to sit next to Magda as he pecked her lips. “Hello, cariño. How was your day?” 

“Hm, good! I’ve finished my paper,” Magda grinned. 

They were so caught up with each other that the only thing they heard was gagging from the phone that the Filipino woman held. Magda and Carlos peered down on the screen as they watched the two teens exaggerate at the sight of the couple being too sweet for each other. 

“Reparations,” Paloma gagged jokingly, “but at what cost?” 

“Matulog na nga kayo!” Go to sleep! Magda exclaimed.

“Okay po, master,” Niño rolled his eyes before waving at the camera, “nice meeting you, Carlitos!” 

"You're Niño, right?" Carlos grinned as he kept his face in front of the camera before waving, "Nice meeting you too!"

“Yeah! Buenas noches, Don Carlos!” Good night, sir Carlos! Paloma giggled, the other side of the call abruptly ending before Magda could berate the pair even further.

She sighed heavily and tossed her phone aside, giving her boyfriend a look of despair as he giggled at her. 

“What did they mean by reparations?” He asked her, genuinely curious at what they were joking about. 

How was she going to explain it to him? Did they even teach at Spanish schools about their country’s history of colonialism? Magda didn’t have an answer to that. 

“Oh, just you know…” She mumbled, “Filipinos were originally Spanish people living in the Philippines. Apparently, dating you made us a deadly combination. Enemies to lovers, or whatever trope that is.”

“Reparations? Oh… OH!” Carlos exclaimed in realization, earning a nod from his girlfriend as he murmured, “Okay.” 

“Okay?” 

“Yeah, I understand now, mi corazon.” 

“Irog,” Carlos said aloud, making Magda hum in a questioning tone. “Irog, bébé.”

“What’s that, bé?” Magda asked mindlessly as she stared at the screen of her computer. 

Carlos turned his head in her direction as he said, “I don’t know. You’re the one who speaks the language.” 

She paused from doing her work, looking up at him before she pondered the first word he brought up. Then she let out an ‘ah’ before nodding. 

“So…? What does that mean?” Carlos asked. One year of relationship and his thirst for knowledge was an obvious factor that came with it.

“It means mahal,” Magda answered, remembering the word. She continued to read Filipino literature as she grew, not wanting to stay away from it regardless of the fact that she spent her last school years in a British school. She asked her mother questions whenever she didn’t have a single clue what a word meant, so this was a helpful thing to do, especially now that Carlos continued to ask her to teach him how to speak her language. 

“Mahal, like expensive?” Carlos asked for clarification. 

Magda shook her head, “No, not that mahal. Like mahal— you, mahal.” 

“Oh,” Carlos let out before he reiterated what she said, “mahal, like love?” 

“Yes, mahal,” she snickered quietly, calling him by the term of endearment. “Like love.” 

“So irog means love?” 

“Yes, bébé. Irog means love.”

iii. 2018 — patata, patatas. what’s the difference? 

“Oh! Hey, Mr. Alonso, you’re here just in time,” Magdalena grinned. The older man, who just arrived, shot her a confused look as she stood there with her lips spread out to a grin.

“Magda, hija, call me Fernando. It’s also nine in the morning,” Fernando Alonso sighed quietly, his hand running through his face as he looked back at the girl in the white McLaren shirt. “I think it’s too early for your optimism.” 

“You’re right,” Magda’s shoulders slumped, and her smile fell, her face showing nothing but defeat as she walked towards the Spaniard, “but don’t let my sadness get in the way of your duties today. My supervisor said that you have to do your filming for the next two videos of the channel— and you cannot, I mean CANNOT, back out this time.” 

“I can’t,” Fernando smirked playfully, “or can I?” 

“Mr. Alonso, with all due respect,” Magda sighed heavily, “I started this year. And if you continue to ditch your duties because I cannot convince you enough then I’m going to have to leave not of my own will. I did not last four years at the university just so I can have a manchild act so sassily at the person who’s merely trying her best, so please—“

“Calmaté, Magdalena. Are you okay?” Calm down. Fernando asked, reiterating his question and emphasizing the word you. 

Magda had anything but an answer; her lips pursed as she shook her head. “Can I… shit. Sorry, can I be excused for a moment? It's been a morning for me.” 

“Take all the time you need, querida,” Fernando told her with a smile, patting her on the shoulder as she gave him a grateful look before she walked out of the McLaren garage with a heave of sigh. 

Fernando Alonso pursed his lips as he caught sight of the young British reserved driver, calling him with a whistle as Lando Norris looked in his direction with a questioning expression.

“Norris, you know Carlos Sainz, yes?” Fernando asked.

“Uh, yeah,” Lando replied with a nod. “He’s a friend of mine.”

“Do me a favour, if you don’t mind,” Fernando requested, “will you please tell him Magdalena’s on break?” 

“Yeah, of course,” Lando obliged before his curiosity got the best of him as he asked, “Is she alright?” 

“I think McLaren broke her.”

“Leche,” she swore quietly as she stood behind the McLaren motorhome. Thankfully, nobody else was there to witness her on the verge of breaking down. Otherwise, that would have been embarrassing. 

She had a bad habit of pleasing people. Living in the Philippines, with her mother working overseas and her biological father being a dickhead fuck knew where Magdalena grew up wanting to appease her friends and family. Her immediate family cared very little about the achievements she reached — they were proud, sure, but how she got there was beyond what they wanted for her.

Some kids who grew up in a Filipino household aimed to please, and Magda wasn’t an exception to that. She, however, did more than what she should have been doing. All thanks to the father she had never interacted with before or ever.

Much like now. She aimed to please. Maybe that was why she got to this predicament now; crouching with her head down as she tried to keep her composure. 

She knew that everyone would kill to be in her place— working for a racing team. But for some reason, her urge to please was replaced by her fear of discomfort and disappointment. Being in a relationship with a Formula One driver taught her a lot about the sport, and she landed herself a job in a team based in England.

Being able to travel with him was a plus, but she felt that she had disappointed him. She didn’t feel as good as he told her she would when she first announced McLaren’s offer to hire her for the season. 

Was this what most Formula One wives and partners felt? Or have they embraced that lifestyle long before the drivers became so popular? She wouldn’t make a good girlfriend for everyone should they find out that she had nothing but anxiety in her system as she graced the grid with her presence. 

She was a disappointment of a Carlos Sainz fan.

His cologne lingered in the air as she witnessed him crouch down in her level, his fingers pulling her hair tie off her head, letting her long dark brown hair fall as she smiled grimly. 

He was in his Renault fireproof, his race suit hanging off his waist. He made things more angelic than normal, and she loved him so much for it. His lips pursed as his fingers continued to massage her scalp. 

“Few more months, mi vida,” Carlos murmured, his soothing voice making her feel at home. “You’re doing so good for them. Don’t let them say otherwise.” 

Sure, she could be at the hotel with Ben&Ben blasting on her phone and her figure crying in the bathtub. She could be falling into the deepest depth of her sadness, but with Carlos ditching his team before the free practice — she would rather be here than be in their shared hotel room. 

“Now c’mon, mi corazon,” he pulled her up, “I’ve managed to get my manager to come drop off some pancit to the motorhome from the hospitality.”

“Pancit?” 

“Malabon,” Carlos beamed at her, pressing his lips to her forehead. “One of the caterers gladly took my request to have some pancit malabon at the menu. It took them a couple of weeks until they finally got tired of my constant asking.”

“Hm, you’re the best, my love,” Magda told him lovingly. “Though, I prefer palabok, remember?” 

“Eh,” Carlos paused, “patata, patatas. What’s the difference? Pancit is pancit, mi amor.”

iv. 2019 — magda, maldita 

“Carlos, bebe, mahal kita. Mahal kita sobra.” I love you. I love you so much. Magda sighed as she glanced over the notepad that her fiancé left on the end table of the side of her bed— their brainstorming notepad. “But do you really want to get married in a church? In the Philippines while you’re at it?” 

“It’s an idea, mi amor,” Carlos said while he continued to do whatever he was doing in the bathroom, making her listen from the bed as he spoke, “Just how bad is it?” 

“It’s nothing bad,” Magda said quietly, “it’s just something that I wouldn’t personally do. There is a lot of paperwork to do when getting married in a church. Did you know that? Not only that, but we’d have to attend seminars about family planning— which is not right up my alley, seeing as my mother is an unmarried single mother.” 

“Paperwork is what you are worried about?” 

“Why can’t we just elope instead? My Lola grandmother and Lolo grandfather did that, and look— they have my mom, my tito uncle and tita aunt,” she suggested out of the blue. 

“And risk getting killed by either of our mothers?” Carlos scoffed, “I think we should stick to the church idea, yes, mi amor?” 

“Did you not hear the story of my grandparents, love?” Magda asked him, thankful that he couldn’t see the baffled look on her face. 

“More than I can count, mi corazon,” Carlos answered, “they ran away from home, didn’t they? Got married and had your Tia Maria, then your Mama after? They eloped because they weren’t close with their families— but we’re both very close to ours. We can’t do what your grandparents did.” 

She sighed. He wasn’t even wrong. 

The Spaniard walked out of the bathroom, his face now clean-shaven as he sat next to his fiancée. “Look, we don’t have to do the church thing. It was just an idea, hm? I know you don’t want to get married in the Philippines either, so that’s alright. We’ll just send your cousins, your aunt and uncle to wherever we’re going, then we’ll get married. Don’t worry too much.” 

“‘M sorry,” Magda murmured, her fingers fidgeting with the gold engagement ring as she continued, “I’m a killjoy.” 

“No, you’re not,” Carlos huffed out and clasped his hand with her left hand, “you’re the bride. The bride is more than permitted to weigh out the options. If you don’t want the Philippines, that’s okay.

“Truthfully, I just want to marry you,” Carlos murmured as he pulled her closer, “if we didn’t have such scary mothers, I would’ve already married you. You and your YouTube channel.” 

Magda’s chuckle vibrated in his chest as she perched on his lap, “I don’t even know if that will even work out.” 

“I am sure the wedding plans will. If it doesn’t, our marriage certainly will work out for you and your channel.”

“You are a dickhead, mahal.” “I can’t speak the truth now?” 

“There was no need to bring up the channel, dumbass.”

“Mabuti nalang may passport yung mga pinsan mo,” It’s a good thing that your cousins have passports. Alma San Pedro, Magdalena’s mother, brought up as she sat across the aforementioned woman.

Magda skimmed through the spreadsheet laid out on her laptop’s screen, keeping her eyes on the things Carlos typed out on the guest list as he actively listed who’s responsible for the catering.

Alma continued to speak, “Why didn’t you want to get married in the Philippines? You’ve always wanted to get married in the Tayabas basilica— I could have had your Tita Marie look into it.”

“That was mainly because I thought you got married there,” Magda glanced at her mother before leaving a comment on the name that Carlos had just typed down on the guest list sheet.

“Lando Norris” — Magda San Pedro (monamagsp) commented: “He finally RSVP’d?”

Carlos Sainz (carlossz) replied: “Yes. He said he forgot to do it, but I managed to get him to fill it.”

He was still at Monaco for the race, but between the busy days of partying and racing he decided to abandon his friends and stayed at the hotel to plan his wedding with Magda instead. “Besides, Ma, the wedding’s in two months. Travelling is also time-consuming for most of us.”

“You’re so picky, anak,” child. Alma replied with a playful scoff.

“And you’re not married, Mama,” Magda shot back with the same amount of humour in her tone. “People complain about both, but we can’t find ourselves to care, hm?”

“Hay nako, Ramona Magdalena,” Alma rolled her eyes and sighed exasperatedly. A rhetorical question escaped her mouth, “Bakit ka kaya maldita?” Why are you so cheeky/sassy? 

Mona shrugged, “Tita Maria didn’t take any shit from my private school teachers, Ma. She’s the one who took care of me while you worked here, remember? Go figures.”

“I can’t believe you’ve invited me to the wedding,” Lando’s eyes glimmered under the warm light of the ballroom hall as he excitedly spoke to Magda. “I know we didn’t speak as much last year, but the fact that you allowed Carlos to invite me? I’m so grateful, mate.”

Magdalena San Pedro— or wait, Magdalena Sainz stood across from the British man with a grin as she tucked her hands into her pockets (she had pockets on her wedding dress that she began to think that God was treating her right today).

The San Pedro-Sainz wedding ceremony took place in the Westin Palace of Madrid. With the hopes of celebrating the love that they shared for years, Carlos and Magdalena managed to get through the hour-long ceremony without a fuss. The romantic venue created an environment full of celebration while keeping it as intimate and private as it could be for their guests and themselves.

Carlos had already made his name known to the Formula One world, his talent being recognized by every fan as the season went on. But nobody knew who Magdalena was to him, and he intended to keep it that way — thus prompting him to keep his marriage a piece of confidential information. Everyone behind the scenes knew he was in a relationship, and with the hopes that he’d get even more popular, PR relationships were introduced and tossed in his way. 

None of the women he was put in the spotlight with ever lasted, and he was slowly earning the title of a Casanova. He didn’t care; he was just doing his duty and driving his car around the tracks while he worried about his partner, who now worked for a designing company based in London— where they both lived. Nobody else in the grid nor anyone in the motorsport community knew who he was romantically involved with. 

Magdalena was another story. She only began to record some videos about her lifestyle as she continued to work for some local designing firm, telling whoever was watching her videos about what she knew about this field of work or what kind of food she’d eat on certain occasions.

She wasn’t as popular as him, but she continued to keep his identity a secret. She lived an average life and she was quite content with it. She’d rather post a video of herself fucking around, but they’ve made a choice to stay private for as long as they could. 

Now Lando Norris was known to be a blabbermouth, but Magdalena had grown quite fond of him when he was still a reserved driver for McLaren as she worked as a PR coordinator for the team. They rarely spoke, sure, but she was certain that she could trust him with anything and he wouldn’t blab about it. Carlos was also friends with Lando, and they continued to be close friends, so Magda never protested against Carlos’ idea of inviting the younger man to the wedding. 

Lando then said, “I find it quite enjoyable— your wedding, I mean. It’s clearly not as big as I would have expected because well… Carlos told me that Filipino weddings are often big, but I love it! I’ve learned more about your wedding traditions than I have in sixth form about geography.”

“Gah, don’t even say that,” Magda rolled her eyes, earning a giggle from Lando as the woman continued, “It’s barely there, I think. We tried not to pour our hearts out into what they would normally practice in the Philippines or here in Spain. Some Filipino things are here — the food, my dress and my family — but it’s just something superficial, you know?” 

“It’s not even just the wedding that taught me a lot!” Lando exclaimed as he laughed, “Your cousins, Lomi, Niño and Lucia? Yeah, I sat with them during the whole ceremony so they kept telling me about wedding traditions and some superstitions: like how you shouldn’t have any relative marry at the same time as you because it’s cursed.” 

“Really? I’m surprised they haven’t said anything mundane,” Magda saw Lando nod at her statement.

“They also started to say that you took one for the team—“ Lando’s forehead creased as he said, “I asked them what they meant by that, then they only said you’re heroic.��� 

“Diyos ko.” My god. Magda scoffed. Her cousins spelled nothing but trouble and god did she despise them at times. 

“What? What did that mean, Mags?” Lando asked.

Magda sighed exasperatedly, and with a defeated tone, she answered, “Making up for the challenge we’ve lost, apparently.” 

“Huh?” 

“It’s— just ask Carlitos,” Magda waved off, “I’ve had to explain the concept of colonialism to too many people before. I think it’s time Carlos did it for me.”

v. 2024 — paninindigan kita (stand by you)

Mamahalin kita buong-buo. I will love you completely.

“So, tell us about yourself.”

“I’m Carlos Sainz— or wait, do you want me to speak Tagalog?” The Ferrari driver asked as he stood in front of the camera, his linen shirt in the view of the lens as he waited to be instructed.

“Directing this music video is the dumbest idea I could’ve ever made,” Magda deadpanned from behind the camera as the videography crew laughed alongside the band members, her voice being picked up by the microphone easily.

Their Philippines trip, which they should’ve made a while ago, was something of an experience for the couple.

It was the first time they’d been seen in public— with everyone finding out about their marriage after Carlos’ Instagram story slip-up when he accidentally posted a photo of Magdalena’s selfie that she sent when she travelled to the country long before this. 

It really was an accident if you were to ask him. But it was something inevitable, and all Magda could do was laugh and make her presence known not only to her fans but to those who were more than interested to know about her. His fans. 

Now, they were in an Airbnb somewhere in the Quezon Province as they filmed some form of documentary. It was meant to be a storytelling music video about their relationship and the romance that came with it, but after seeing Carlos’ script reading at the Shell commercial, Magda practically banned him from acting.

She was a popular content creator in the Philippines regardless of her living situation; she lived in Madrid with her husband for almost five years. And with her popularity in the Philippines came acquaintances who were more than willing to collaborate with her. The folk-pop band called Ben&Ben asked if she was more than willing to shoot a music video with them. Direct it, even. 

The song they released practically spoke about her life with Carlos. At first, she didn’t think too much of the lyrics and just enjoyed the rhythm of the song, then she realized how similar it was to their relationship, from the courtship (and her outward refusal to continue this romance with him at the very beginning) to their vows to love each other as they grow old, and decided that perhaps it was time to show to the world how they truly love each other. 

Carlos agreed, knowing that outside of his life as a Ferrari driver and a Formula One figure, he had nothing else in life but her and her alone. He knew that she was the one thing that he kept from everyone to provide security for his wife. He waited patiently for her — and it was now paying off. Now, he was standing in front of a camera, waiting to be filmed for his interview. 

It was better than the countless documentaries and the Netflix series that he had to do interviews and filming duties for. Because this time, he got to discuss his wife, Magdalena Sainz, instead of his car. 

“Can I speak Tagalog?” Carlos repeated, his typical confused expression being displayed before the others.

Magda shook her head, “You’ll butcher it, Carlitos.”

“Excuse me, Ramona,” Carlos gasped in mock offence. “I can speak it!” 

“Clearly not good enough,” Magda shot back, making the others laugh at the banter between the pair. 

“Your Español isn’t any better then, mi vida,” Carlos scoffed, placing his hand on his chest. 

Magda said, “There’s a reason why I only listen to you and your family when you speak, honey.” 

“This is what I have to deal with every day, by the way,” Carlos pointed out to their audience, making the others burst out laughing as he offered his wife a playful glare. 

One of the videographers spoke before Magda could make a comeback, “Wait, the camera’s still on.”

“Oh shit,” Carlos and Magda both swore before they both laughed. Their banter was caught on camera and they were laughing about it.

It took them good ten seconds to return to their composure as the camera stopped recording. 

Magda cleared her throat, clapping her hands as the camera began recording, and she instructed her husband, “Carlos, we can both speak English— it’s fine. Just speak in English, alright?” 

“Okay, fine,” Carlos rolled his eyes and muttered, “mi esposa. Muy quisquilloso.” My wife. So picky. The microphone attached to his shirt picked up on his comment.

“This is so going to the music video,” one of the band members giggled. 

Magda then continued with the recording segment as she spoke to her husband while she stood behind the camera, “Alright, please state your name and how long you have been with your partner?” 

Carlos nodded and beamed slightly as he stared back at Magda, who was smiling as she expected his answer. With a cheerful tone, he said, “My name is Carlos Sainz. I have been with my wife, Magdalena San Pedro Sainz, for seven years and three months and have been married to her for four years and six months.” 

“What prompted you to stand by her?” Magda asked as she continued to beam at him, not even noticing the heart eyes of the other people in the room. 

Eight years and still extremely in love. 

He answered, “Her determination, wits and her ability to stand by me no matter what kind of disaster came and went made me realize that falling in love with her was worth the effort to make.”

It was no wonder people thought their relationship had nothing to do with two worlds colliding.

Even with their constant light bickering, Magdalena and Carlos Sainz learned how to love each other through words — whether it was their native languages or their secondary ones. What mattered was that they understood the meaning of their love, regardless of what kind of language they had to translate it to.

fin.

[meraki-yao]

Get to know Me!

Thank you @lfg1986-2 for tagging me! I love doing these :D

Part 1:

Last song: Saint Bernard by Lincoln

Last film: The last full film I watched was Romeo and Juliet (2021) with Josh O'Connor and Jessie Buckley because my best friend's NYU account has access to a bunch of plays and she came over to watch it with me, but I watch a bunch of miscellaneous movie clips though

Currently reading: Book? You Will Get Through This Night by Dan Howell Fic: What if all I Need is you by aliwrites07 on Ao3, it's so freaking beautiful

Currently watching: I'm playing Dan and Phil videos as background sounds lmao

Currently consuming: Chamomile Tea, I'm wondering if I should take a note from Henry's book and start drinking tea regularly

Currently craving: a freaking break😭

Part 2:

1. Were you named after anyone?

Nah, my English name is a weird, fairly original one that my parents came up with (so many people pronounce my English name even though it's literally phonic, but I love that it doesn't have a pre-set meaning) and Chinese naming is a whole different thing, where there's not really a concept of naming your kid after someone, and even then it's not like English where you take the same name.

But I will say my Chinese name means "such a beautiful jade", which I really like, and am really happy with, so thanks Mom for that!

2. When was the last time you cried?

When I went to my bi-monthly counselling/ therapy on Friday

3. Do you have kids?

No, I'm 19 lol but I do want some in the future

I have a group of kids, essentially my sister's friends and schoolmates to whom I act as a big sister/mentor figure, I call those kids my children/my ducklings (I say kids but they're 16)

4. What sports do you play/have you played?

I used to do ballet until I pulled my legs and couldn't go on pointe anymore, so I quit in 2020 after fourteen years. And if anyone says dancing isn't a sport I will fight you

5. Do you use sarcasm?

Not really, just occasionally with my sister when we're clearly joking with each other

6. What’s the first thing people notice about you?

Either my naturally wavy/frizzy hair, or me being trilingual (I have a draft ranting about being a polyglot lmao)

7. What’s your eye color?

Dark, dark brown 🤎

8. Scary movies or happy endings?

Happy endings, definitely. I also absolutely cannot handle any scary movies 😩

9. Any talents?

Eh, I don't really view myself like that? But I'll put public speaking and making arts and crafts out here

10. Where were you born?

Hong Kong! (nationality is a whole debate here and it's really complicated plus I'm technically an immigrant child even though it's still part of the country? But if someone asks me I always say I'm a Hong Konger)😁

11. What are your hobbies?

Too many to count! Singing, dancing, writing, performing, drawing, scrapbooking, reading... and pretty common hobbies but I just, they give me so much peace and happiness

12. Do you have any pets?

No but I have a little sister! (jkjk) I do want a cat though

13. How tall are you?

163 cm, so that's 5'3?

14. Favorite subject in school?

English and Chinese (for secondary school)

15. Dream job?

Desperately trying to figure that out! 😭😭😭😭

Thank you again for the tag love!

Tagging @rockingtheorange @alittlefrenchtree @nocoastposts @pippin-katz (no pressure!❣️)

[anna-jowanowitch]

Fisher et. al. Chapter 2: Whole Class Instruction

Big Takeaway: A big takeaway from this reading is that the whole class reading instruction is much more detailed and backed by evidence than it seems to be. There are a lot of benefits to different practices for specific situations.

Nugget: I did not know that songs and chants were a common way of developing basic-level phonemic awareness, I do not remember doing these when I was learning phonemes.

In order to do this readerly exploration, I actually already did it before realizing it was one of the exploration options. I am in a TESOL class right now and we are talking about certain phonemes and more awareness of the sounds we make and how that understanding leads to a deeper understanding of reading and writing. Since I am in this class, whenever I read about those topics, I think of them in an English Language Learning context.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Explore relationships with other people through reading by using texts as a shared experience with another person / other people or to gain insight into the perspective of another person.

Provide an interpretation of the assigned reading through the lens of another course you've taken.

When reading this chapter, I was aware of the way that ELL instruction intertwines with whole-group reading. Not only are these practices beneficial to native English speakers learning to read and write, but they would also be extremely beneficial to English Language Learners in making the connection between a story and the actual language.

For the Interactive Read Aloud section, I noticed that this would be a great way to get ELL's practice making a connection between what is said to them and being able to conceptualize what they are listening to. In the text, they say that "Students come to understand text structures, vocabulary, concepts, and a host of other things about reading (Beck & McKeown, 2001; Justice, Sofka, & Sofka, 2010)" (Fisher, Frey, & Akhavan, n.d.). This is a great practice for English Learners to have as well! ELs already have to learn so much vocabulary and concepts every day, making it fun with a whole group read-aloud would help them become more engaged!

Taking this a step further into shared reading would affirm ELs in what they are practicing. Doing this would help eliminate the confusion that can plague our minds when we aren't sure if we understand what's going on. Doing a shared reading would give them a safe place to practice those skills and make mistakes but learn from their peers at the same time.

Direct and Deliberate Instruction in the whole class reading is essential to teaching ELs. It is helpful for EL students to know what a goal is before going into the lesson. It not only gives them a structure to the lesson but it also lets them go into class with a certain level of confidence if it is something that they are familiar with. Providing corrective feedback is also important because we don't want our students to leave and practice what we have taught them in the wrong way. This could lead to embarrassment for them when they are not in a safe space to make mistakes.

The annotating part of the close reading section would be beneficial for a more proficient ELL but introducing it early on may just cause confusion.

The phonics part of the close reading section is extremely beneficial for ELL students. It leads to easier transitions into reading and helps with pronunciation practice. Since phonics will be a large part of their EL class content, it would be helpful to incorporate fun songs to make it more engaging.

[lacampbell2-blog]

readerly exploration

Submission #7:

October 23rd to October 27th

· The title(s):

Mesmer (2019), introduction

Mesmer (2019), chapter 1 “know the code, teachers reference on how English works”

· A “big” take-away statement:

Article one: the use of an adaptable approach to phonics instruction allows for young learners to grow in their letter and word identification

Article two: the parts of a word and what makes up that word such as a diagraph, vowel sounds, phonemes, and graphemes are foundation for learning concrete letter skills in literacy

· A “nugget”: the use of adaptable phonics instruction in the classroom can enhance letter and word understanding.

· summary: From some of my earliest memories in elementary school I remember my teachers playing to me of singing to me the alphabet song. At the time I just thought it was a fun song but as I grew older, I realized that there are foundational letter lessons in the song and this will lead to a greater identification of word formation. The development of identifying letter skills is an essential component of reading and writing for children. By recognizing letters, children are able to connect them with their sounds, which is essential for word understanding and formation. As young learners become more familiar with the word parts and break them down into familiar words, students will begin reading at greater rates and understanding more of what they are reading or have read. By recognizing word parts, young students will increase their vocabulary. 

In order to succeed in learning to read, children need to be familiar with letter names and shapes. Children's ability to remember written words and to treat words as sequences of letters is strongly correlated with knowing letter names. As educators we can make learning letters and in turn words fun and engaging through songs such as the alphabet song that shows connections in letter identification skills and word understanding as a foundation of literacy skills in young learners.

· Multimedia documentation: the alphabet song, a song to teach young learners letter identification.

[edkidszone]

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[wishandhope07]

English reading is important for kids for several reasons:

Language Development: Reading helps in developing language skills, including vocabulary, grammar, sentence structure, and phonetics. When kids read, they encounter new words and phrases that help them to expand their vocabulary and understand how to use language properly.

Academic Success: English reading is essential for academic success. Many subjects, including science, social studies, and literature, require good reading skills. Kids who read proficiently are more likely to perform better in school and achieve academic success and a bright future.

Imagination and Creativity: Reading stimulates imagination and creativity. It allows kids to enter a world of imagination and adventure, which can inspire their creativity and help them to develop their imagination. 

Communication Skills: Reading helps in the development of communication skills, including writing, speaking, and listening. Kids who read frequently tend to be better communicators and have a more extensive vocabulary.

Cognitive Development: Reading improves cognitive skills, including attention span, memory, and critical thinking. When kids read, they must concentrate, focus, and comprehend the text, which helps in the development of these skills.

In summary, English reading is essential for kids as it helps in their language development, cognitive development, academic success, imagination and creativity, and communication skills. To know further go to homepage wish and hope

Teaching English reading to kids can be a fun and rewarding experience for both the teacher and the student.

Introduce the Alphabet, Begin by introducing the English alphabet to your students. Teach them the names and sounds of each letter, and help them practice writing each letter.

Some different kinds of  methods of teaching reading can help a student to read perfectly. For that, focus on the sounds of letters, letter combinations, phonics sounds, use worksheets and games to help your students learn reading each letter and how they combine to form words. Reading story books daily makes students interested in reading. Using picture books, flashcards, and games to help your students build their vocabulary. 

Give your students plenty of opportunities to practice reading. Start with simple sentences and gradually increase the difficulty as their reading skills improve. Encourage your students to read aloud to build their confidence. Give them different kinds of books to make their reading more fluent.

Learning to read should be fun and engaging for kids. Use games, songs, and other interactive activities to make learning enjoyable. Celebrate your students' progress and reward them for their hard work.

By following these five easy steps, you can help your students develop strong English reading skills that will serve them well throughout their lives.

[mymarifae]

tl;dr you can delete this i'm not about to start drama over it lmao it's just a game but re: the post regarding the "new girl" blurb. if a blurb "literally demolishes 2 chapters of build up and development", do you think your interpretation here might be wrong? like. if it's so out of character, why would you think the creator wrote it that way? sure he's just a man and prone to flaws but if it erases all his prior work don't you think it might be your perspective that's "bizarre"?

Hatsune Miku (Japanese: 初音ミク), also called Miku Hatsune, and officially code-named CV01,[2][3] is a Vocaloid software voicebank developed by Crypton Future Media and its official anthropomorphic mascot character, a 16-year-old girl with long, turquoise twintails. Miku's personification has been marketed as a virtual idol, and has performed at live virtual concerts onstage as an animated projection (rear-cast projection on a specially coated glass screen).[4]

Miku uses Yamaha Corporation's Vocaloid 2, Vocaloid 3, and Vocaloid 4 singing synthesizing technologies. She also uses Crypton Future Media's Piapro Studio, a standalone singing synthesizer editor. She was the second Vocaloid sold using the Vocaloid 2 engine and the first Japanese Vocaloid to use the Japanese version of the 2 engine. Her voice is modeled from Japanese voice actress Saki Fujita.

The name of the character comes from merging the Japanese words for first (初, hatsu), sound (音, ne), and future (ミク, miku),[a] thus meaning "the first sound of the future",[2] which, along with her code name, refers to her position as the first of Crypton's "Character Vocal Series" (abbreviated "CV Series"), preceding Kagamine Rin/Len (code-named CV02) and Megurine Luka (code-named CV03). The number 01 can also be seen on her left shoulder in her official artwork.

Development

Hatsune Miku was the first Vocaloid developed by Crypton Future Media after they handled the release of the Yamaha vocal Meiko and Kaito. Miku was intended to be the first of a series of Vocaloids called the "Character Vocal Series" (abbreviated "CV Series"), which included Kagamine Rin/Len and Megurine Luka. Each had a particular concept and vocal direction.[8]

She was built using Yamaha's Vocaloid 2 technology, and later updated to newer engine versions. She was created by taking vocal samples from voice actress Saki Fujita at a controlled pitch and tone. Those samples all contain a single Japanese phonic that, when strung together, creates full lyrics and phrases. The pitch of the samples was to be altered by the synthesizer engine and constructed into a keyboard-style instrument within the Vocaloid software.

Crypton released Hatsune Miku on August 31, 2007. Crypton had the idea to release Miku as "an android diva in the near-future world where songs are lost."[9] Hatsune Miku was released for Vocaloid 3 on August 31, 2013, including an English vocal library.[10] She was the first Vocaloid to be developed by the company, following their commercial release handle of Yamaha Corporation developed vocals "Meiko" and "Kaito", making her the third Vocaloid to be sold commercially by the company.[11]

Additional software

On April 30, 2010, a new add-on for Miku, called Hatsune Miku Append, was released, consisting of six different timbres for her voice: Soft (gentle timbre), Sweet (young, chibi quality), Dark (mature and melancholic), Vivid (bright and cheerful), Solid (loud, clear voice), and Light (innocent and angelic).[12] Miku Append was created to expand Miku's voice library, and as such requires the original program to be installed on the user's computer first.[13] This was the first time a Vocaloid had such a release, and more Append versions were reported from Crypton Future Media at later dates.[14]

It was mentioned that a 7th Append voicebank, a falsetto voice, had been recorded; however, since the developers didn't think it would be useful on its own, no plans were made for an independent release.[15] During the Kagamine Append development, a "darkish Whisper/Sweet" append was being considered.[16] Miku's English vocal was also due for a Vocaloid 2 release, but it was not released in the engine due to low quality.[17]

To aid in the production of 3D animations, the program MikuMikuDance was developed by an independent programmer. The freeware software allowed a boom in fan-made animations to be developed, as well as being a boost for promoting Vocaloid songs themselves.[18] This spawned "NicoNico Cho Party", where fans could submit their animations to accompany live holographic performances of popular Vocaloid songs.

An English voicebank for Hatsune Miku was announced in 2011 and was to be released by the end of 2012. However, the decision to move to Vocaloid 3 and issues with English pronunciation delayed the release.[19] It was finally released on August 31, 2013 via digital distribution.

The Hatsune Miku Vocaloid 3 Japanese vocal library was released on September 26, 2013. It contained updates to all previous Vocaloid 2 vocals except Vivid and Light. These were later released separately, though they were initially offered to anyone who already owned Hatsune Miku, Hatsune Miku Append, and Hatsune Miku V3. Once imported into Vocaloid4, all Vocaloid3 Hatsune Miku vocals could use the new Cross-Synthesis system (XSY) built for the new engine of Vocaloid 3. The voice was also imported into a device called Pocket Miku, released on April 3, 2014.[20]

Hatsune Miku received an update for Yamaha's Vocaloid 4 engine under the name of Hatsune Miku V4x.[21] It makes use of the new EVEC system for Piapro Studio, a VSTi plugin used as an alternative to the traditional Vocaloid Editor. EVEC consists of recorded vowels. Along with the consonant, a different vocal tone can be achieved. Two vocal tones are included in the EVEC system: Power and Soft. Along with the new EVEC system, phoneme errors found in Miku's V2 and V3 voicebanks would be fixed allowing for easier manipulation of her voice. As of August 31, 2016, Hatsune Miku V4X/V4 English was released.

A Mandarin Chinese voicebank was released in September 2017, making Hatsune Miku the first trilingual Vocaloid product. Her Chinese name is 初音未来; Chūyīn Wèilái; 未来 are the kanji characters for her given name, Miku.

Marketing

Miku has been heavily promoted since 2008 and was originally aimed at professional musicians.[22] On September 12, 2007, Amazon.co.jp reported sales of Hatsune Miku totaling 57,500,000 yen, making her the number-one-selling software of that time.[23] She was the first vocal to be developed and distributed by Crypton Future Media and sung in Japanese. Her instant success is owed to Vocaloid being a cultural hit in Japan and she reportedly sold 40,000 units by July 2008, selling on average 300 units a week.[24] By January 2011, she had sold 60,000 units.[25]

Merchandising

Since the success of her Vocaloid 2 package led to an expansion of marketing possibilities, most of the mass marketing has come after her initial release as a response to her popularity and has been on going since 2008. Even with the addition of other Character Vocals, Miku's name continues to be used as the primary source of marketing for Crypton Future Media, to the point where most products for their Vocaloid related products will usually only feature Hatsune Miku's name. In March 2012, the Nomura Research Institute estimated that the sales of all Hatsune Miku brand goods added up into the region of ¥10 billion since her release in 2007.[26] Her name is easily the most recognizable of all Vocaloids.[27]

In 2011, Crypton began to focus on marketing Miku to United States audiences. On May 7, Amazon placed a preview of Supercell's hit song, "World is Mine", as a single. When the song finally went on sale, it ranked at No. 7 in the top 10 world singles list on iTunes in its first week of sales.[28] Since Crypton had always sold Miku as a virtual instrument in Japan, they asked their Japanese fan base if it was acceptable for them to sell her as a virtual singer to the new market audience.[29] The main purpose of the Miku English version is to allow Japanese producers to break into the western market and expand their audiences.[citation needed]

In 2008, Good Smile Racing began the licensing of Hatsune Miku and other Crypton Future Media-related Vocaloid content. Studie, which participated in the 2008 and 2009 seasons using a BMW Z4 E86. Their car was painted in official Hatsune Miku art, and fan-derivative versions of Hatsune Miku in some races in the 2009 season.[30][31] In the 2008 season, a group of "Racing Queens" were seen in the pitstop of races. Dubbed the "MikuMiku Gals", the three girls were Rin Miyama, Riona Osaki and Hina Saito.[32] In 2009, a new set of MikuMiku Gals were introduced; these girls wore outfits based on all three Character Vocal series females and not specifically Hatsune Miku alone. Hiroko Nagano, Atsuko and Ayami were the Racing Queens for the season.[33][34]

Team COX, participating in the 2010 season, which uses a Porsche 996 GT3 RSR (and will use a Porsche 997 GT3-R). Their car uses Racing Miku (an official Hatsune Miku derivative wearing an orange racing queen suit) as their image. 2010 was also the first season to receive the first official "Racing Miku" derivative design, and from this season onward, the Racing Queens outfits were based on the season's derivative design. The designer of the 2010 outfit was illustrator Redjuice. Model Ayami returned for this season as a Racing Queen and was joined by fellow models Saki Tachibana and Shihomi Kogoshi.[35]

GSR and Studie with TeamUKYO was the sponsorship for the 2011 season. The designer of the 2011 Racing Miku derivative design was illustrator Yuichi Murakami. Ayami returned as a Racing Queen for the third time and Tachibana Saki returned for her second season. Haruka Aoi was the third Racing Queen to wear the Racing Miku 2011 outfit.[36] GSR and Studie with TeamUKYO was continued as a sponsorship for the 2012 season. The Racing Miku design was illustrated by Gan for this season. The Racing queens for the season were returning models Tachibana Saki and Aoi Haruka, as well as new models Sena Kougami and Ayana Sato.[37]

The Studie with TeamUKYO sponsorship continued with the 2013 season. The Racing Miku design for the season was done by Mari Shimazaki.[38][39] The illustrator of the official art was Saitom.[40] Sena Kougami returned as a racing queen for this season and was joined by Tsukasa Arai and Elena Ishiguro.[41] In 2013, the sponsorship expanded to feature a team in the Isle of Man TT, called Team Mirai, with a Racing Miku-designed bike. They finished 6th with Ian Lougher after a fatal accident struck Yoshinari Matsushita (who rode another bike, a Suzuki 600cc) during practice at Ballacrye Corner.[42][43][44] The Racing Miku design also was adapted for a "Sepang" version showing bare toned skin as part of showing good health and promoting the design as "the Angel of summer".[45]

The illustrator for the 2014 season was Oguchi, one of the 15 artists of Kantai Collection. The outfit is designed by Koyamashigeto, the art director of Kill la Kill. The machine version of the outfit is designed by Koyamashigeto and Shōji Kawamori, who is noted for his "Macross" designs.[46] The Racing Queens who wore the outfit were returning models Tsukasa Arai and Sena Kougami, as well as new models Kelal Yamaura and Noa Mizutani. For the 2015 Racing Miku, the design was based on a "Princess Knight" complete with a shield and spear-like umbrella. The illustrator was Taiki, the lead visual design from Square Enix and Sega's games Lord of Vermilion and Rise of Mana. Koyamashigeto once again returned as the art direction and designer for the season. Tsuyoshi Kusano is in charge of the new machine design.[47]

Winter festivals

Sapporo has been a major main target of sponsorship since 2010, with Crypton Future Media sponsoring the winter festivals. The image of Hatsune Miku would appear around the town on public transportation. The image portrayal of Miku that is used is a derivative design called "Snow Miku". Although originally, this was simply a recoloring of the normal Hatsune Miku, unique designs have occurred every year since 2011. Figurines based on the design have also been featured.

The 2012 design was chosen via a contest. The winning entry was referred to as "Fluffy Coat Snow Miku".[48] The 2013 design was called "Strawberry Daifuku Shiromuku Miku".[49][50] The 2014 design was based on a Magical Girl design by dera_fury, who was the winner of the 2014 Snow Miku contest.[51] The illustration was "Nekosumi". The design also featured a pet called "Rabbit Yukine".[52] The 2015 design was called "Snow Bell Snow Miku" and was illustrated by Nardack.[53]

In 2012, several ice sculptures of the Character Vocal series and several snow sculptures of Miku were produced for the event. However, on February 7, 2012, one of the Snow Miku sculptures later collapsed and had to be rebuilt elsewhere with better support. The collapsed figure also hit a woman in her early 60s on the back of the head; no serious injuries were sustained in the process.[54][55]

"Freely Tomorrow" by Mitchie M

4:00

Example of a song created using Vocaloid software with vocals by Hatsune Miku.

During Miku's development, Crypton decided to take a different approach from that used by the other Vocaloid sound bank publishers.[citation needed] It was decided that to make the product successful not only would a highly appealing voice need to be developed, but that the voice needed an image. She was originally aimed only at professional producers; the amateur and otaku market had not fully formed yet, and so were not initially considered.[56]

The task for coming up with Miku's image went to the manga artist Kei Garō. When Kei designed Miku, his only direction was that she was an android and what her color scheme (based on Yamaha's synthesizer's signature turquoise color) was.[57] The design on Miku's skirt and boots are based on synthesizer software colors and the bars represent the actual bars within the program's user interface.[citation needed] Miku was originally intended to have a different hairstyle, but Kei stuck to pigtails or bunches after trying them out.[citation needed] Name Hatsune Miku[2][58]Release August 31, 2007 Age 16 years Height 158 cm / 5 ft 2 in Weight 42 kg / 93 lb Suggested Genre Pop, rock, dance, house, techno, crossover Suggested Tempo Range 70–150 bpm Suggested Vocal Range A3–E5, B2–B3

Cultural impact

Nico Nico Douga, a Japanese video streaming website similar to YouTube, played a fundamental role in the recognition and popularity of the software. Soon after Miku's release, Nico Nico Douga users started posting videos of songs created using her sound bank. According to Crypton, a popular video featuring Miku's chibi version, Hachune Miku, singing and dancing to "Ievan Polkka" while spinning a Welsh onion in homage to Loituma Girl's original video (which led to Miku also being commonly associated with spring onions) demonstrated the potential of the software in multimedia content creation.[59] As Miku's recognition and popularity grew, Nico Nico Douga became a place for collaborative content creation. Popular original songs written by a user would inspire illustrations, animations in 2D and 3D, and remixes by other users. Some creators would show their unfinished work and ask for ideas.[60]

In September 2009, three figurines based on the derivative character "Hachune Miku" were launched in a rocket from the United States state of Nevada's Black Rock Desert, though it did not reach outer space.[61][62] In late November 2009, a petition was launched in order to get a custom-made Hatsune Miku aluminium plate (8 cm × 12 cm, 3.1" × 4.7") made that would be used as a balancing weight for the Japanese Venus spacecraft explorer Akatsuki.[63] Started by Hatsune Miku fan Sumio Morioka (also known as "chodenzi-P"), this project has received the backing of Dr. Seiichi Sakamoto of the Japan Aerospace Exploration Agency. On December 22, 2009, the petition exceeded the needed 10,000 signatures necessary to have the plates made. An original deadline of December 20, 2009, had been set to send in the petition, but due to a couple of delays in the Akatsuki project, a new deadline of January 6, 2010, was set; by this deadline, over 14,000 signatures had been received. On May 21, 2010 at 06:58:22 (JST), Akatsuki was launched, having three plates depicting Hatsune Miku and Hachune Miku in several monochrome images, composed of the miniature letters of the messages from the petition form etched in the plates.[64][65] The UK 59th issue of the music and fashion magazine Clash featured Hatsune Miku as their cover star (using a real-life photo model), with a full feature on her.[66] The third launch of the MOMO sounding rocket by Interstellar Technologies used Hatsune Miku's voice for the countdown.[67]

The Vocaloid software has also had a great influence on the character Black Rock Shooter, who looks like Hatsune Miku but is not linked to her by design. The character was made famous by the song "Black Rock Shooter",[68] and a number of figurines have been made. An original video animation made by Ordet was streamed for free as part of a promotional campaign running from June 25 to August 31, 2010.[69] A televised anime series aired in February 2012.[70]

In October 2011, Crypton showed on the official Hatsune Miku Facebook page a letter from the Japanese Minister of Economy for "contributing to the furtherance of the informatization by minister of economy."[citation needed] The flag of the city of Chiba was considered to coincidentally resemble the silhouette of Hatsune Miku, and on the 10th anniversary on August 31, 2017, the municipal government website temporarily changed its logo to look like Miku.[71] Geoffrey Cain of GlobalPost has argued that the phenomenon of Hatsune Miku is partly due to the love of Japanese for giving inanimate objects a soul, which is rooted in Shintoism or animism, but also in the long tradition of Karakuri ningyō or automated wooden puppets. Thus, Japanese are much more ready to accept a virtual character as "human".[72]

Appearances in other media

Miku's popularity has resulted in various references to her in anime. Miku is the protagonist of a manga series named Maker Hikōshiki Hatsune Mix, written by Kei Garō. The manga explores the many possibilities of story-telling and has featured numerous adventures, ranging from giant-sized battles with Hatsune Miku to home exploits. There is therefore no single storyline, and the entire setting within the manga is unofficial. During an episode of Zoku Sayonara, Zetsubou Sensei, Miku is seen auditioning for the voice of Meru Otonashi (Kagamine Rin and Len are referenced in the same episode). Miku's voice is used in one of the ending themes for the anime series Akikan! (episode 12). Moreover, she also sings the ending theme for the anime Yamishibai: Japanese Ghost Stories, called "Kaikai Emaki" (怪々絵巻). During an episode in the Lucky Star OVA, Kagami Hiiragi gets magically transformed into Miku cosplay. A character in the anime Kämpfer appears dressed as Miku in episode seven. She also appeared in the large plasma screen in Chrome Shelled Regios as an endorser. She also appears in episode 11 of Baka and Test as a member of class B. Miku also appears in Maria Holic episode 12, when the class is told they have a swim meet. Miku also appears in episode 1 of Himōto! Umaru-chan, in an imagination of what the main character wants to buy. A parody of Miku is also seen in Gintama (episode 237) in the second editor of Gintaman, Daito's anime fantasies. Miku also appeared in the anime Shinkansen Henkei Robo Shinkalion the Animation as a recurring character.[75] Miku appears as a recurring guest character in 2022's Dropkick on My Devil! X, the third anime season based on Yukiwo's Dropkick on My Devil! manga series, voiced by Saki Fujita herself as opposed to having lines recorded through the Vocaloid software.[76][77]

A series of rhythm games starting from Hatsune Miku: Project DIVA were produced by Sega under license using Hatsune Miku and other Crypton Vocaloids, as well as "fan-made" Vocaloids like Akita Neru. TinierMe also made attire that looks like Miku's for their services, allowing users to make their avatar resemble her.[78][79] The series has sold 6 million copies.[80]Hatsune Miku and Future Stars: Project Mirai was developed for the Nintendo 3DS. Miku's appearance in this game is based on the Nendoroid series of figures.[81] Hatsune Miku is also briefly referenced in the game Recettear, where a young man stargazing sees "The Green-Onion Girl" constellation. Also, in 2013, Saki Fujita voices Fei-Yen HD, a character based on one of Hatsune Miku's modules, in Super Robot Wars UX; this appearance does not use Miku's vocal library. Haruka Sawamura from the Yakuza series, another Sega franchise, can wear Miku's outfit in Yakuza 5, and an ice statue of Miku is also seen in the Sapporo region of the game.

Miku's clothes appear as a costume for a playable character in the Japanese version of PangYa and was the back-up vocal for the game's season four trailer, as a downloadable costume for Sophie in Tales of Graces and is seen during a stage in the game 13-sai no Hellowork DS. Miku's clothes also appear in Phantasy Star Portable 2 as a costume for the player's female character, as well as her hairstyle and leek-themed weapons. Miku appears in the PlayStation 3 version of The Idolm@ster 2 as downloadable content.[82] In the video game Skullgirls, one of Filia's alternative colors is based on Miku. Hatsune Miku's attire has also appeared in Phantasy Star Online 2 as a female character's costume, along with "Miku Dayō" as a Mag Design.[83] She also makes an appearance in the game Brave Frontier.[84]

In 2014, Korg introduced "Miku Stomp", a guitar effects unit that emulates the sound of Miku's voice.[85] "Tell Your World" by Livetune, which features her as a featured artist, appears in Japan's Just Dance Wii U. In 2015, "Ievan Polkka" was announced to appear in Just Dance 2016 along with a dancer whose outfit is exactly like Miku's. On July 23, 2015, Miku was announced as a DLC character in Persona 4: Dancing All Night, a video game released in 2015 for the PlayStation Vita and developed by Atlus.[86] On November 26, 2015, Miku became a collaboration idol for the second update of the 2016 series of the Aikatsu! arcade game. Several cards containing Hatsune Miku uniforms were also included for the update. In 2016, a remix of "Ievan Polkka" appeared on an LG G5 commercial. "PoPiPo" was announced to appear in Just Dance 2017 also with a dancer whose resembles Miku. Then, "Love Ward" was also announced to appear in Just Dance 2018 with the same Miku-resembling dancer. In March 2017, Miku was introduced as a playable character in the mobile game '#COMPASS'. In fall 2017, Hatsune Miku was added as a playable character in PriPara. "Love Ward" and "PoPiPo" are still available in future Just Dance games as part of Ubisoft's Just Dance Unlimited service for Just Dance 2016 onwards.

In August 2017, to celebrate the 10th anniversary of the virtual singer, Ricoh released a limited edition of its 360° camera Ricoh Theta branded with Hatsune Miku imagery called the Ricoh Theta SC Type Hatsune Miku.[87][88] The Ricoh Theta Type Hatsune Miku mobile apps (iOS and Android) allow for placing images of the character (in 55 different poses) within 360° images taken with the camera. Users can manipulate Hatsune Miku's facial expressions, change the direction of the character's shadow and hair, and rotate the character to place it within the 360° image.[89] The product includes a specially designed case and other features illustrated by Fuzichoco, an illustrator at Crypton Future Media.

In 2020, Hatsune Miku (also under the name Space Channel 39 and Space 39) was announced to be released as part of a DLC pack for Space Channel 5 VR: Kinda Funky News Flash on July 27 that same year. The installment allows the player to dance with Miku or attempt to defeat her in a dance battle, alongside Ulala, 88MAN, or Pudding.[90][91] The DLC also unlocks a Hatsune themed outfit for Ulala (under Channel 39).[92]

Featured music

In August 2010, over 22,000 original songs had been written for Hatsune Miku. Later reports confirmed that she had 100,000 songs in 2011 to her name.[citation needed] Crypton's website promotes Miku's popularity having her voice used in over 100,000 unique songs.[93]

One of the Vocaloid compilations, Exit Tunes Presents Vocalogenesis feat. Hatsune Miku, debuted at number-one on the Japanese weekly Oricon album charts dated May 31, 2010, becoming the first Vocaloid album ever to top the charts.[94] Another album, Supercell, by the group Supercell[95][96] also features a number of songs using Vocaloids. Other albums, such as 19's Sound Factory's First Sound Story[97] and Livetune's Re:package, and Re:Mikus[98][99] also feature Miku's voice. Other uses of Miku include the albums Sakura no Ame (桜ノ雨) by Absorb and Miku no Kanzume (みくのかんづめ) by OSTER-project. She had covered Nyan Cat called "Nyanyanyanyan!" by daniwell-P. Kagamine Len and Rin's songs were covered by Asami Shimoda in the album Prism credited to "Kagamine Rin/Len feat. Asami Shimoda".[100] Another song original sung by Miku, "Color", was covered by Maria, and featured as the opening theme of the 2011 anime series Freezing.

As a virtual idol, Hatsune Miku performed her first "live" virtual concert during Animelo Summer Live at the Saitama Super Arena on August 22, 2009.[101][102] Miku later returned to Animelo Summer Live 2012: Infinity to perform "World is Mine" and "Tell Your World". Miku also performed her first overseas live concert on November 21, 2009, during Anime Festival Asia (AFA) in Singapore.[103][104] On March 9, 2010, Miku's first solo live performance titled "Miku no Hi Kanshasai 39's Giving Day" was opened at the Zepp Tokyo in Odaiba, Tokyo.[105][106] Miku performed in the United States on July 2, 2011 at the Nokia Theater at L.A. Live during the 2011 Anime Expo in Los Angeles. The concert followed the same format as the previous "39's Giving Day" concert.[107] Hatsune Miku performed in Japanese rock festival Summer Sonic 2013 on August 10, 2013. Hatsune Miku teamed up with designer Louis Vuitton and director Toshiki Okada for a Vocaloid opera, titled The End. It featured no human singers and took place at the Theatre du Chatelet Opera House in Paris on November 13 and 15, 2013.[108] Another operatic work starring Hatsune Miku, a short opera buffa entitled "Weebmalion", appeared in 2018, this time featuring a real soloist, tenor Aleksander Kunach, singing with her in a love duet written by Polish composer, Krzysztof Żelichowski. It was the first time a classically trained voice appeared alongside Vocaloid in original classical composition.

A young male prototype used for the "Project If..." series was used in Sound Horizon's musical work "Ido e Itaru Mori e Itaru Ido", labeled as the "prologue maxi". The prototype sang alongside Miku for their music and is known only by the name "Junger März_Prototype β".[109][110] Hatsune Miku was the opening act for Lady Gaga's world tour ArtRave: The Artpop Ball, performing throughout the first month of her tour from May 6 to June 3, 2014.[111]

In March 2014, Hatsune Miku and Crypton Future Media teamed up with the Japanese band Bump of Chicken to record a music video featuring a real band singing alongside Hatsune Miku in real time. This video was uploaded on March 12, 2014, and contains the song "Ray". The video is not after-edited in any way. This was made possible by Crypton's newest technology to focus characters on a screen directly to the recording camera by using a big curved screen, motion data, Wifi-sensors, movement-sensors and some older technology from Crypton.

Pharrell Williams made a remix of Livetune's song "Last Night, Goodnight" featuring Hatsune Miku.[112] On October 8, 2014, Miku made her American network television debut as she performed "Sharing the World" on the Late Show with David Letterman on CBS.[113] Hatsune Miku is featured in "B Who I Want 2 B" produced by Sophie from Namie Amuro's album Genic. The 2016 Hatsune Miku Expo tour featured American electronic band Anamanaguchi as an opening act; to commemorate the tour, the band recorded a single track titled "Miku", which they performed live on the tour with Miku as an encore song.[114]Big Boi (of Outkast) sampled Aura Qualic's song "DATA 2.0", featuring Hatsune Miku for his 2017 single "Kill Jill", also appearing in the song's music video.[115]Slushii did a collaboration with Hatsune Miku for the song Though the Night[116][117] which was released on May 11, 2018 on the single Through the Night.

In January 2020, Hatsune Miku was announced as a performer at Coachella 2020 in Indio, California, which was later cancelled due to the COVID-19 pandemic.[118]

On December 11, 2020, Hatsune Miku was a featured artist on a remixed version of American rapper Ashnikko's song "Daisy" titled "Daisy 2.0".

Notes

Miku is a nanori reading of the word for "future" (未来), which is normally read using the on'yomi readings of its characters as mirai.[5][6][7] These are the same characters used in Miku's Chinese name (Simplified Chinese: 初音未来; traditional Chinese: 初音未來; pinyin: Chūyīn Wèilái).

[iguanalysis]

Holly Herndon’s Album “Proto”: Alphabetical Liberation

Characteristics of an Abjad as the Miracles of God in Exodus

A structuralist or archaeological reading of the Torah in Biblical scholarship commonly involves a linguistic consideration of the Hebrew language and its written alphabet. In the book of Exodus, this seems to provide us with a supplementary narrative that the very language of the ancient Israelites in Egypt, and not just the enslaved descendants of Jacob themselves, had to somehow break free of its oppression and censorship in order to become its own written word and spoken speech (in relation to God).

    More broadly: what an alphabet must come to do for a people’s liberation, then, is surpass the rule of the hieroglyph, or logogram. It does this in Exodus, through both plagues and symptoms which afflict the people of Egypt, and Hebrew thus proves itself to be a language far closer to God than that of the ancient Egyptian slave-masters and the Pharaoh.

    The true name of God, for example, is traditionally translated into English from the Hebrew in Exodus as “I am what I am”, or “I will be what I will be”. But this true name of God (sometimes referred to as the Tetragrammaton) doesn’t have an authentic translation or known etymology, and is technically unpronounceable. Hence the commandment: “You shall not misuse the name of the Lord your God, for the Lord will not hold anyone guiltless who misuses his name.” The original pronunciation of this name from scripture is not known by scholars to this day, because the Hebrew language uses a type of alphabet called an abjad, which does not contain any characters for vowel sounds. This is essential for interpreting Holly Herndon's critique in Proto of the relationship between algorithms and protocols. All of God’s signs and miracles in Exodus depend on this manner of alphabetical functioning, via omission and substitution, as well.

Hebrew is also a language which can be traced in the sand on the ground, rather than etched in stone.

    In the opening song of Proto, “Birth”, one can detect a woman’s robotic-sounding, garbled voice speaking traces of what is probably Mandarin. Mandarin is a tonal language; the same syllables, written phonetically, can be spoken aloud with different tones (falling, rising, rising-and-falling, and singing) in order to communicate a completely different meaning, using what are “alphabetically” and phonemically identical sounds. What is the function of writing in Sinitic languages, then, in comparison to Hebrew, or Arabic, another Semitic language which also utilizes an alphabet without vowels?    The answer might be that it is the omission of the inflection, or of the diacritic, that diversifies and brings the phonemes of written characters in Chinese to life. Yet there are gaps, therefore, between the pronunciations of characters which can be phonically assimilated with one another and the visual appearance of the characters themselves. What is left open to interpretation for Mandarin-speakers, in comparison to ancient Hebrew, is something positively externalized from their spoken and written language, whereas an abjad seemingly negates the spaces between its letters, while it opens these spaces up at the same time.

Political AI, and Auditory Affects Beyond Vowels

The whole conceptual thrust of Proto highlights the historical progression of spoken languages and their interactions with computer technology. At the heart of these interactions’ versatility, for Holly Herndon’s album, seem to be the miracles and signs of God in ancient Egypt, which in Exodus show in a literal manner the various shortcomings of the logograms encountered in hieroglyphics. Each successive plague showcases the metaphysical and signifying characteristics of the Hebrew writing system. Pharaoh perhaps glimpses the truth of alphabetical writing in his people’s suffering, but hardens his heart to it nonetheless by siding with the rule of hieroglyphs, and with the rule of forced labor.

    But in the sonic world of Proto, rather than Hebrews against Egyptians, spoken language and computer technology are struggling against one another for some form of recognition, and for the absolute political possession of human consciousness.

    Rather than Israel, as well, the analogous “promised land” in Proto is clearly that of space exploration, and the idea of a new humanity. But isn’t something at risk for the liberation of humanity which has achieved its own self-realization through the Judaic thought of alphabetical writing if it somehow ascends physically to outer space? Can letters, old or new, be traced with a staff or a finger into airless, colonial dark matter?

    The idea that Holly Herndon advocates the colonization of outer space by humans seems dubious to me, however. What she truly seeks to effect with her album are questions about computer programming technology, and its effects on human societies as a new frontier for both artistic and musical exploration. Here is an excerpt from an interview featured in the web publication Art in America:

“HERNDON: My most obvious and basic opinion is one that’s very popular right now: AI has all the biases of the people who are designing it. The 2016 election was a big wake-up moment for many people, who realized, “Oh, we’re being manipulated.” Yeah, we are. With Platform, I was thinking about the politics of platforms themselves—the ways that they’re manipulating us, and how they change our behavior. Shoshana Zuboff, an economist at Harvard, wrote an opus that perfectly ties Platform and Proto: it’s about how artificial intelligence amplifies some of the issues that are already built into the infrastructure of what socioeconomics scholar Nick Srnicek terms platform capitalism [a digital mode of business propelled by firms like Google, Amazon, AirBnB, and Uber]. Zuboff demonstrates that platform capitalism relies on AI to grow. One reason we chose the name Proto is to emphasize how algorithms define protocols. The rules set up on a very baseline infrastructural level will affect all the interactions that happen on top of it.”

    This quote from the interview is a sufficient indicator that the underlying principles of God’s creative reasoning with Moses in Exodus, which inculcates some formal characteristics of the Hebrew language, are also comparable to Herndon's productive and conceptual approach on Proto. Analogous “biases” to AI development and utilization are at stake here, reflected in the iconicity of a logogram or hieroglyph. Logo-genesis is no longer possible in the concretion of such a unitary written or chiseled character, even though it still retains all the traits of an ordinary signifier. Icons themselves might offer a slight departure from the rule of logocentrism, but the effect of their presence or establishment is that nothing which may proceed from them can ever be genuinely originary.

    Yet, something of Hebraic or alphabetical logocentrism is somehow preserved in the icons (on your desktop, for example) which characterize modern platform capitalism, nonetheless. This is perhaps manifested in the implicit democratization of software, which AI is continuously and necessarily drawing from. The vowel sounds of a language whose writing system utilizes an abjad like Hebrew reflect these internalized principles, or motors, of technological progress and creativity. This is also reflected in the sonic palette of the voices which can be heard on Proto; beyond the grammatical inflections which are attached to vowel sounds in English, there are extraordinary auditory affects which technology may be used to produce, and which meld together with the significations of speech which are not-yet-known: the Lacanian discourse of the Other.

“McDERMOTT: That carries through your entire practice: you use the actual technology in question to produce music, rather than just discuss it through lyrics.

HERNDON: A lot of music suffers from this. People will write a song about topic A, but I want to come up with a production method that deals with topic A. The music can speak explicitly about it, but I don’t want to rely on lyrics or language. I want the process to be dealing with the object of critique.”   

Herndon here exposes much of the false consciousness which adheres to contemporary musical recordings, even though a serendipitous mistake or a particularly beautiful take of an acoustic folk music song, for example, has an object of critique as well, since this is what dwells in the auditory affect of the recording. I think her ethical concern (or ethos) with this idea, rather, pertains to the integrity of an artist to take credit only for musical discoveries or inventions that were part of the original agenda of recording the music, rather than taking credit for qualities of the music which were somehow outside of the artist’s control.

Ultimately, Proto sets a historical and technological precedent which, by design, can never be matched. By putting her creative trust (or suspicion?) in the hands of AI for the production of the album, in the year of 2019, she achieved an intellectual landmark. But she holds the rest of us up to this standard as well, and for that I appreciate her immensely. A similar ethos is pumped into my own drive for philosophical innovation, I feel like. But her talent for networking and collaboration is something to take an important piece of instruction from, as well.

⁠— (8/16/2022)

[tenkidstv]

Phonics Song with TWO Words - A For Apple - ABC Alphabet Songs with Sounds for Children

https://www.youtube.com/watch?v=fIGZlJsKHGs

[cloudninetonine]

Who would like to explore more facts about Medieval England with me tonight because I'm currently trying to distract myself from the giant moth on the back of my laptop by learning about the education system and literacy rate? Because I somehow think that statistics is interesting.

Finding definite sources for education in the Middle Ages is surprisingly hard since the era spanned a whole 400 years. To paraphrase the rant I typed to myself (yes I write this out beforehand so I can re-check my facts later), the Middle Ages is different from the Medieval Era despite the fact it's used interchangeably and is because the Middle Ages is the European time period between 500 and ~1400 as 15th century scholars used it to distinguish the time between the fall of the Western Roman Empire and their modern century, while the English Medieval Era is from 1066 and 1485 - the time between William of Normandy's reign over England and King Henry 7th's victory in the War of Roses. Not my point but I went on a whole 3 paragraph rant and thought it would be relevant enough to mention.

As far as I can tell, however, most children were taught to read (mostly phonics) through ABC poems and songs and other literary texts for older children, both boys and girls. Most education was given to wealthy sons, though some noblewomen and nuns were allowed to participate. For most lower-class children, they were taught both domestic skills and manual work, as well as learning to work in the family business.

For wealthy boys, three main types of schools were available; elementary song-schools, monastic schools, and grammar schools. Song schools taught boys Latin hymns, and if an educated priest was available, how to read and write. Monastic schools trained boys to work in the church, meaning monks taught them religious studies. Sometimes poor boys would be taken in for lessons in exchange for being servants of the church. Finally, grammar schools taught Latin grammar, composition, and translation, along with the art of arguing (logic) and rhetoric (public speaking). They didn't really care to teach the sciences or maths.

When boys were considered educated enough (sometimes as young as 13), universities like Oxford and Cambridge may take them in to obtain a Bachelor of Arts by attending a certain number of lectures, and if attended for 3 more years, could get a Master of Arts degree. They would additionally have to teach at the university as well as partake in their studies. If there's any interest in her (since the topic is so niche as far as I can tell), I might talk about Elizabeth de Clare's contribution to universities and education for poor boys since I don't really have a lot of time to research her at the moment.

I went down a bit of a rabbit hole about literacy rates at first, and somehow ended up learning about schooling, so to answer my original question about literacy rates around the end of the Medieval Era, 10% of men could read and/or write, though was climbing quickly towards 20%, and 1% of women could due to the laws against women in education. Though I again ran into contradictory sources because some said that almost half of the population could at least read by the end of the Medieval Era.

HERE COMES RUSS WITH THEIR AWESOME FACTS!

Rando fact I know is 1066 is the year Willian the Conquerer was declared King of England! (He wasn't but there's this whole thing and stuff (which I've forgotten) so he was declared the first)

[goingupeducation-blog]

⛺️ Phonics Letters T & P - English Sing-a-Long for Kids 🎵

🧑‍🚀 Join us for a fun-filled phonics adventure with sounds T and P! 🚀 

Explore the world of English through engaging activities and playful scenes. Look out for tigers, tea, tops, boats, birds, and more! 

 Like, share, and subscribe for more educational songs and adventures! 👍 🔑 

Blast Off with a FREE Month Pioneer Pass! Use code ONEORBIT! 

https://www.goingupeducation.com 

[panbai-international-school]

Mumbai is a bustling city known for its rich cultural tapestry and fast-paced lifestyle. It is also one of the most modern schools in India. These schools are among the top in promoting early literacy, ensuring children develop a keen passion for reading at an early age. Reading early is a crucial basis for academic success and lifelong learning. Mumbai's preschools excel in this field with various efficient strategies and activities, making them among the best preschools in Mumbai.

The Importance of Early Literacy

Early literacy is the ability, knowledge, and attitudes required to learn to write and read in the early years of primary school. Research has repeatedly shown that children exposed to reading early are more likely to develop a better vocabulary, better comprehension skills, and a more extensive base. A passion for reading also stimulates creativity, imagination, and critical thinking skills.

Innovative Approaches in Mumbai's Preschools

Storytelling Sessions

Storytelling is an effective method to encourage early literacy. Mumbai's preschools regularly hold storytelling sessions, where the teachers and occasionally guest storytellers present stories with animated voices, props, and engaging activities. The sessions are designed to engage young minds by making reading a pleasurable and exciting experience. Through reading stories, children acquire the ability to comprehend narrative structures, vocabulary, and phonetic awareness.

Library Corners

Many kindergartens and preschools across Mumbai have library areas with books appropriate for children of all ages. These are comfortable spaces where children can read independently or with teacher guidance. The wide selection of fairy tales, picture books, and informative texts helps children discover a fascination with various genres and subject areas.

Parent Involvement Programs

Recognizing parents' vital role in the early literacy process, Preschools in Mumbai often have parental involvement programs. These programs teach parents how essential reading is at home and offer strategies to make reading part of their routine. Reading sessions and workshops in which parents read with their children can help reinforce the habit of reading outside the classroom.

Phonics and Language Games

To develop the foundational skills of reading To help children learn reading, many preschools in Mumbai include phonics and games of language in their curriculum. These games focus on recognizing sounds, letter-sound associations, and building words. Songs, games, and rhymes can make learning phonics fun, ensuring children learn the essential literacy skills they need through play.

Specialized Literacy Programs

Bilingual Learning

Mumbai's multicultural environment has prompted many preschools to choose bilingual education programs. The programs expose children to various languages simultaneously and help them develop their cognitive abilities and broaden their linguistic perspectives. Reading materials and activities in both the child's language and English foster an interest in reading across different languages, making them among the best preschools in Santacruz.

Digital Literacy Tools

In the age of technological advancement, Mumbai preschools are now integrating digital literacy tools to supplement traditional reading techniques. Literacy apps, interactive e-books, and educational videos engage young, tech-savvy learners. These apps typically include features like read-aloud, interactive quizzes, and animated characters that make reading a fun and engaging experience.

Reading Buddy Programs

These programs offer a unique method in which adults or older kids are paired with preschoolers to read. This is a way to help children learn to read and build social connections and a sense of mentorship. The older children show fluent reading skills and involve youngsters in discussions on the stories, which improves comprehension and enthusiasm for reading.

Creating a Print-Rich Environment

Labels and Signs

Preschools in Mumbai provide a print-rich space by identifying classroom materials and spaces. Words are printed on objects such as windows, doors, furniture, and classroom equipment, helping children create connections between spoken and written words. Being exposed to print constantly in their surroundings aids the recognition of words and literacy skills.

Interactive Bulletin Boards

Interactive bulletin boards have become an additional option in many Mumbai preschools. These boards show poems, stories, and thematic content that kids can play with. A board could have flaps to lift, textures that can be felt, and images that go with the words. These interactive elements can make reading an enjoyable and tactile experience.

Fostering a Love for Books Beyond the Classroom

Book Fairs and Author Visits

Many Mumbai schools organize book fairs and author appearances to foster a love for reading. Book fairs introduce children to various books and let them pick their favorites, encouraging ownership of the books and enthusiasm for reading. Author visits, however, allow children to meet with the authors of their favorite stories and make reading a more intimate and enjoyable experience.

Community Reading Programs

Reading programs for community members extend reading activities beyond the preschool setting. These programs typically involve collaboration with libraries in the area and community centers where children can participate in story time or reading groups and activities related to books. These programs help establish an atmosphere of reading in the community and provide sources for families and children.

Conclusion

Mumbai's preschools have been exemplary for encouraging early literacy and fostering children's ongoing love of reading. Through a blend of storytelling libraries, library corners, parents' involvement programs as well as phonics games and language games, and bilingual education using digital literacy tools, reading buddy programs, and the use of print-rich environments, these preschools are helping to establish a solid base for academic achievement and a love of learning. Innovative approaches used by these schools ensure that children don't just learn to read but also develop a long-lasting and lasting love of books and stories, making them among the best preschools in Mumbai.

[helloparent]

Examining the Nursery Class Syllabus: A Brief Overview

If you're stepping into the world of nursery education as a parent or educator, grasping the nursery class syllabus is crucial for understanding what children learn during their early childhood education years. Below, we delve into the nursery class syllabus, shedding light on its core elements and educational objectives.

Understanding the Nursery Class Syllabus

Introduction to Nursery Education

Overview: The nursery class syllabus serves as the foundation for a child's educational journey, introducing them to the school environment and setting the stage for future learning.

Focus Areas: Emphasis is placed on fostering holistic development encompassing cognitive, social, emotional, and physical domains.

English for Nursery Class

Language Development: Basic English language skills are introduced through engaging activities like storytelling, rhymes, and vocabulary exercises.

Phonics Awareness: Children start to recognize letters, develop phonemic awareness, and learn initial phonics sounds to kickstart their literacy journey.

Mathematics

Number Recognition: Nursery syllabi incorporate activities to familiarize children with numbers, counting, and basic mathematical concepts using interactive games and hands-on experiences.

Shape and Color Recognition: Through playful interactions, children learn to identify and differentiate shapes, colors, sizes, and patterns.

Creative Arts

Drawing and Painting: Children unleash their creativity through art sessions involving drawing, painting, coloring, and collage making, fostering self-expression and fine motor skills.

Craft Work: Hands-on craft projects allow children to explore their imagination and creativity using various materials, promoting dexterity and innovation.

Music and Movement

Songs and Rhymes: Nursery education includes musical activities such as singing, dancing, and rhythm exercises to enhance language development, coordination, and expression.

Gross Motor Skills: Engaging in movement-based activities like marching, hopping, and skipping aids in the development of gross motor skills and spatial awareness.

Social and Emotional Development

Social Skills: Children learn vital social skills like sharing, taking turns, and cooperation through group activities and collaborative play.

Emotional Literacy: The syllabus encourages emotional awareness and expression, helping children identify and articulate their feelings in a supportive environment.

Nature and Environmental Studies

Exploration: Nursery syllabi often include outdoor activities like nature walks and gardening, allowing children to explore and appreciate the natural world.

Sustainability: Concepts of environmental conservation and sustainability are introduced through lessons on recycling, conservation, and caring for the environment.

Why Understanding the Nursery Class Syllabus Matters

Informed Decision-Making: Parents and educators can make informed decisions about nursery education based on a clear understanding of the syllabus and its alignment with educational goals.

Supportive Learning Environment: Familiarity with the syllabus enables parents and educators to create a nurturing and stimulating environment that caters to the needs and interests of young learners.

Collaborative Engagement: By understanding the syllabus, parents can actively engage with educators to support their child's learning journey, fostering continuity between home and school. Utilizing tools such as the school parent app enhances this connection, allowing parents to stay updated and involved seamlessly.

Conclusion

A detailed comprehension of the curriculum for a nursery class offers insightful knowledge about the learning possibilities and experiences that are accessible to young children. Parents and teachers can work together to create a stimulating learning environment that fosters holistic development and equips kids for future academic achievement by embracing the syllabus's essential elements.

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