#i heart freo

[myremarkableplace]

Willy Wagtail has something to say.

[boyakishantriage]

Chugging the bottle, the guide drunkenly looks at her fellow human.

"Jesus. Fycking-"

"How dare-"

"fwuark off you soppy cunt. I don't give two fwa-"

The woman proceeded to puke down a drain, the smell of stomach acid curling stomachs as she wiped her mouth.

"Where was I? Right. Fucking cunts like you-"

"I have-"

"A dildo for a genital. Lovely, great. That's awesome. Uhh, here comes the headache."

Blinking, the woman shakes her head. Hair smacking into the woman.

"What was I saying? Ah right. You're a cunt. I don't care if that's accurate, because you're a cunt. As in, you're some slut who calls patriarchy and other words I don't care about. To justify you. Being a cunt-"

"YEAH RIGHT, AND YOU SOME CHINK-"

"Mate. I'm Aussie, and if ya wanna squnit. I'm Malaysian I guess. Like yeah, I'm Chinese. But I'm more Aussie. So fuck you racist-"

The woman belched in her face, fists curling as she throws a punch. Yelping came out the younger woman.

"Kids these days, I swear. You lot have no fucking. What's it called? Balls? Fuck I'm hungover. Jesus-"

Her leg caught another punch, sweeping the woman and resting her foot on the girl as she takes another swig of alcohol.

"You dare-"

Leaning down, the force in her face increases until tears stream out the black girl's face.

"Listen here you little shit. I'm a veteran of several wars, I've lived through eight seperate revolutions and I don't care if you're black, white, polka dot, alien, gay, bi, intersex, autistic, fuck Nazis, uhh. Jewish, Swahili, Swedish and other words used to describe people."

She rose, belching into the air as she takes another swig, the girl at her boot struggling to stand or talk.

"You're a cunt. Using the patriarchy as an excuse to push forward in relationships, be a cunt versus me. Who's just a cunt with manners. The only reason why your head isn't exploded is because you're my friend's daughter. Now. Lizzy, go cry to your mother or call the police. I dare you."

Coughing, blood covering the floor as she threw the bottle into a recycling bin.

Pausing, belching some more before she coughed out more blood.

"Urgh. Bleh. Iron. Disgusting. Where was I? Ah right. I don't give a flying fuck. Is shut the fuck up you insolent child, or I'm afraid I'll break your mother's heart. And your skull."

Rising off the girl, punching a woman before he could cry out his protest, kicking the cunt's cunt as she stumbled off. Muttering and mumbling as she crossed the road, jumped the fence, flipped the small crowd and then drove off. Backing into the crowd to disperse the crowd before revving the engine. Harmless smoke flying out the vehicle as she opened the door.

"OI. DELE-oh you're there. Uhh. Hi, sorry. Just had to DISCIPLINE A STUPID CHILD because YOUR MOTHER IS SUFFERING FROM GETTING HIT BY A TRUCK. VISIT HER YOU LUMP OF FUCK! Anyways, get in. I'll explain as we drive to the. Uhhh, you seen the Freo pris?"

The Terran didn't seem fazed, switching between tones constantly as she stared at the green tinted alien.

"YO. Mr, Quazar? You ever seen Freo prison?"

"... No?"

"Get in, I'll show you some history. OI. YOU CUNT. HANDS OFF THE VEHICLE OR ILL BREAK YOUR ARM!"

Shouting at the crowd, whipped into a frenzy as she fired a cap gun.

POP

"FUCK OFF YOU-"

"yeah yeah. I'm a racist. BIG SURPRISE, NOW FUCK OFF YOU CUNTS BEFORE I MAKE Y'ALL BLIND CUNTS!"

The crowd grumbled, dispersing as the girl spitefully glared at her.

"YOU'RE WELCOME LIZ. NOW FUCK OFF!!"

Grumbling to herself, she got into a friend's car. The woman looking at the alien.

"You gonna get in or-"

"Hold on. How. How did you do that?"

"do what?"

"you went angry at her. And dispersed. Are you-"

"I'm not a leader. I'm a moron who's very good at picking up skills and knowledge."

"... But how-"

"Listen. I could either sit here-"

POP

"And run out of battery, or you can get in and we can converse. Inside a more appropriate facility you sweaty lanky Porpan."

"... So. You've got a strange way of showing you care?"

"no, most certainly absolutely not. Now get in."

The car door beeped, pulling the alien closer. The thin tree based lizard making noises similar to laughing as he stepped into the vehicle.

[err0r-of-lif3]

Okay here's the entry for today :)

《 》

I think sitting with him and just listening to music by a pond was the most peaceful I've felt in ages. I love his company and how he seems to need to be touching me with something or other at every point (even if it means putting his stinky shoes on me).

He let me try his headphones on and jesus christ I need them the bass was so goodm I love music. The sound made me stim and he pulled up a fuxking family guy meme 🧍 he makes fun of me in such an endearing way it's pure happiness to be honest.

I was kind of sad that he didn't want to hang out for the rest of the day but he was tired and went to school when he didn't need to be at school so he just wanted to go home, which is fair enough. So I decided to go jetty jumping.

I haven't been jetty jumping in years...not since j lived with mum...and that was ages ago. I think the beach I went to is the one we said goodbye to Sunnee at. I remember watching the balloons sail into the sky like a giant yellow and pink cloud. Big fuck you to global warming I guess.

I love taking public transport, it's peaceful and I get to people watch. I like imagining what lives they're living and whether or not they're doing the same thing to other people. I like being by myself. I am my own best company, I like not having to worry about other people's opinions.

When I got to the jetty I picked one of the levels that you couldn't access just by the ramp, you had to climb down a ladder or two to reach it. This meant noone else was there, or would be there for a while. Just how I liked it. I stripped down to my underwear. Not even my bathers. Just my cotton underwear and old lace bra. And I didn't care. I put all my stuff into a pile under the ladder and mustered up the courage to jump.

Freezing.

My feet easily touch the sand floor and I pushed myself back to the surface of the water. Minnows dash around me. The water is crystal clear. I can see the bottom from every angle. The blue-green tinge making my heart jump. It's beautiful. I'm also fucking freezing.

I swam to the ladder, climbing up. I gasped as the wind bit at me. Laughing at how exhilarating it is. I dry my hands and update my friends :)

I jump more and more.

Ignoring the looks I get from people on the higher level. I am unstoppable. I am having fun. Today is my day. I checked my phone again in time to watch it go fucking flat 😓

I dried myself with my flanno and put my stupid fucking jorts on (I fucking hate jorts and I hate that I own them I'm gonna sob). I gathered my things and went to the bus stop to check when the next bus back to Freo is. Not for another 20 minutes. Fuck.

I went to the beach Cafe and asked to charge my phone but they were closing, so I walked across the road to the beach hotel. As soon as I walk in I feel underdressed but the barstaff greeted me with the biggest smiles.

They agreed to charge my phone and took my charger with them behind the bar. I sat down at a small table and waited.

My eyes searched the building. One room was a farmers shop, with home made jams with beeswax toppers instead of lids. Another room had paintings, small price tags printed to the bottom corner. Through a doorway I could see the dining room to the resteraunt.

It was beautiful.

Golden lighting, candlelit tables, a giant tree with branches stretching across the roof. The cherry on top? The open kitchen wall, where even though I was on the other side of the building, I could see the goings-on of the staff. I watch one chop vegetables and another shake a pan that goes up in flames and goes out again in a split second. I'm gazing around in wonder as a bartender walks up to me and asks if I want a water.

These staff are dressed in elegance reimagined. Their hair is gelled back. Their posture impeccable. I am wearing a muscle tank, jorts and my Connie's.

I say yes.

He comes back with a tall glass, water, ice and lime slice all floating within. It tastes fucking amazing. I feel like I'm in a movie.

I finish the water and asked for my phone, he thanks me for coming and I walk back out into reality. Still reeling. This day can't get any better.

I took the bus back to freo and walked the main street until I came to my favourite book store. I know what kind of book I want. A romance, preferably whirlwind. But the way I choose books is whatever jumps out at me. The book I buy actually falls on me.

I am actively trying to romanticise my day now, thinking about how good of a tumblr post each activity will be. And then I hunger for fresh fruit.

I spend half an hour looking for a grocer to no avail. I get gelato instead. I sit and eat it at a picnic bench listening to the music of the shop I bought it from. The sun kissing the back of my neck. I am elated.

I finally decide to go to therapy, I'm 10 minutes early so I sit and begin reading my book. It's interesting. It gives me the idea to use a clothes peg as a hair clip. I like it. My therapist finally opens the door for me to come in and we exchange pleasantries before I tell her about my day.

We spend the session talking about [ redacted ]

Anyway.

I finish with my therapist and catch the last of the afternoon sunlight as I walk back to the trainstation to go home. I love it. I am content.

Romanticising my life is my favourite.

ANYWAY please find attached photos I took today! The ohotos of the resteraunt I grabbed off of google but look! It's so pretty :(

[mysteriousblu]

11.03.2022 - morning in freo

even though my heart is slowly hurting, i can’t help but look at you and smile.

i’ll grab you a croissant again today. 

[ao3feed-valdangelo]

Not so 30 day OTP challenge - Valdangelo

read it on the AO3 at https://ift.tt/39J273L

by I dont even know (Echo_luvs_Leo)

OTP Challenge – Valdangelo Valdangelo fics for 30 days just because. Inspired by GoldenEmpire‘s Freo one and mixed ship one because they’re so awesome! I love Valdangelo with all my heart and soul and though I have a thousand one OTPs, Valdangelo would always be my fav so without further ado, Unicorns and Dragons, I present to you my (kind of) thirty days of Valdangelo!

Words: 389, Chapters: 1/30, Language: English

Fandoms: The Heroes of Olympus - Rick Riordan, The Trials of Apollo - Rick Riordan

Rating: Teen And Up Audiences

Warnings: Creator Chose Not To Use Archive Warnings

Categories: M/M

Characters: Nico di Angelo, Leo Valdez

Relationships: Nico di Angelo/Leo Valdez

Additional Tags: Letters, Love Letters, World War II, Death, Character Death, Poor Nico, 30 Day OTP Challenge, OTP Feels, Leo Valdez Needs a Hug

read it on the AO3 at https://ift.tt/39J273L

[gramilano]

Sylvia with Martina Arduino, Claudio Coviello and Nicola Del Freo, photo by Brescia e Amisano, Teatro alla Scala 2019

Sylvia opened the 2019-2020 ballet season at La Scala. It is a co-production with the Wiener Staatsballett where it opened in November 2018. There have been no changes to Luisa Spinatelli’s sets and costumes or Manuel Legris’ choreography, which suggests that everyone was pleased with how it turned out in Vienna. However, while the overall evening is extremely pleasing, it is La Scala’s dancers who really make it shine, as certain elements of the staging are odd.

Legris gives the dancers lots (and lots) of steps, but it’s maybe impossible to tell this story clearly to a modern audience, most without a classical education: who’s that woman with the bow, why is the man with silver hair sleeping? Legris cleverly tries to help by using the overture as a prologue portraying the huntress Diana (hence the bow) and her passion for Endymion (he of the silver hair). This is how many words the programme ‘synopsis’ needs to sum up the action of the short five-minute prologue:

Diana, the Goddess of the Hunt, sees a double image of herself in Sylvia, who is bound to the goddess through her love of hunting and by a vow of chastity. However, the goddess is in turmoil. Suddenly it is no longer Sylvia that she sees before her, but Endymion, her obsessive lover, whom she has caused to sleep forever so that she can gaze on his youth and beauty without ever breaking her vow. Diana tries to regain control of herself, but Endymion stands before her, full of passion… The goddess surrenders! But soon the sound of horns mercilessly drags her back into reality. Thanks be to the gods, it is Sylvia that now stands before her! Diana seizes her bow. Let the hunt begin.

Got it? I don’t believe that this prologue helps to explain the subsequent action, and possibly confuses things even more with Endymion only appearing again in the final seconds of the ballet, still sleeping, and Diana disappearing for a couple of hours until mid-third act when Sylvia angers her by entering the Temple of Diana. It’s all the fault of Torquato Tasso who wrote his play Aminta in 1573 about the nymph Sylvia, who prefers a good hunt to a smooch with Aminta, until… oh well, never mind. Things were complicated further when librettists Jules Barbier (who wrote the libretto for Offenbach’s The Tales of Hoffmann) and Baron de Reinach (who principally was a banker!) added in Orion, the hunter; Eros, the god of love; and the multi-tasking Diana who in this ballet is linked with not only hunting but the moon and chastity. So it’s a hotch-potch of Roman and Greek mythology, though presumably the intention was to mirror Diana’s love for Endymion and Sylvia’s for Aminta. It’s a help to read the (long) synopsis before curtain up.

There is also something that smacks of low budget (or badly-made) scenery, with Spinatelli’s meticulously designed backdrops and wings looking slapdash and shabby, though many of the costumes are gorgeous. Jacques Giovanangeli’s lighting was often unflattering to the sets, highlighting the creases in the cloths, and a lazy follow-spot operator occasionally left the dancers in darkness. It’s unfortunate because Spinatelli’s designs of gauzy, mysterious transparency is ideal for a work of myth and illusion.

There are many highlights, which more than compensate for the baffling plot and the flimsiness of the scenery. Léo Delibes’ wide-ranging music is glorious, from the epic and slightly pompous opening, to the cheery bucolic tunes, to the famous pizzicato variation for Sylvia. The orchestra was brilliantly led by American conductor Kevin Rhodes who was more theatrical and effervescent during the applause than even the lead dancers.

Sylvia with Martina Arduino and Claudio Coviello, photo by Brescia e Amisano, Teatro alla Scala 2019

Although Legris has used much of Louis Mérante’s 1876 choreography from the ballet’s Paris premiere, he fills in the gaps with a multitude of steps, and it would be interesting to know the jeté count – there are certainly a lot, and for the whole company too, so it’s a tiring evening for the dancers. But how they dance! The corps de ballet is excellent whether as the fearless huntress companions of Sylvia, the frolicking naiads and fauns, or the peasants enjoying their bacchic feast.

La Scala fields two main casts and they are both strong throughout. Martina Arduino was the opening night Sylvia, followed by Nicoletta Manni. Both are magnificently sure and resilient to the role’s arduous demands – after they enter onstage, the pace never lets up. Manni has an impressive jump, which she can show off continuously in this choreography. She has almost insolent aplomb in many of the trickiest passages, and her long, lithe limbs reveal some exquisite lines. Arduino is softer, especially with her port de bras, and shows more heart, though she too pulls out the big guns for the technical challenges and manages complicated menage sequences with nonchalance. Two very different, but winning, portrayals.

With the fear of running out of adjectives, let’s run down the cast lists. Claudio Coviello as Aminta is a technical marvel and communicative; Marco Agostino in the same role strangely registered less as a character, even though he has a strong jawline and an attractive face, but there were some magical moments, such as when he slows down his pirouettes to a standstill, and an athletic sequence with Manni where they were the mirror image of each other. There were two magnificent Orions: Christian Fagetti then Gabriele Corrado, powerful and assertive both in their dancing and acting and with an abundance of stage presence. There is obviously something odd going on offstage because, gobsmackingly, Corrado, who is one of the company’s most valuable members, doesn’t even have a full-time contract, let alone the role of soloist, yet he consistently performs with excellence in leading roles. I imagine this incongruousness will be corrected soon.

Sylvia Christian Fagetti photo by Brescia e Amisano, Teatro alla Scala 2019 09

Sylvia Maria Celeste Losa photo by Brescia e Amisano, Teatro alla Scala 2019 01

Sylvia Martina Arduino photo by Brescia e Amisano, Teatro alla Scala 2019 14

Sylvia Claudio Coviello photo by Brescia e Amisano, Teatro alla Scala 2019 07

Then we come to Eros. Nicola Del Freo and Mattia Semperboni (who was also superb as the peasant in the opening cast) were formidable. They are very different dancers – Del Freo with legs as strong as steel and secure in every movement; Semperboni, more elastic and with stunning virtuosity – but both brought the house down… thrilling. Endymion, as an added role, has little time to dance as he has only the music of Delibes’s overture and this he divides with Diana, but Corrado and Gioacchino Starace made the most of their limited time. And playing Diana was Maria Celeste Losa has become one of the theatre’s go-to performers when you want a job well done, as indeed is the unfailingly fine Alessandra Vassallo in the alternative cast.

As the gymnastic Faun, there was Federico Fresi who always gives his all and is exciting to watch, and Valerio Lanadei (also a personable Shepherd on the first night) who was spot-on in his approach to the character and his dance. Other names which should be mentioned are Vittoria Valerio, Gaia Andreanò, Antonella Albano, Alessia Auriemma, Eugenio Lepera, Camilla Cerulli, Benedetta Montefiore and Domenico Di Cristo, all perfectly cast in smaller, though challenging, roles.

Sylvia, like Legris’ Le Corsaire at La Scala in 2018, is perfect for a company with numerous talents yet few performances, giving many opportunities for everyone to dance, but the opening scene needs rethinking with some stronger mime to explain what is happening, and Spinatelli’s sets deserve a makeover.

Sylvia Nicola Del Freo photo by Brescia e Amisano, Teatro alla Scala 2019 18

Sylvia Martina Arduino, Claudio Coviello photo by Brescia e Amisano, Teatro alla Scala 2019 22

Sylvia Antonella Albano, Mattia Semperboni, Valerio Lunadei photo by Brescia e Amisano, Teatro alla Scala 2019 17

Sylvia photo by Brescia e Amisano, Teatro alla Scala 2019 10

Sylvia Nicola Del Freo photo by Brescia e Amisano, Teatro alla Scala 2019 08

Sylvia Maria Celeste Losa, Gabriele Corrado photo by Brescia e Amisano, Teatro alla Scala 2019 02

Sylvia Vittoria Valerio photo by Brescia e Amisano, Teatro alla Scala 2019 04

Sylvia Federico Fresi photo by Brescia e Amisano, Teatro alla Scala 2019 03

Manuela Legris’ Sylvia shows La Scala’s dancers on top form Sylvia opened the 2019-2020 ballet season at La Scala. It is a co-production with the Wiener Staatsballett where it opened in November 2018.

[cliffcrego]

PART I

(1) IN HOC SIGNO VINCES / IN THIS SIGN YOU CONQUER “Secular Christian” #nonviolence #timesup #philosophy (2) BEWARE & CAUGHT IN THOUGHT, featuring the percussive sound of a campside Western Yellow-throated Sapsucker (3) SUNSHINE & KITTENS, Simone de HAAN, trombone #neveragain (4) LET’S GO CAMPING, a prosepoem, with Simone de HAAN, trombone (5) TRINITY, a soundpoem, featuring John DONNE “Batter my heart three-person'd God....” Where I place my Golden Spike, marking the catastrophic first nuclear test VII.15.1945 and the beginning of the #ANTHROPOCENE (6) BEGGING BOWL, a soundpoem on the bright & dark sides of #Art & #Science (7) ICE MOUNTAIN, a sketch, for David LANDRUM...center of the double-CD collection of pieces, and the only one "muted," or without words, without text

PART II

(8) CONIFER WEATHER, a love poem (9) COMPUTERS UP / COMPUTERS DOWN, a two-part meditation, featuring the famous #RecamanSequence...used in the first half — the BRIGHT half — to generate a playful LEFT / RIGHT grandpiano duo. [Special thanks to #NUMBERPHILE...] (10) John CAGE: 10 Rules for Students & Teachers, featuring prepared trombone (de HAAN) & prepared piano (CREGO) (11) SEARCH #GOOGLE, a soundpoem, featuring Blackcap Chickadees & Simone de HAAN, trombone #bigdata #ethics (12) SINE SOLE SILEO / WITHOUT SUN I AM SILENT, a soundpoem manifesto, for Patrick & Mindy HUND #ClimateCrisis (13) THE WAY OF NONVIOLENCE, a roadside meditation, featuring “When I survey the wondrous cross...” #MLK #Gandhi #THOREAU (14) NOW I KNOW, a "true-story" soundpoem, recorded on the spot, in the rain (15) THE SOUND OF DISAPPEARING GLACIERS, with Simone de HAAN, trombone #climate

CODA...

(16) FALL OF THE DICE, on the loss of Democracy (17) ETERNALLY FREE, a love song

ALL TRACKS composed, recorded & produced -- everything #SUN2SOUND -- in or around the Eagle Cap Wilderness, Northeast OREGON. Simone de HAAN recorded & produced his tacks in FREO, AUSTRALIA. Special thanks to St. Paul’s Church for allowing us to record in their wonderful space.

[aozhouhuaren]

Day 26 of 100 Day Challenge Nyoongar word of the day MAAMBAKOORT: Ocean/Sea I was back down in Walyalap Freo again today for language class. After class, I decided to walk down to the docks with a friend to shoot this video. The MAAMBAKOORT always brings joy to me when I see it. It was invigorating. My teacher tells me that the word is a combination of Maaman meaning "man" and Koort meaning "Heart". So "Heart of Man", due to the waves crashing into shore then receding away kind of resembling a heartbeat of sorts. I think that's pretty beautiful. 😊 #maambakoort #ocean #sea #nyoongar #noongar #noongarboodjar #language #wordoftheday #languagelearning #yearofindigenouslanguages #海 #語言 #學語言 #國際原住民語言年 #原住民語言 （在 Fremantle, Western Australia） https://www.instagram.com/p/B0yIoAGDOqk/?igshid=sjocor5umi5s

[grigori77]

Hidden Gem #29

THE PROPOSITION

Dir. JOHN HILLCOAT; Wri. NICK CAVE; Music. NICK CAVE & WARREN ELLIS; Starring. GUY PEARCE, RAY WINSTONE, EMILY WATSON, DANNY HUSTON, DAVID WENHAM, RICHARD WILSON, JOHN HURT, TOM E. LEWIS, LEAH PURCELL, TOM BUDGE, ROBERT MORGAN, DAVID GULPILLIL, NOAH TAYLOR; R.T. 104 mins; 2005, Australia, United Kingdom

WHAT IT’S ABOUT:  In the Australian Outback of the late 19th Century, frontier police Captain Morris Stanley (Winstone) captures notorious outlaw Charlie Burns (Pearce) and his young brother Mike (Wilson), but the one he really wants is their elder brother Arthur (Huston), the leader of a particularly feared band of murderous cutthroats that’s been terrorising settlements throughout the territory for years. Stanley gives Charlie an impossible choice – find and kill Arthur, or Mike will hang on Christmas Day.

WHY IT’S AWESOME:  The Outback western is a particularly potent subgenre that’s been frustratingly short-served over the years, but whenever one turns up I always go out of my way to check it out, and so it was with what I regard as the very best example to date, the dark, dusty and coolly introspective intellectual tone poem which first brought director John Hillcoat (The Road, Lawless) to the attention of audiences beyond his native Australia. Endlessly fascinating and thoroughly engrossing despite its glacial pace, sweat-inducing, desolately bleak vistas (exquisitely shot by cinematographer Benoit Delhomme, probably best known for The Boy in the Striped Pyjamas and At Eternity’s Gate) and potentially interminable long stretches of relative silence and stillness, Hillcoat brewing a heady atmosphere of oppressive dread from the outset and maintaining it with fierce precision throughout, rationing out brief but glowing moments of transcendental hope and simple, loving humanity to keep us invested right up to the intensely brutal and troublingly open-ended climax.  There are no grand heroics on offer here, no white or black hats, just about everyone here is painted in murky shades of grey, it just happens that some of them are painted darker than others.  Ray Winstone delivers one of the strongest and most memorably complex performances of his career as a fallible, ineffectual man of honour spectacularly failing to keep order in his own little corner of sun-bleached, roasting hell-on-earth, while Guy Pearce offers a similarly nuanced, praise-worthy counterpoint as one of the most tragically poetic, redeemably irredeemable screen outlaws I’ve ever come across; both are ably supported by universally magnificent turns from a wealth of British and Australian talent, including a heartbreaking turn from Emily Watson as Stanley’s gentle, classy wife Martha, John Hurt as flamboyantly eloquent alcoholic bounty hunter Jellon Lamb, Lord of the Rings’ David Wenham as effete, self-important frontier bureaucrat Eden Fletcher, and Tom Budge (Last Train to Freo) as the Burns gang’s thoroughly repellent resident rapist Samuel Stoat.  The film is thoroughly stolen, however, by Danny Huston, who turns mercurially unpredictable, nihilistically self-destructive and unstoppably vicious Arthur Burns into one of my all-time favourite screen villains – he’s a laconically intense force of nature, driven by demons you can very nearly make out lurking deep in his dead, soulless eyes, and therefore the dark heart of the very best Outback western out there.  The film marked the start of a rich and deeply rewarding working relationship between Hillcoat and the film’s screenwriter, Australian rock legend Nick Cave (who also composed and performed the edgy, minimalist score with his fellow “Bad Seed” Warren Ellis) which continued through their next two (equally impressive) films, but for me this remains his best work – The Road comes damn close in quality and awesomeness, but this is a truly unbeatable masterpiece that deserves to be seen.

[lucienbutterfly]

My Mind About PV

Hello!

Here are part two of my writings about the PV And now we will talk about Kiro and Gavin. I'm sorry I didn't do it yesterday because I was sick

The first part (Victor and Lucien) If you to lazy to read all of them, I write all conclusions at Note!

Warn:

❥ Spoiler Chinese server ❥ I am sorry if someone already writes about these things! ❥ I am sorry if I was making some mistake in my grammar or my writings! ❥ Everything that I write here is coming from my mind! ❥ Give credit if you want to reupload it somewhere ❥ The website that I use as a reference at the end of the blog!

☆♬○♩●♪✧♩ ✧♪●♩○♬☆♬○♩●♪✧♩✧♪●♩○♬☆♬○♩●♪✧♩✧♪●♬♩○♬☆

♬Kiro

His first introduction is his half body with the word "Blow Your Mind" and gold die table lamp. I'm not quite sure about the color, but when we see the lamp that has sunlight it was gold.

In a dictionary "Blow Your Mind" is slang to find something very exciting and unusual. For the gold. Gold is a cousin to the color yellow and the color brown and is also associated with illumination, love, compassion, courage, passion, magic, and wisdom. When the lamp dies it will be dark right? I think when we with Kiro doing something in the dark there will be something unusual. Same as Lucien, I was still confused about his first appearance.

At 0:33, They shoot sunflowers, and we see mc wearing a light blue dress and wearing a blue ribbon in her hair (she is adorable T.T). Sunflowers have a deep love meaning, a person who has loved with sincerity, purity never forgets, on the contrary, truly loves until the end and loyalty. Light blue It is a color that evokes trust, honesty, loyalty, confidence, softness, and responsibility. The only thing that I can take from this is immortal loyalty and trust in each other.

At 0:35, A bear doll, "Lafune"? "Lajune"?

The bear doll (teddy bear) symbolizes depth, intelligence, truth, loyalty, wisdom, confidence, stability, and trust "Lafune" I can't find anything sorry, but "Lajune" means "Gift of God". Overall Kiro's scene from the first to now is about Loyalty

At 0:43 Kiro's hand with the word "Love" and "The amount of space between two places" and "Your" "The amount of space between two places": is "distance" About "Your" that was part of the puzzle that I found I will not talk about "Love" right now because it was part of the art

At 1:13, Kiro is half leaning with the word love in his hand with a kiss mark *chough*. the big bear teddy that has a green ribbon in it. A lot of brown and gold colors, gold heart balloons, and star balloons

Teddy bear symbolizes depth, intelligence, truth, loyalty, wisdom, confidence, stability, and trust + Green ribbon Green is the color of the heart chakra, symbolizing love to others, forgiveness, compassion, understanding, transformation, warmth, sharing, sincerity, and devotion Gold: The color gold is a cousin to the color yellow and the color brown, and is also associated with illumination, love, compassion, courage, passion, magic, and wisdom Gold heart balloons and star balloons: if ballons always go up, then their love always increases.

So Kiro's scene is not about the story, but about His loyalty and his love that always increase like a ballons in the sky

☆Gavin

His first sign was a camera with a red overlay, with words "Gejellig" and "Freo."

Camera, it was probably talking about memory. Red overlay... ugh... red color meaning is love so yeah... "Gejellig" I can't find anything for "Gejellig." but the word "Gazellig" from the Dutch language means "Cozy" in English. And "Freo" I can't find anything sorry:")

So Cozy love memory for his first "sign."

At 0:08, his appearance with the word "only" and "The number of times something happens over a particular period." (we will talk about the second layer first, the art later)

Word "only" will have a connection with other puzzles "The number of times something happens over a particular period." means "frequency." in English (the number of times something happens within a particular period, or the fact of something happening often or a large number of times)

We often do "something" with him, hmmm.

At 0:45, Gavin's half body with the sentence "Holy you unmind" that's what I can read from that *sob*

I don't know how to explain it but, that means he is okay if we are "holy" (I CAN'T THINK OF ANYTHING SORRY IF I WAS DISAPPOINTING YOU) But I see Gavin is the one who has a "Window" at this scene. I don't know how Gavin's is doing in season 2. So far I know that Victor join BS right? and Lucien and Gavin is the one on the "other side" This scene should explain his role (SORRY SORRY IF I WAS WRONG I DIDN'T READ TOO MUCH ABOUT THE MAIN CHAPTER)

At 0:59, Gavin with white Cecilia flower on his shirt, a lot of camera pictures, and a red vibe, word "By" and "-ve."

Let's start with the Cecilia flower.

Cecilia means Flowers that tend toward a white color symbolize purity and innocent love. It only grows where harsh winds blow and is just as intangible as the true heart of an unbound soul. Gavin Evol still winds right... Cecilia symbolize Gavin The camera means a lot of memory. The word "by" maybe for the Picture for example "By Gavin." Word "-ve" I'm sure it was "Love" A conclusion that I got from this is "A lot of your romantic memory with Gavin"

At 1:18, they shoot a black-purple-ish Cecilia flower (?) A dark red or maroon shirt, and a black-purple-ish interior.

(Wait they we're doing the scene at flor? at the mattress? WAIT, AT BALCONY? I'm still not sure okay.. but the bird design at the gate make a balcony vibe) It was the opposite thing from his previous scene White Cecilia flower for the " innocent love" is gone now white is change to the darker color especially red Let's just go to the conclusion: So in my opinion meaning of all of this is "Gavin wants to make more memory with you whether is a pure love or a 'red' love"

Note:

Finally done for part two, this part two is a little bit tricky for me the detail not easy to find like Lucien and Victor.

I was disappointed in myself because I can't find any story for Gavin and Kiro.

I'm sorry if I apologized too much in this writings because I didn't know Kiro and Gavin that well, especially in season two. I fell blind. I do not dislike them I like Kiro I like Gavin, but I still do not understand them as well as I was understood, Victor or Lucien. Part 3 will talk about Shaw and all the puzzles that I find.

The Conclusions:

Kiro is about His loyalty and his love that always increases like a ballons in the sky Gavin wants to make more memory with you whether is pure love or a 'red' love

Credits BYM Gold Sunflower Blue Teddy Bear Love Green Frequency Cecilia

[kiwiandquokka]

Rottnest Island and Freo (Nov. 9)

Thursday, November 9 was our big day to visit our Australian blog mascot, the quokka. About 18 km west of Perth is Rottnest Island, home to very tame mini-kangaroo-like marsupials called quokkas. The island is beautifully organized for the thousands of daily visitors who arrive and depart in hourly ferries from Perth and Fremantle (also known locally as “Freo”). With the ferry ticket one can also choose to go on a bus or boat tour at the island or to rent a bicycle. We chose the two-wheel option - of course - and had a wonderful day, riding about 25 km on our heavy 3-gear tourist bikes. After only a few kilometers we had our first quokka encounter at the first of many coastal viewpoints along the way. Three curious little marsupials greeted us and I chatted with them, as I am wont to do with any friendly creature.

Other highlights of our ride around the island included swimming and looking at fishes, whale watching and seeing humpback whales, and simply enjoying riding in such gorgeous surroundings with no traffic but other cyclists and the odd bus. And of course many more quokka encounters later in the day. We stopped at an outdoor restaurant for coffee and well-earned desserts. When I returned from the ladies room, unbeknownst to Frank, a cute little quokka was sitting on my bag under the table. It was more than sitting on my bag... it was excited about the contents of my bag, and peed on it. Before I shooed it away, I got a photo.

We returned by ferry to Fremantle in the late afternoon with no particular plans except finding dinner somewhere before walking the two kilometers back to the AirBnB. It was a splendid warm sunny evening and we had not yet seen the heart of Fremantle. There was a city-wide art event going on, with various displays and performances going on. Most prominent was the “Arc d’Ellipses” by Swiss artist Felice Varini. Bright yellow concentric ellipses were painted on buildings for many blocks of the High Street, so that viewed from the end of the street, in particular from one spot, the wide-stretching ellipses were perfectly aligned. We viewed a few creative sculptures and chatted with a woman involved with the event. She recommended a restaurant and told us about another work of alternative art, which was in a flooded basement space in a building in town. The artist let about 15 cm of ground water collect there, as it will if not continually pumped out. Then he built a small island complete with a boat dock, tree and hut. He declared it a sovereign state and provided rubber boots for the visitors. Fremantle is a lovely, if trendy, place, with countless interesting looking restaurants. So we were glad to try Bread in Common, the place the woman had suggested. It is a fabulously converted city building with the entire restaurant - guest tables, kitchen, prep spaces, wine stock and bread - all in the same large high-ceilinged open space. The lighting, decor and delightful smells all added to the enticing ambiance. A main feature of the menu is bread - for $2 per person, all you could eat of various breads fresh from the oven.

Well fed, we walked back in the warm summer-like evening.

[alternatedimensiondating-blog]

The Docker’s Hands

After seeing my genuine high-up-in-the-commie-party mainland Chinese friend for tea and sympathy in Subi I’m talking on and off with Tommy Ruff the Broke Gentleman and he’s working on a friend’s boat in Freo, then at Mojo’s then playing pool with his mates for a double or nothing stake - he really is just good time Tommy, sex, drugs and rock and roll minus the rock and roll, you know, and then he says he has to pick up his computer from this place in Nedlands and I say I’ll give him a lift home and it’s 11 fucking pm. Total booty call and don't I know it. And I don’t even mind because the thought of his greasy hands on my silk top is sending shivers down my spine. So after I finish up my computer science lecture and he calls me twice and I hurry up cos I realize the poor thing is on the verge with his bike in the middle of a fucking Nedlands curb I speed over in my Toyota and bundle him and his forlorn bike (which won’t fit in the back unless he dismantles the front wheel) into my car and speed off into the night over the highway to the South of the River with his hand on my thigh him soaking in the nostalgia for the predivorce days when his father drove him down South to Denmark or Margaret River for a holiday or a drive and his family had a car, and I said to him, look, to me this is a fantasy, driving at night, eating wind, an endless dark rolling highway from an American movie or European folksong - freedom, country roads taking me home to the home where the buffaloes roam, the buffalo in question some mythical beast that doesn’t exist and has never been seen in the big city. Then he fingerfucks me till I bleed all over his bed after I kiss him like there’s no tomorrow cos he smells and sounds like a fucking docker and there’s nothing more beautiful than a moaning man teasing you in bed with a beautiful erect cock telling you he’d fuck you sideways til Sunday smelling of engine grease like your grandad if you just lowered your knickers and let him slip it in, smelling of engine grease like your grandad you never met who smelled of boats when you got your pretty pink lace dress stained with the black liquid gold that powered through the pumping heart of the economy of the River of your island home on the backs of the boats with the green beaks and the beady staring eyes. O Tommy Ruff make me bleed again on the sheets, for my blood is red like your blood sweat and tears and my hands though smaller and smoother than yours are the same shape as your hands --

[gramilano]

Onegin with Roberto Bolle and Marianela Nuñez photo by Brescia and Amisano, Teatro alla Scala 2019

John Cranko’s ballet Onegin was brought to La Scala in 1993 as a vehicle for Carla Fracci with Rex Harrington in the title role. It wasn’t, however, Fracci’s first contact with the ballet. Her close ties with Cranko began before he became the director of the Stuttgart Ballet when she created Juliet in his production of Romeo and Juliet for La Scala; she was 21. The inimitable Marcia Haydée was the original Tatiana when Onegin was staged in Stuttgart in 1965, but Cranko first heard Tchaikovsky’s symphonic poem Francesca da Rimini, which he used as the music for the heart-breaking final duet, while at Fracci’s house in the early ‘60s. Tatiana was a role that she longed to dance, even though she had to wait until she was 56 before the opportunity arose.

The opening night Tatiana for this season’s run at La Scala was Marianela Nuñez, a dancer who has admired Fracci since she was a child, and there was a warm greeting between the two after the curtain came down on the night Fracci was in the audience.

Nuñez is beautiful in this role, and while her suitability for the last act is a given, she gives a satisfyingly credible and nuanced performance as the young Tatiana too – crunching up her dress with a hand when she feels awkward, shyly giving Onegin Princess Di looks, being simple and ingenuous while avoiding being silly and gullible. Her dancing is a marvel, with meticulous attention to the underlying expression of each placement of her foot, of every position of her hands, yet there is complete freedom and fearlessness in the athletic pas de deux with Onegin – poise giving way to passion.

Onegin with Roberto Bolle and Marianela Nuñez photo by Brescia and Amisano, Teatro alla Scala 2019

Pier Luigi Samaritani, who is well-known for designing Natalia Makarova’s La Bayadère for the American Ballet Theatre, designed this production for La Scala. Onegin was maybe his last project as he died just a year later at 51. However, the sets don’t seem to have come from a fifty-year-old in the 1990s as they creak under the weight of his old-fashioned approach, with lots of questionable perspective too. Roberta Guidi Di Bagno is credited as co-designing the fine costumes, and I would guess that most of the work is hers. The most striking differences with Jürgen Rose’s 1960’s designs are Titania’s ball dress for her duet with Gremin, which is black, not red, and her dress for the final scene which is royal blue. Both choices subtly tell their own story, with the importance and formality of her life as a general’s wife being shown in the black, and the strong, mature woman she has become is reflected in the blue, someone who doesn’t seem put upon and downcast as she can seem in Rose’s muted brown dress.

16 Onegin with Roberto Bolle and Marianela Nuñez photo by Brescia and Amisano, Teatro alla Scala 2019

17 Onegin with Roberto Bolle and Marianela Nuñez photo by Brescia and Amisano, Teatro alla Scala 2019

Inhabiting these two dresses was Nuñez, commanding and majestic, the tables now turned as Onegin crumples to the floor, desperate for her attention. Her rapid breathing as she builds her resolve to order him away is impeccably judged and typical of her believability in every moment. She is despairing but never hysterical. Of course, Nuñez cheats a little… she has Tatiana inbuilt. Her honesty and goodness have come across the footlights since she first stepped on to The Royal Opera House stage as a teenager – everyone loves Nela – and maybe, like Tatiana, she lacked some emotional maturity in her early years, which was why Aurora was such a perfect fit. Now, roles such as Tatiana, (Manon, for example), are ideal for her being, at 37, she can still infuse these young girls with convincing naiveté yet has the experience and depth to develop them fully until the final curtain. Yet Nuñez the woman takes her applause looking like a delighted teenager once more.

10 Onegin with Roberto Bolle and Marianela Nuñez photo by Brescia and Amisano, Teatro alla Scala 2019

13 Onegin with Roberto Bolle photo by Brescia and Amisano, Teatro alla Scala 2019

Similarly, Roberto Bolle retained a Peter Pan boyishness for years that made him an ideal Romeo but less convincing in such manly roles as Onegin until more recently. As his face caught up with his body, parts like this began to fit him like a glove. The contrast between the stuffed shirt Onegin when he first meets Tatiana, and the abandonment and joy he expresses when he appears in her dream, is spot on. Outside of Tatiana’s dream, Bolle’s Onegin is an almost totally dislikeable character, though his attractiveness to her is evident. His flirting is cruel, and his lack of maturity in confronting Lensky’s adolescent jealousy to avoid a duel is unforgivable.

Onegin with Martina Arduino and Nicola del Freo photo by Brescia and Amisano, Teatro alla Scala 2019

Nicola Del Freo’s Lensky was one of the best I have ever seen. Dreamy, fresh and handsome then confused, angry and petulant. His demanding solo before the duel was flawless technically, every step executed with ease, but also with great musicality and intention. Martina Arduino was Olga. She is blessed with a doll-like face which catches the light, and she radiated joy throughout the first scene. Her pas de deux with Lensky was delightful – she playful and vibrant, he ardent – with Lensky’s sensuous stage-level rond de jambe summing up perfectly their feelings of yearning and abandon.

Gabriele Corrado, another fine dancing actor from La Scala’s now impressive stable, was Prince Gremin. He has natural authority on stage, and with his strong build and care for detail, he must be every ballerina’s favourite partner.

Onegin with Marianela Nuñez and Gabriele Corrado photo by Brescia and Amisano, Teatro alla Scala 2019

Unfortunately, with only seven performances, and five taken by Nuñez and Bolle, there was only one opportunity to see another cast. Yet Corrado and the magnificent Emanuela Montanari were especially memorable two years ago, and it would have been good to see them again, and indeed showcase a new couple. This is always a problem with La Scala’s limited runs. The only other cast featured Nicoletta Manni as Tatiana and Marco Agostino as Onegin.

There were many differences between Manni’s interpretation and that of Nuñez, in both her characterisation and her dancing. Manni is excellent at finding every opportunity for holding a position for a microsecond longer than most ballerinas which has the same function as punctuation in a sentence, clarifying the meaning and structure. This was especially effective in her first solo when she is trying to catch Onegin’s eye and she played effectively with every step. Strangely, although a younger dancer, she was a more knowing Tatiana from curtain up.

Agostino was warmer than Bolle, which was fine but less effective, and he sometimes appeared to be putting on a ‘stern’ mask. It recalled Bolle playing these roles in his twenties. However, Agostino’s dancing is accomplished and expressive and he cuts a dashing figure on stage. Alessandra Vassallo was a delightful Olga dancing with Del Freo as Lensky, who impressed once again.

…further photos

01 Onegin with Marianela Nuñez Martina Arduino and il Corpo di Ballo photo by Brescia and Amisano, Teatro alla Scala 2019

02 Onegin with Martina Arduino and Nicola del Freo photo by Brescia and Amisano, Teatro alla Scala 2019

03 Onegin with Nicola Del Freo photo by Brescia and Amisano, Teatro alla Scala 2019

04 Onegin with Martina Arduino and Nicola del Freo photo by Brescia and Amisano, Teatro alla Scala 2019

05 Onegin with Nicola Del Freo photo by Brescia and Amisano, Teatro alla Scala 2019

06 Onegin with Martina Arduino and Nicola del Freo photo by Brescia and Amisano, Teatro alla Scala 2019

09 Onegin with Roberto Bolle and Marianela Nuñez photo by Brescia and Amisano, Teatro alla Scala 2019

11 Onegin with Roberto Bolle and Marianela Nuñez photo by Brescia and Amisano, Teatro alla Scala 2019

12 Onegin with Nicola Del Freo photo by Brescia and Amisano, Teatro alla Scala 2019

15 Onegin with Roberto Bolle and Marianela Nuñez photo by Brescia and Amisano, Teatro alla Scala 2019

18 Onegin with Roberto Bolle and Marianela Nuñez photo by Brescia and Amisano, Teatro alla Scala 2019

19 Onegin with Roberto Bolle and Marianela Nuñez photo by Brescia and Amisano, Teatro alla Scala 2019

21 Onegin with Marianela Nuñez photo by Brescia and Amisano, Teatro alla Scala 2019

Marianela Nuñez and Roberto Bolle lead an top-notch cast in Onegin at La Scala John Cranko’s ballet Onegin was brought to La Scala in 1993 as a vehicle for Carla Fracci with Rex Harrington in the title role.

[cliffcrego]

PART I

(1) IN HOC SIGNO VINCES / IN THIS SIGN YOU CONQUER “Secular Christian” #nonviolence #timesup #philosophy (2) BEWARE & CAUGHT IN THOUGHT, featuring the percussive sound of a campside Western Yellow-throated Sapsucker (3) SUNSHINE & KITTENS, Simone de HAAN, trombone #neveragain (4) LET’S GO CAMPING, a prosepoem, with Simone de HAAN, trombone (5) TRINITY, a soundpoem, featuring John DONNE “Batter my heart three-person'd God....” Where I place my Golden Spike, marking the catastrophic first nuclear test VII.15.1945 and the beginning of the #ANTHROPOCENE (6) BEGGING BOWL, a soundpoem on the bright & dark sides of #Art & #Science (7) ICE MOUNTAIN, a sketch, for David LANDRUM...center of the double-CD collection of pieces, and the only one "muted," or without words, without text

PART II

(8) CONIFER WEATHER, a love poem (9) COMPUTERS UP / COMPUTERS DOWN, a two-part meditation, featuring the famous #RecamanSequence...used in the first half — the BRIGHT half — to generate a playful LEFT / RIGHT grandpiano duo. [Special thanks to #NUMBERPHILE...] (10) John CAGE: 10 Rules for Students & Teachers, featuring prepared trombone (de HAAN) & prepared piano (CREGO) (11) SEARCH #GOOGLE, a soundpoem, featuring Blackcap Chickadees & Simone de HAAN, trombone #bigdata #ethics (12) SINE SOLE SILEO / WITHOUT SUN I AM SILENT, a soundpoem manifesto, for Patrick & Mindy HUND #ClimateCrisis (13) THE WAY OF NONVIOLENCE, a roadside meditation, featuring “When I survey the wondrous cross...” #MLK #Gandhi #THOREAU (14) NOW I KNOW, a "true-story" soundpoem, recorded on the spot, in the rain (15) THE SOUND OF DISAPPEARING GLACIERS, with Simone de HAAN, trombone #climate

CODA...

(16) FALL OF THE DICE, on the loss of Democracy (17) ETERNALLY FREE, a love song

ALL TRACKS composed, recorded & produced -- everything #SUN2SOUND -- in or around the Eagle Cap Wilderness, Northeast OREGON. Simone de HAAN recorded & produced his tacks in FREO, AUSTRALIA. Special thanks to St. Paul’s Church for allowing us to record in their wonderful space.

[sassywildheart-blog]

Ohana!

After a kid free weekend and an awesome night out with the girls oh and the help of some awesome aspirin, we woke up Sunday morning to a 28-30 degree day. Then stupidly encouraged each other that we should make a day of it!  “Let’s go to the markets in Freo” dummy one suggests, “OMG yes let’s do it we’ll get pretty, go get some food, get some sunlight” dummy two and three agree. Keep in mind Sunday after a “night out” with the girls usually consists of sleep, dark room and silence till the kids roll in and force me to live again.

So we make our way to Fremantle all the way from Midland (30 – 40 min drive depending on the dopey traffic which in hangover terms is 2 hours lol). It’s going great we’re perking each other up, and telling each other how GREAT the idea was for getting out of the house today instead of spending it in bed. The markets were awesome and we were in such great spirits, I think I wandered off and got lost alone a couple times. Just getting fresh air was good for the soul, we watched an awesome side show performed outside a pub. The actor asked if we were single and we all laughed and walked in the direction that the food smell was coming from lol.

We got a whole lot of food that didn't satisfy us. Obviously all we wanted to do was drink, we’d been through at least 5 bottles of water since the beginning of the market and I felt like I was drier than a freken prune. I had gone from pretty face and pretty hair too, sweat dripping from my forehead which had caused my hair to slowly frizz and my make-up was falling off my face faster than the Maori’s migrating through Perth lol. I looked and felt a mess and my mood and positive vibe was slowly taking a dive. 

Cue my precious girlfriend whom I love so much and if she ever reads this will be in hysterical fits cause she knows exactly where I’m going with this, comes up with an idea “I know lets go to Ohana, they have yummy fresh fruit smoothies. My interest perks because I wanted something cold and this could be my attempt at this healthy lifestyle balance thing with the fresh fruit. “ alright how far is it then” By now my little sister is on board “ yeeeh lets go it’s just down the road” because my cousin and I were thirsty as shit we were in.

Ten fucking hours later in 30 degree heat we’re still walking. If I could shoot lasers out my eyes at my friend believe me DEAD DEAD DEAD!! lol Just picture a walrus trying to find its way back to water sounds and all yep that’s me. Ok so it wasn't 10 hours it was like 15 mins but fuck me, I’m hungover its 30 degrees my throats caving in and I just need some shade give me a break. Anyway we finally make it to Ohana, we’re pushing and shoving to get through the door first, to get to the air con and for fuck sakes there was NONE! 

So here we are at Ohana 30 degrees outside and about 38ish inside the shop. We get to the counter and I watch my friend who cleverly suggested this place to us, order hers. It was so complicated but sounded so amazing, I picked up on what we had to do and ordered my own. The selection of fresh fruit to dried fruit muesli and nuts was so yummy I couldn’t wait to get it in my shrivelled up dry throat. Then she announced the price 15 fucking dollars! YES $15. Taking a mental note to kick the shit out of my girlfriend once back in civilization I paid and waited for my Ohana mix to come out.

Finally they were ready I took my spoon looking at my cousin who was in the same mind frame as I was and we took our first taste of this blissful fresh mixture we had put together. And it was fucking SHIT!!!! Sour upon sour upon sour, with a whole lot of hard shit mixed around in it. Oh and banana, I cursed it out because my personal opinion was that it tasted like shit in a bowl. This is why the healthy balance and I just don’t work out lol. But for the price of it, there was no way we were going to waste it. My cousin and I fought to the end of the bowl, we even walked around the corner to a cafe to get sugar packets to empty in our Ohana shit bowl so it tasted a little better. While my shit friend that took us there laughed and ate hers like it was a dream in her mouth! lol 

So that’s my Ohana experience, and also an introduction to the people that keep my life in check and make sure when I have days off being a mom that I enjoy it! My circle of friends and family keep my heart making the beating sound and my soul healthy and vibrant!

 Lei xx

[simonestudyabroad]

5/14/2017

Monday and Tuesday were days dominated by planning our trips to Thailand and South Korea. We both got a lot of work done and figured out a lot of logistics for all of our trips. 

On Wednesday, we suffered through class and ran into Daniel on our way back from class. He had finally returned from Bali and he came over later to show us his videos. He set up his laptop and we settled in as he planned to show us his 81 videos. We got to hear about his adventures and most importantly, his time with Gusti. Brian heard Daniel was in our room and he showed up at our door (uninvited) minutes later. The boys entertained us for a few hours before we kicked them out to get some sleep. 

On Thursday, we went to class and later that night, we had plans to go to Northbridge where a bar was offering burgers for $5. Everyone from the road trip was going and we all met at the bus stop at 7:30pm. It was fairly cold outside so we wore our jackets for the first time since being here. We took the bus to the train station and took the train into Perth. Tim led us to the Mustang Bar and after a very thorough check of our passports, we were let in. Unfortunately, the bar had run out of burgers and our group came for the burgers. All eight of us walked right back out and we walked around, searching for a burger place. Daniel has no patience and ordered a pizza from the first place he saw. Brian found us a burger place and people satisfied their cravings. Holly got a peanut butter and banana burger. She actually really liked it. Tim devoured his burger and blamed us for his inevitable heart attack. He claims we’re making him fat. We then headed to get churros at a place nearby. We warned Hannah and her group who were supposed to meet us at the bar that there weren’t any burgers. They were disappointed but went to the bar anyway. Tim and I shared a plate of churros and he again claimed we were going to kill him. We gave Daniel the leftover dips and he finished them off with his finger. We took the train back and had to wait half and hour for the bus back to Murdoch. We entertained ourselves with leg workouts and some latin. The bus came and we were soon back in our warm beds. 

Friday was packed with things. Isabel went to class and I had a few errands to run. I picked up the camera equipment I needed to film my video project and ran to the library to print a few props. I ran into Brian on the way and he invited us out for the Vietnamese food for dinner. I came back from the library and Isabel and I made a quick trip to Kardinya, where I was not allowed to deposit the cash I had gathered from everybody for the road trip. We headed back to campus and Hannah and Holly came over to film my video for my screen production class. Due to lighting, cameras, and outfit changes, the whole process took about three process and we were all dead by the end of it. Isabel worked on her terrorism paper while we filmed. After taking down the set up, Isabel and I threw on our coats and we met Brian, Tim, and Daniel at the bus stop. We took the train to Elizabeth Quey and practically ran to the Vietnamese place because we were all so hungry. Brian gave us recommendations on what to eat and the food was really good. Isabel was the first one to finish all of her food, which is impressive when surrounded by the three guys. We then walked down to the waterfront and enjoyed some gelato by the water. We took the train back and were back in our rooms. But the night wasn’t over. Someone had hacked into Daniel’s Facebook account and Daniel immediately came and knocked on our window, assuming it was us. We let him in and spent a good chunk of time trying to convince him it wasn’t us. We finally got him to believe us and he left (or so we thought). We walked into the hallway to walk Daniel out and Brian was in our hallway with a ukulele. Brian tried to get us to admit it was us and we found Daniel hiding behind the refrigerator, listening to us. We kicked them out but they stayed outside our window and continually played the ukulele to annoy us. They eventually left after we yelled at them multiple times and instead took to the group message to send us Ed Sheeran lyrics line by line. We eventually got to sleep.

On Saturday, Daniel knocked on our window (with his tripod) at 11:00am and Brian joined us (with his goddamn ukulele) as we went to the Fremantle markets. The boys were set on getting custom ‘lit’ t-shirts. They decided against it though when they found out they were $55. We walked around Fremantle, killing time until we had to meet Daniel’s friend for lunch. Daniel took us to the ‘round house’ which is one of the oldest buildings in Fremantle. We enjoyed the view of the water from the top before walking out the lighthouse below us. The walk was fairly long but the breeze felt good and Brian strummed away on his ukulele. Daniel set up his tripod once we got the lighthouse and took over the ukulele from Brian. Daniel is fairly good at playing so Brian decided to sing. It was an interesting combination. We walked back through Freo and had more burgers for lunch before heading back to campus. 

On Sunday we stayed in bed all day and did work. 

HAPPY MOTHER’S DAY MOM