#ss fa

[ilikerosesalot]

Snow white Nene I drew for y.mai_art's dtiys on instagram

(as usual timelasp is under cut)

[asouwan]

wahhh

[mafukasa]

mafukasa screenshot redraw from a few days ago..

( og pic under cut )

[fa14-eb23]

Saturday, FA Cup:

🩵🤍Man City - Chelsea💙💙

Sunday, Bundesliga:

💛🖤Dortmund - Leverkusen❤️🖤

Sunday, Ligue 1:

💙💙PSG - Lyon💙💙

Sunday, La Liga:

🤍🤍Madrid - Barça💙❤️

Monday, Serie A:

❤️🖤Milan - Inter🖤💙

Tuesday, Premier League:

❤️❤️Arsenal - Chelsea💙💙

Tuesday, Coppa Italia:

🤍🩵Lazio - Juventus🤍🖤

Wednesday, Coppa Italia:

🖤💙Atalanta - Fiorentina💜💜

[vintagebiker43]

Molti hanno dimenticato i fascisti lecchini delle SS. Io No!

12 agosto 1944

Collaborazionisti fascisti guidano le SS al villaggio e alle case di

Sant'Anna di Stazzema.

Una vera e propria mattanza fascio-nazista contro civili inermi.

560 morti (130 bambini)

E hanno voglia a far finta di nulla oppure a cercare di smentire: la matrice di quelli al governo oggi è la stessa di quelli che collaborarono con i nazisti allora.

Chiedere a quelli col busto del vigliacco che fuggì oppure a chi si veste da nazista e poi fa finta che fosse uno scherzo.

[raininyourblackeyes]

Okay to clarify, obviously there were skaters with terrible skating skills 10+ years ago, too, but my point is that skaters we today consider the top in skating skills do not have SS as good as the skaters 10+ years ago. Adam Siao Him Fa for example, whom I love and cheer for and do consider an amazing skater, would probably struggle with Patrick Chan's or Tatsuki Machida's programs. Which is not his fault really, he has skating skills honed just right to be considered amazing in his time. It doesn't say anything about skaters' dedication, but it does say something about how important are skating skills regarded now compared to then by the ISU because their scores dictate the standards.

[whinlatter]

3, 4, 14, and 37 for dean and seamus

my darling boys! 🥹 dean and seamus, off we gooooo. thank you @valfromcall!

3. Obscure headcanon

obscure headcanon 1 - dean thomas was born may 10th 1980, the day west ham won the FA cup. that west ham have never won the cup since remains a source of great regret for east london's golden boy. unfortunately may 10th also happened to be the day in 1997 when gryffindor won the house cup and harry potter scooped his ex from right from under his nose - a bad birthday for the ages. seamus tried to cheer him up by reminding him that may 10th is also the birthday of a proud son of ireland (bono from U2), which dean said was 'not helping'

obscure headcanon 2 - this is dean and seamus' son:

also this isn't obscure but their first kiss was 100% in the finnigan tent at the quidditch world cup after ireland's stonking victory over bulgaria

4. Favorite line

for seamus, it's probably when they're all in the dormitory in GoF and dobby rocks up and seamus nonchalantly goes 'someone attacking you, Harry?' aka mr finnigan giving precisely zero shits about whatever main character moment harry is having and thereby failing his audition for inclusion in the golden trio. bonus special mention to the world's worst pep talk in PS/SS:

“Harry, you need your strength,” said Seamus Finnigan. “Seekers are always the ones who get clobbered by the other team.” “Thanks, Seamus,” said Harry, watching Seamus pile ketchup on his sausages.

can't a man enjoy a condiment anymore smh

for dean, it's either "send him off, ref! red card!' from PS/SS or this from OotP:

"Well, [Moody] turned out to be a maniac, didn’t he?" said Dean Thomas hotly. "Mind you, we still learned loads."

14. Most heroic moment

seamus 'harry's a liar' finnigan getting beaten to a pulp and unrecognisably disfigured by the carrows. king shit

dean is being the biggest bravest boy in the world all on his own on the run leaving his mum and sisters behind and not being able to have a cuddle when he's lost and alone and scared and hungry all through DH :(

37. What they really think about themselves

i think, as teenagers, seamus was the one with a lot of insecurities and self-loathing: struggling with the knowledge that he was gay and a bit in love with his best mate and not really knowing what to do with it, in conflict with his mum and wrestling with who he was going to be in this big war that seemed to be looming, not the cleverest or the sportiest or the anything-est and generally a bit aggy and restless. dean was the much more relaxed one of the two. he had a strong sense of right and wrong, was sure the goodies would prevail before anything got too out of hand, was content with his kind of chill blokey vibe and got a fit girlfriend that meant he could park any of the slightly confusing feelings he was feeling for shay.

after the war, though, they swap roles. seamus has quite a settled sense of self after his school years - like, he got his fuck up out of the way (not believing voldemort was back, having his big sulk), but then redeemed himself, was on some real hero shit and really became close with the other DA lot, getting a lot out of the prestige of being an auror for a bit, no longer felt like he had much to prove, and felt loved and confident enough to come out. dean, however, really struggled with the impact of the war, feeling an intense sense of isolation and distance from the other's wartime experiences, and both envying seamus' confidence to come out but struggling to accept that he might also not be straight, like it was just another thing that would mark him out as Other. i basically think seamus and dean were hooking up a lot immediately after school and in their early twenties, but always in secret, while dean kept dating muggle girls and playing out this big tension he feels in his own identity, between the muggle and wizarding worlds, as well as over his own sexuality and internalised homophobia. i reckon seamus was the one to (eventually) recognise this was self-destructive and breaking his heart, and ended it. cue the wilderness years!

they obviously get back together eventually, though, hence west ham son (yes i'm obsessed with this child), although seamus threatened to break up with him when dean argued he should be allowed to put the imperius curse on declan rice to stop him moving to arsenal and betraying his beloved hammers in summer 2023

[ginogirolimoni]

Fra il 2 e il 18 maggio del 2023 si verificò una disastrosa alluvione che colpì molti comuni della Romagna e delle Marche, subito la Puffa Verde (o se preferite, la Gatta con gli Stivali) si precipitò nei comuni più colpiti.

Vedere questa donna di bassa statura, tracagnotta, bionda e vestita di verde mi dava una sensazione surreale, come se stessi guardando un cartone animato o un film di genere fantasy, come Il signore degli Anelli o Harry Potter.

Poi il governo Fascetta Nera mise in campo Piantedosi, che è il ministro dell’Interno e come tale deve interessarsi di qualsiasi cosa accada all’interno, appunto, il quale mi pare che disse qualche cosa che per fortuna tutti quanti abbiamo dimenticato, perché le cose che ha detto che di lui si ricordano non sono edificanti.

Dal momento che erano franate strade, crollati ponti e distrutte case, ci si aspettava l’intervento del ministro alle Infrastrutture, ma disgraziatamente si trovava in quel momento alle Sagra del Prosciutto di Norcia e non poteva certo lasciare.

Mentre invece il viceministro alle Infrastrutture Bignami, dopo aver indossato la sua prediletta divisa da SS, ci tenne a dire agli emiliani che essendo tutti comunisti non avrebbero visto un fiorino (magna Romagna, che l’erba cresce!).

Mentre Musumeci, ministro per la Protezione civile e per le Politiche del Mare dell’Acqua e dell’Aria, che già parecchio bene aveva fatto mentre era Presidente della regione Sicilia e ora era stato deciso che avrebbe fatto altrettanto bene in Romagna (un po’ per uno, a chi tocca nun se ‘ngrugna), giurava e spergiurava che lui le svanziche agli emiliani gliele aveva date, erano essi loro che non si sapeva come le avevano spese.

Poi c’erano i sindaci, gli Enti Locali, il presidente della regione Bonaccini, coinvolti per forza visto che erano parte lesa; e per ultimo venne il generale Figliuolo, già Commissario Straordinario per l’attuazione e il coordinamento delle misure occorrenti per il contenimento e contrasto dell’emergenza epidemiologica COVID - 19, divenne commissario straordinario per la ricostruzione in Emilia Romagna, Marche e Toscana a seguito dell’alluvione che aveva colpito quei territori, perché era una persona “straordinaria”.

Infine, Irene Priolo, vicepresidente della Regione Emilia Romagna, diventa commissario per la nuova emergenza alluvionale in regione del settembre 2024 (pure il vice nominano, tutto pur di non nominare Bonaccini).

Mancano solo l’esorcista, lo stregone e il danzatore al contrario, che invece di chiamare la pioggia la fa cessare, poi ci sono tutti; non male per un governo sovranista che auspica un uomo solo al comando.

In genere quando si nominano molte persone è per rendere impossibile rintracciare il colpevole dell’insuccesso e quando si fanno commissioni è per buttare addosso a qualcuno la croce del sospetto o per creare tanta di quella polvere che su quell’affare non ci si capirà mai più niente. 

[francescosatanassi]

"GLI ANNI PIÙ BELLI"

Pochi giorni fa la Camera dei Comuni del parlamento Canadese, con la presenza del presidente ucraino Zelens'kyj, ha riservato un lungo applauso al 98enne Yaroslav Hunka, ucraino naturalizzato canadese, per ringraziarlo di aver combattuto i russi durante la II Guerra Mondiale. Strano che nessuno (almeno inizialmente) abbia pensato all’ovvio: se negli anni ’40 combattevi i russi, la tua posizione era abbastanza ovvia. Al vecchio Hunka non è parso vero di essere accolto come un eroe di guerra, soprattutto ripensando alle operazioni militari del suo reparto. Hunka faceva parte della famosa Divisione Galizia, una formazione composta da volontari ucraini che si erano uniti al Terzo Reich. Non semplici soldati, ma uomini appartenenti alle SS che al processo di Norimberga furono accusati di aver ucciso centinaia di ebrei e civili polacchi. Le SS della Galizia furono infatti protagoniste nel reprimere la rivolta di Varsavia mettendo in atto gli ordini di Himmler: incendiare gli edifici senza curarsi di chi li occupava e sparare ai bambini, alle donne e al personale medico. Al termine dell’operazione, i civili superstiti lasciarono la città e furono pochissimi quelli che si nascosero tra le macerie. Tra questi c'era Władysław Szpilman, il musicista polacco di cui si racconta la storia nel film “Il pianista.” Dopo il conflitto, Hunka e altri 8000 appartenenti alla Divisione Galizia furono prima rinchiusi in un campo di prigionia britannico vicino a Rimini, poi con l’aiuto del Vaticano furono fatti transitare verso Spagna, Francia e Inghilterra. Da qui, il nostro “eroe” raggiunse il Canada negli anni '50, restando attivo nei circoli frequentati da ex SS. Su un blog di veterani ucraini, Hunka descrisse gli anni della guerra come il periodo più bello della sua vita. Chissà cos’hanno pensato gli ex abitanti di Huta Pieniacka, villaggio polacco raso al suolo dalle SS galiziane nel febbraio del ’44, ricordando i bambini gettati contro i muri e le donne incinte squartate. Una volta in Inghilterra, gli autori del massacro non furono interrogati e il governo inglese respinse sempre ogni richiesta di indagare sul loro passato. Nonostante i crimini di guerra dei quali si sono macchiati, una Commissione d'inchiesta canadese ha decretato che, da quando giunsero in Canada, gli uomini della Galizia "hanno tenuto una condotta soddisfacente e niente ha indicato che fossero infetti dall'ideologia nazista.” Oggi l’ex Divisione viene onorata dai nazionalisti ucraini e ogni 28 aprile si tiene una marcia per celebrarne la fondazione. Lo scorso anno la Corte suprema dell'Ucraina ha stabilito che i suoi simboli non sono riconducibili al nazismo, perciò possono essere esposti e messi in mostra. In fondo, come disse il mai pentito Hunka, si tratta solo di ricordare gli “anni più belli", non è vero?

[dedalvs]

Hello, I am loving Ts' Íts' àsh and how it’s spoken! I’d love to know if you plan on releasing a full breakdown/alphabet type thing because I would love to learn more about it and how to speak it! I’m already learning parts of it and implementing it into my daily speech to get better at speaking it, especially ashfa. Would love to learn more soon!

Best regards, Samuel

If you're talking about the orthography, I did that here. If you mean the sound system and the romanization, I can do that.

Ts'íts'àsh doesn't have a ton of consonants—very few, in fact. They are as follows (romanized form [IPA]: notes [if any]):

p [p]

b [b]

t [t]

d [d]

t' [t']: this is an ejective consonant

k [k]

k' [k']: this is also an ejective consonant

f [ɸ]: this is a bilabial sound

s [s]

sh [ʃ]

kh [x]

r [r/ɾ]: pronounced like a trill at the beginning or end of a word; otherwise pronounced like a flap

That's it! Nothing too complex. Then there are only four true monophthong vowels:

a [a]

i [i]

o [o]

u [u]

Now this is where things get complicated. Any of the four vowels above or any of the fricatives above can serve as a nucleus. This means you can have a word tkh, psh, or even ss. All of those are licit. You can also have any two vowels in a nucleus—including the fricatives. So while you can only have CVV, you can actually have words like tsá, kshí, or even pskh.

(Small aside: If one of these nucleic fricatives follows an ejective, the ejective marking moves to the right of all the consonants. So a word that begins with k' and then has a nucleus of fó is spelled and pronounced kf'ó.)

There are a number of rules for what happens when two vowels (with vowels including fricatives) come next to one another. The result is too complex to list out in text, so I'm afraid I have to do a table, and since Tumblr doesn't do tables, it has to be visual. Here it is:

So, green means the sequences of vowels are allowed to go together without anything changing. Yellow means the sequence is allowed, but some sort of phonological change occurs. Red means the sequence is disallowed. There is also a general prohibition against three of the same sound in a row, even if one is an onset and two are nuclei. Thus, while ss is licit, sss is forbidden. It is worth noting that several of these vowel-vowel sequences result in monophthongs. This is important for the phonology when it comes to tone assignment. The monophthong sequences are:

*aa > a

*ai > e

*ao/*au > o

*ou/*oo > u

This means that certain instances of the vowels [a], [o], and [u] are phonologically long, and the vowel [e] is also phonologically long (and also brings it up to a five vowel system!). Some other interesting notes:

Long high vowels broke, as in English (so *ii > ai and *uu > au).

The first element of opening diphthongs fortify into a fricative (so *iV sequences become shV and *uV/*oa sequences become fV/fa).

Any time s and sh come next to each other the result is ssh (i.e. [ʃʃ]).

The only consonant f can occur next to as a part of the nucleus is f.

Now, the tones are fairly simple. There are three tones:

High Tone [´]: The vowel is pronounced with high pitch—much the way a vowel is in English when it's stressed.

Low Tone [`]: The vowel is pronounced with low pitch—much the way a vowel is in English when it's unstressed (and also not in front of a stressed vowel).

Falling Tone [ˆ]: The pitch starts off high and falls before leaving the vowel—like when you see a kitty and go, "Awwwwwww!"

How tone is assigned is complex. Good news is if the nucleus is consonantal (just fricatives), there's no tone. Fricatives don't bear tone in Ts'íts'àsh.

The short story for tone is that tone in Ts'íts'àsh came from a combination of an older stress system and cues from onset and coda consonants. An older stressed syllable is called a blaze syllable, and an older unstressed syllable is called a smolder syllable. A smolder syllable will always have low tone unless it has a current or former coda voiceless stop. Then it will have high tone. A blaze syllable can have any tone, but the tone it's assigned depends on the surrounding consonants. Some rules:

If the blaze syllable is open, its tone will be high, unless it begins with a voiced consonant, in which case the tone will be low.

A syllable with one vowel that ends in a voiceless stop will have high tone.

Otherwise, a syllable with a voiced consonant onset will have low tone. The sole exception is a syllable beginning with a voiced consonant that has two vowels and a voiceless stop coda. That syllable will have low tone on the first vowel and high on the second (unless the VV sequence results in a monophthong, in which case the tone is high).

Sequences of two vowels generally have a high-low sequence. The same goes for phonologically long monophthongs.

Coda fricatives will drag tone down.

VV sequences in blaze syllables reduce to singletons in smolder syllables when syllable type shifts in a word (e.g. due to affixation).

And that's all there is to it! It might seem tough to pronounce some sequences we don't have in English, but once you let yourself go and lean into it, it's kind of fun! Jessie and I were both really pleased at how well it was carried off by the actors. They really did a great job!

Thanks for the ask!

[im-an-anthusiast]

PLEASE forgive me for turning my phone on again but i had a thought and i wanna share it with u rn bc i will definitely not remember it in the morning

fa are such pretty initials like sidsjssjsksj like

does that make sense 🥲

ss is boringgg

anyways love u bro im gonna sleep fr now i promiseee 🫶🏽🫶🏽🫶🏽

Aww thank you; I actually dislike FA as initials. I prefer my birth ones, DM. (So, I'd be DM the DM) (and if you wanted to messenge me you could DM DM the DM)

SS is, I think, like any matching initiatials, pretty good. I wouldn't worry about it being boring.

Thank you for sharing your thought, but, please, do go to sleep now

[diceriadelluntore]

Storia Di Musica #318 - Black Widow, Sacrifice, 1970

Nella scelta di raccontare gruppi che hanno black nel nome, non si poteva non toccare il lato esoterico della musica: c'è tutto un filone metal, detto black metal, che porterà all'estremo queste tematiche, con un gusto quasi parossistico dell'orrido diventeranno una sorta di clichè. Il gruppo capostipite furono i leggendari Black Sabbath, ma qualche mese prima un altro gruppo che aveva black nel nome partorì un disco che se musicalmente si allacciava alle nascenti sonorità folk-prog nelle tematiche iniziava, in maniera tanto elegante quanto esplicita, l'anima nera della musica rock.

Il gruppo in questione si chiama Black Widow. All'inizio erano un sestetto, che si chiamava, nel 1966, Pesky Gee. Ne facevano parte: Kay Garret (voce), Kip Trevor (voce, chitarra e armonica), Jess "Zoot" Taylor (pianoforte e organo), Jim Gannon (chitarra e voce), Clive Jones (sassofono e flauto), Bob Bond (basso) e Clive Box (batteria), e con questa formazione pubblicano un album, fino a pochi giorni introvabile (ci sarà una ristampa ad aprile 2024), dal titolo Exclamation Mark nel 1969, che è un tentativo di farsi strada nell'affollatissimo panorama inglese di blues rock: il disco passò inosservato. In quell'anno Kay Garret lasciò il gruppo, che si riformò con il nome di Black Widow a partire dal 1970. E il batterista Cox ha un'idea. Affascinato dal mondo dell'occultismo, convince la band a recuperare materiale: leggono per settimane qualsiasi cosa riguardi l'argomento nella Biblioteca della città di Leicester e arruolano un maestro Wicca per raccogliere informazioni. Ne viene fuori così un disco sicuramente affascinante, dove alla musica sofisticata e dalle soluzioni particolari si canta in maniera spesso senza filtri di un rito ancestrale per richiamare entità misteriose. Sacrifice esce nel 1970, stesso anno del primo disco dei Black Sabbath, ma fu registrato nel 1969 e prodotto da quel Patrick Anthony Meehan che sarà produttore degli stessi Black Sabbath fino al 1976 (il loro periodo d'oro) per la CBS.

In Ancient Days parte con un sinistro organo hammond a cui in serie si aggiungono gli altri strumenti ed è "una chiamata del male" che subito muta in Way To Power: c'è l'introduzione di una sezione fiati (che sarà uno dei pilastri di tutto il disco con il rullare tribale della batteria). Il brano ricco di cambi di tempo e dai cori fa da apripista al loro brano più famoso. È sempre il flauto di Clive Jones il protagonista di Come To The Sabbath, che simboleggia con maestria l'abilità del gruppo di rifarsi a canti mistici tribali. Qui è l'andamento a crescere della velocità e dell'ossessivo ritmico ripetere del ritornello evocativo (Come, Come To Sabbath, Satan's There) a rendere la canzone ansiogena ed affascinante allo stesso tempo. Diventerà poi uno della cover preferite dai gruppi heavy metal, e persino i Black Sabbah e i sanguinosi Death SS ne faranno una riproposizione. Ma il disco è un susseguirsi di sorprese: Conjuration è il brano più dark, dalla ritmica marziale e sofisticata dove è facile sottolineare la bella voce di Kip Trevor. A questo punto c'è una sorta di parentesi gioiosa: Seduction e' una ballata meravigliosa che combina momenti jazz rock ed echi di bossa nova che stridono con il testo, vibrante e sensuale: Would you have me stay with you?\Squeeze and hold you tight?\Soothe you with my tongue and touch\Share your bed at night. Il disco si conclude con due brani: Attack Of The Demon con l'armonizzazione affidata all'organo (non c'e' praticamente chitarra ritmica) e la lunga e magnetica Sacrifice, che nei suoi 11 minuti si sviluppa in una lunga improvvisazione strumentale. Tutti i brani hanno apporti davvero minimi di chitarra elettrica, caratteristica che già ne fa un unicum. Il disco ebbe successo anche perchè la band organizzò uno spettacolo dal vivo dove oltre che cantare si esibiva in una sorta di vero rituale: ad un certo punto dello show, sbucando da parti diverse a seconda del luogo del concerto, si presentava in scena la moglie di Clive Box, che attraverso l'uso di fumogeni e carrucole sembrava volasse tra il pubblico, finchè, sul palco mentre suonavano, veniva distesa e "sacrificata". Il caso volle che una sera, presenti dei fotografi del News Of The World, il famoso tabloid scandalistico, la spada del sacrificio lacerasse il vestito della donna, che alla fine rimase nuda. Per alcuni show successivi, la trovata fu organizzata apposta, ma la foto sul giornale fece il giro di mezzo mondo, attirando le feroci critiche sulla band, alimentando lo scandalo sulle pratiche occulte seguite dai componenti del gruppo.

Inspiegabilmente, il gruppo abbandonerà le tematiche gotiche e mistiche, per riproporsi in veste folk prog nel secondo lavoro, Black Widow (1971): il segnale fu l'abbandono del batterista Box per Romeo Challenger. Rimangono un ascolto particolare e storico, sebbene in molti articoli vengono considerati fondatori del doom: possono esserlo per le tematiche, anche se il loro approccio fu quasi sistematico e pieno di fonti e non estemporaneo e spettacolare come altri, ma non lo furono certo per lo stile musicale, che rappresenta davvero un evento nel binomio rock ed occultismo.

[landofzero-archive]

Absolute - To Abhor the Impure World 2

(Location: Hotel (Lobby))

(An hour later. Eden’s accommodations, in the lobby of a luxury hotel)

NEGI: “Howdy howdy, welcome to America, the land of freedom~♪”

Jun: ………?

NEGI: “Eh. There isn’t even one kid from Yumenosaki here. I greeted you with a merry spirit too, how embarrassing.”

Gatekeeper: Oy NEGI-bouzu (1), I told ya to not show that ‘face’ of yours didn’t I. I’ll kill you.

NEGI: “Don’t call me NEGI-bouzu. I might be a Negi (2) but I’m not a Bouzu, I haven’t really taken care of it, but can’t you see this long, shiny hair I have?

Besides, if I keep being cooped up in my room, my legs would rot away. Can’t I just talk a walk within the hotel, uncle?

Or was it a lie when you said that ‘I have control over every nook and corner of this hotel, so it’s safe and secure’?

Adults are liars…… I can’t take it anymore, I’m running away from home.”

Gatekeeper: Stop playing around having fun pretending to be an adolescent teen, we don’t even have that sort of relationship in the first place— don’t we?

NEGI: “Technically in name, you’re my guardian, aren’t you, uncle?”

Gatekeeper: In this whole wide world, is there even a law that requires every family in this world to behave the same way as those families from Trendy Dramas? (3)

Even if there was a law like that, did you think I would abide by it?

NEGI: “Ahaha. That just now, it’s a winning argument. I’ve lost.

Sorry. I just wanted to try playing parent and child for a little bit. I might have been lonely.”

Gatekeeper: Talk about sentimental things like that with someone else. Don’t bring that up with me. You’re annoying.

Nagisa: …… I see.

…… I just guessed from the contents of that conversation. You’re that NEGI-san who was the talk of Yumenosaki for a while, aren’t you?

…… Perhaps I should be calling you Hitsugi Kurone-kun instead.

NEGI: “Either one is fine, though. My little brother hasn’t been appearing much lately, that you’d have thought he died. Even though I’m the deceased one, or something like that.

……I’m really worried.“

Nagisa: ……Is that so. I pray that you’ll find your brother.

NEGI: “Yeah. Hehe, you look scary, but you’re a good person, huh.”

Gatekeeper: Shut yer traps and be quiet. Talking to the ‘ghost’ (4) dampened my mood (5), but from now on is the real world— let’s talk business.

Well, just sit down. Just like NEGI-bouzu said earlier, I have complete control over this hotel.

There's no chance of someone eavesdropping on us from anywhere— so there’s no need to be wary.

Ibara: I’m more wary of you than anyone else, though.

Gatekeeper: Ah, is that so. I know yer can’t help it, but don’t be so prickly. This time I’m yer ally— 

If you get nervous and be on guard even with your allies, your nerves are guaranteed to get too worn out and you won’t last.

Ibara: You’re the one making an unreasonable demand by telling people to not get nervous in front of a foreign Mafia bigshot.

Having said that, it is just as you said.

Firstly, shall we relax and talk about work?

Gatekeeper: Yeah. —This time, there are three jobs I want to ask you, Eden, to do.

One of which is to stand on the stage that even that Boss (6) aspired to, the stage of Absolute, which can even be said as the world’s number one idol festival, as Japan’s representative .

Hiyori: Well, I did hear about there being that sort of work. I just didn’t think the client would be that Gatekeeper.

Ibara: If I said so, everyone would have refused, wouldn’t you? Due to this Uncle going on a rampage during SS, he’s extremely hated by ES idols you see~?

Gatekeeper: How shameless. It’s not like you’re well-liked either, little Ibara.

Ibara: Yes. However, I put those sort of personal concerns aside and take advantage of business opportunities.

It’ll be an enormous achievement if you can stand out at the world's best idol festival ‘Absolute’. If you were to speak of it in more coarse terms; you’ll be able to get as much wealth, fame, and gold as you please.

After SS Finals ended with the farce “Everyone won ♪ All’s well that ends well ♪”, the current social position of ES idols is to go along with the crowd.

If we can be recognised by the world as having succeeded in Absolute, each and every one of us in Eden will become an exceptional existence within ES.

Gatekeeper: But can yer really stand out on the world stage— is the question. 

Since I got no interest in idols, I don’t know the real situation, but judging by the rumours, almost all of the audience of Absolute don’t even recognise the likes of you, yer know.

Ibara: From the perspective of the people of this country, we’re just some kings of a hill coming from a far-off island country merrily touting the title of ES Big 3, you see.

Naturally, to overturn that rumour, I’ll work out a plan so that our names would resound sonorously in this country as well.

Gatekeeper: Well, I’m looking forward to it.

Though it might be unthinkable in your country, the idols in this country— or should I say, the participants of Absolute, are something like racehorses or so to speak.

They openly hold bets on stuff like who would get the overall victory; sums of money that would make you doubt your eyes would be fluttering about. For the lot of em from this country, it’s no different from a boxing title match. 

If you do an idol concert meant to entertain everyone or something like normal, you’re in for a lot of hurt.

A softy like that will follow the same fate as a little baby rabbit being put in the cage of a wild beast.

TL Notes:

1. 坊主 (Bouzu): usually means a buddhist priest, or someone with a close-cropped hair (like a monk), thus Negi’s comment about it. The way GK is using it is more uncommon, but still a valid usage; it’s an old-timey, condescending way of saying ‘boy’ or ‘sonny’.

2. A ネギ (Negi) is a welsh onion. However phonetically, it sounds similar to 禰宜 (Negi), which is a Shinto senior priest.

3. A Trendy Drama is a genre of JP tv dramas that focus on contemporary real life issues. They were popularized in Japan in the 80’s and 90’s .

4. Specifically, GK is referring to an お化け (Obake) which while means ‘something that changes’ and is a specific type of Yokai, but it also could be shorthand/colloquial for an actual ‘ghost’ as in the spirit of the deceased that is specified as 幽霊 (Yuurei).

5. 水を入れられちまったが - lit. pouring water.

6. The word he used here is 御大 (Ondai) and Mod assumes it indicates he’s talking about Godfather because that’s how GK referred to him before this. ‘That’ Boss as opposed to the current one (Nagisa), perhaps.

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[gregor-samsung]

“ Un operaio in tuta turchina stava oliando una grande trebbiatrice, curvo sulle ruote e gli ingranaggi. Io m’ero fermato in mezzo al cortile, e lo guardavo lavorare da lontano. Oliava le sue macchine, continuava a fare il suo mestiere, come se la guerra fosse lontana, come se la guerra non avesse neppure sfiorato il villaggio di Pestchanka. Dopo alcuni giorni di pioggia era uscito il sole, l’aria era tiepida, le pozzanghere d’acqua fangosa specchiavano un pallido cielo azzurro percorso da lievi nuvole bianche. A un certo punto entrò nel kolkhoz un ufficiale tedesco delle SS seguito da alcuni soldati. L’ufficiale si fermò a gambe larghe in mezzo al cortile, guardandosi intorno. Ogni tanto si voltava a parlare ai suoi uomini: alcuni denti d’oro luccicavano dentro la bocca rosea. A un tratto vide l’operaio curvo a oliare la macchina, e lo chiamò. «Du, komm, hier!». L’operaio si avvicinò zoppicando. Anch’egli era zoppo, lo avevano lasciato indietro perché era zoppo. Stringeva nella mano destra una grossa chiave inglese, nella sinistra un oliatore d’ottone. Nel passare accanto al cavallo gli disse qualcosa a voce bassa, e il cavallo cieco gli strofinò il muso sulla spalla, lo seguì zoppicando per alcuni passi. L’operaio si fermò davanti all’ufficiale, si tolse il berretto. Aveva i capelli neri e crespi, il viso grigio, magro, gli occhi opachi. Era certamente un ebreo. «Du bist Jude, nicht wahr?» gli domandò l’ufficiale. «Nein, ich bin kein Jude» rispose l’operaio scotendo la testa. «Cto? ti niè Evriu? Ti Evriu! tu sei ebreo!» gli ripeté in russo l’ufficiale. «Da, ja Evriu, sì sono ebreo» gli rispose in russo l’operaio. L’ufficiale lo guardò a lungo, in silenzio. Poi gli domandò lentamente: «E perché, un momento fa, mi hai risposto di no?». «Perché me lo hai domandato in tedesco», rispose l’operaio. «Fucilatelo!» disse l’ufficiale». “

Curzio Malaparte, Kaputt, Introduzione di Mario Isnenghi, Mondadori ( Collana Oscar narrativa n° 1102 ), 1978; pp. 84-85.

[ 1ª ed. originale nel 1944 presso l’editore Casella di Napoli ]

[underworld-park-offical]

CLYDE: Hey, so have you heard this one song?

CLYDE: “Aye e aye e aye I'm your little butterfly”?

TWEEK: What?

CLYDE: Okay

CLYDE: Do you know what fuckin’

CLYDE: Nightcore is?

TWEEK: What the fuck is nightcore?????????

CLYDE: Okay so like

CLYDE: You know what music is, right?

TWEEK: No?????????

CLYDE: Okay, Okay, Okay

CLYDE: You sweet

CLYDE: Sweet

CLYDE: Summer child

TWEEK: Uhhhhhh??????

CLYDE: So like

CLYDE: Nightcore is like

CLYDE: When you take a song 

CLYDE: And speed it up

CLYDE: Like really, really fast

(Meanwhile in Craig's mind)

CRIAG (Thinking): Goddamn that new kid is giving Jeffery Dahmer vibes, frfr

CRAIG (Thinking): Maybe I should just ask him straight up

CRAIG: Hey uh

CRAIG: Hater

CRAIG: Or whatever

TWEEK: UGH

TWEEK: WHAT

TWEEK: WHAT DO YOU WANT

CRAIG: I'm like

CRAIG: /nbr rn

CRAIG: But like

CRAIG: Are you like

CRAIG: A demon?

TWEEK: WHAT????

TWEEK: OH MY GOD NO TWEEK: JUST WHEN I THOUGHT YOU COULDN'T BE MORE OF AN ASSHOLE

TWEEK: NO

TWEEK: I'M NOT A DEMON YOU ASS!

CLYDE: Don't worry about it

CLYDE: Craigs just an asshole

CLYDE: We all hate him

CLYDE: It's okay

TWEEK: What????

TWEEK: Then why do you guys still hang around with him????

CLYDE: It's fun to pick on him

TWEEK: ….Oh

TWEEK: AAGAFAYIDXJUYHVKHCXJHV>KGJCKHVCJGVHK

CLYDE: WHAT THE FUCK CLYDE: GRA^YFYUGFYAFIU WHAT IS HAPPENING CLYDE: I'M GONNA PISS MYSELF

TWEEK: Don't

TWEEK: Just Don't   

TWEEK: I’ll start projectile vomiting

CRAIG: NAURRRRR the power went out!!

TOLKIEN: Oh thank god

TOLKIEN: Maybe you can actually be a member of society for once

CRAIG: Bitch

CRAIG: My followers literally love me sm

CRAIG: They’re probably really worried about me right now

CRAIG: Wondering where my mid-day Insta photo is

TOLKIEN: Sure buddy, they're definitely worried

CRAIG: They are 

CRAIG: You're just like

CRAIG: Jealous of me and my awesomeness

INTERCOM:  ╬╒ ╬╬╬■ ■ ╬╬╬ ╧╧╬ ╬ ╒ ╬╬ ╬ ╬ ╧ ╧ ╬ ■ ╬ ■ ╬ ╒ ╬ ╬ ╬ 

CRAIG: Ewwww

CRAIG: That was that gibberish language I heard in my dream!

CRAIG: So that means the new kid is giving demon

TWEEK: FOR THE LAST TIME I'M NOT A FUCKING DEMON YOU BLUE GUMBALL SON OF A BITCH

TOLKIEN: Leave the new kid ALONE

INTERCOM: ╬■ ╬╒ ╬╬ ╒ ╬╬ ╬╬B╬■ ■ ╬╬ ╬ ╬ ╧ ╧ ╬╬ ╬╬ITT╬╬╬╬╬╬╬╬╬ CCHH╬╬╬╬╬╬╬╬ FA╬╬╬ GGO╬╬╬TTTS╬╬╬╧ ╧ ╬ ╬

INTERCOM: ╬ ╬ ╬Q╬ ╬ ╬ ╬ ╬ ╬ UE╬ ╬ ╬ ╬ ╬ ╬ ╬ ╬ ╬ EER╬ ╬ ╬ ╬ ╬ ╬ ╬MMM  ╬ ╬ ╬ ╬ ╬OO ╬ ╬ ╬ ╬ ╬ ╬ ╬ ╬ ╬ ╬ ╬ ╬ ╬ ╬ ╬SS╬ !╬ !

[austerlitzborodinoleipzig]

At this point I genuinely think junior men is my favourite event of the whole GPF.

There's just something so endearing about it. You have leggy boys fighting gravity and physics. You have smoll balls of talent ready to throw hands.

You get emo music. You get teenage angst. You get programs that's just a jumping drill with epic music in the background.

Spins are all kind of bad. SS sometimes have vanished. Then you witness the next coming of Patrick Chan. Then the skater gives you theatre club levels of performance. You get quads and double axels in the same program.

And it's only the beginning, during the next seasons you'll see them in seniors and the awkwardness will be gone and the programs may be better and the jumps are more impressive and sometimes growth will make it so that the JPGF winner is still waiting for his breakout season and is stuck in lower ranks while the one who finished 6th with a disaster skate is a world medalist.

Anyway here's to Stephen Gogolev, Koshiro Shimada, Camden Pulkinen, Adam Siao Him Fa, Petr Gummenik, Tomoki Hiwatashi, Yuma Kagiyama, Shun Sato, Andrei Mozalev, Nikolaj Memola, Lucas Broussard, Shunsuke Nakamura, Nozomu Yoshioka, Robert Yampolski, Takeru Amine Kataise, Rio Nakata, Hyungyeom Kim, Juheon Lim, Adam Hagara, Daniel Martinov, François Pitot