#GRAND FRONT OSAKA

[flyingwargle]

miya twins week day 2: "why does it feel like we’re drifting apart?”

granny used to say that twin telepathy was a gift from the gods as a way to reaffirm their bond. it can be used for anything between the mundane to the serious, from asking each other answers on their tests, soothing nightmares, echoing sentiments. it can work across long distances, although they never tried it, or close proximities. the only time it fails is when the bond starts to weaken.

or so osamu thinks.

it starts in their second year of high school, from their argument about their diverging paths. “if yer so damn sure that ya’ll be the happier one,” he snarls, gripping his brother’s collar, “come back when we’re geezers! wait ‘till then ta laugh in my face an’ say ya were happier!”

atsumu stares at him, anger in his eyes. “if that’s what ya wanna do, yer on.” he shoots to his feet, gripping his shoulders tight. “i’m gonna turn an’ look right in yer face, an’ say i had the happier life!”

they never recovered after that. after graduation, osamu went to university in tokyo; atsumu was scouted by the jackals in osaka. he sent a ticket to his debut match, but osamu had an exam and couldn’t attend. osamu sent an invite to his graduation, but atsumu was overseas. atsumu sent a ticket to a game between the jackals and ejp, but osamu was busy preparing for his restaurant’s grand opening. when the doors opened for the first time, he saved a spot for atsumu, but he never made it.

he doesn’t notice when the telepathy stopped. he doesn’t notice when the messages between him and his brother gradually stop. so, when he hears his name echo in the back of his mind during the busiest hour of the day, he doesn’t question it and simply responds back.

‘samu.

it’s faint. osamu, in the middle of preparing rice, slows. ‘tsumu. he’s the only one in the kitchen, the rest of his staff busy with front of house. his eyes dart around the industrial equipment, the window cracked open, the fans whirring.

oh. a weak chuckle. it still works, huh?

whaddaya mean? osamu frowns.

he doesn’t get an immediate response. when he does, it’s fainter. onigiri miya, huh? it’s a nice name.

osamu was never the best at listening for emotions, but it’s different with telepathy. it’s just them, stripped of their external bodies, left with their inner mind’s voice. atsumu’s is mournful. regretful. apologetic.

‘tsumu, what’s wrong?

it’s that chuckle again, the self-conscious one that starts at the back of his throat, accompanied by a sheepish smile. osamu can imagine it, hear it echo from their childhood, adolescence, to now. sorry that i never came fer the grand openin’. it woulda been cool. i saw the pictures. business is boomin’, huh?

cut the shit, ‘tsumu. osamu has stopped, hands braced on the counter. why’re ya talkin’ ta me? we haven’t talked in years. they don’t follow each other on social media. they haven’t texted since high school. they haven’t called even longer. why, when you have telepathy?

telepathy. used for anything from the mundane to the serious. osamu’s blood runs cold. ‘tsumu, tell me where ya are, right now.

there’s no way ya can make it ta osaka.

watch. osamu is storming out of the kitchen and into his office, ripping his apron off, throwing his hat on top of his laptop. where are ya?

pause. i didn’t believe granny when she said twins could talk ta each other with their minds, thought it was some folktale. but when i heard ya cryin’ fer me after those bullies hit ya, i believed it. we promised each other that we’d be there, right? i completely forgot, an’ i gave ya so much shit fer wantin’ ta follow yer dreams. i’m sorry.

don’t do this ta me, ‘tsumu. osamu is checking shinkansen departures. i’m bookin’ a ticket, i’ll be there soon, don’t ya dare go dark–

i wish i coulda visited once.

he freezes. a chill runs down his spine, feels something in his mind suddenly sink into the darkness. ‘tsumu? ‘tsumu, answer me. ‘tsumu! his phone falls from his hand, vision blurring. ‘tsumu, don’t do this ta me. don’t leave me. ‘tsumu?

don’t leave before i can say sorry.

--

he learns, later that night, that atsumu was in a hit-and-run. a cyclist witnessed it and called for an ambulance. he was barely conscious by the time it arrived, drifted off before reaching the hospital. the surgery went through the night. the doctors aren't sure when he'd wake.

osamu takes the first shinkansen to osaka. when he reaches the hospital, he crashes into his ma’s waiting arms, sobbing into her shoulder. “i’m sorry,” he sobs. “he- ‘tsumu, we talked, but he didn’t- he-“

she shushes him. “baby, it’s okay. yer here, an’ that’s all that matters. shall we see him?”

atsumu’s head is wrapped in bandages, with plenty more around his limbs, hidden beneath his blanket. an iv is inserted in his vein, oxygen mask over his mouth and nose. his expression is gaunt, but his heartbeat is steady. osamu reaches for his hand, the uninjured one, and grasps it between his. “how did we drift so far apart?” he whispers.

ma sits beside him. “he never stopped talkin’ ‘bout ya, whenever he visited. he was even talkin’ ‘bout makin’ a trip ta tokyo ta surprise ya, but…” her breath catches in her throat. “i’m sure he’d love ta have yer food.”

“he can have all the onigiri he wants,” osamu croaks. “every last bit o’ it.”

they stay, take turns stretching their legs, taking calls from friends and family, eating out of the vending machine in the main lobby. the black jackals visit, along with old friends from inarizaki. when night falls, his ma leaves to sleep at the hotel, but osamu stays. he doesn’t let go of atsumu’s hand, not even as he drifts off.

‘samu?

he startles awake, but he doesn't have the strength to open his eyes. ‘tsumu. listen, i’m so sorry–

i’m sorry that i made ya come all the way here. i woulda liked ta show ya the sights, sneak ya into the gym, make ya hit my tosses.

ya idiot. ya can still do all that. yer gonna be fine. i know ya will. osamu squeezes his hand. an’ yer gonna come ta tokyo, an’ we’ll do all the tourist shit ya like. yer gonna eat at my restaurant an’ sleep on my couch, an’ complain ‘bout yer back the next mornin’, an’ we’re gonna do it all again–

a faint laugh. not that self-conscious chuckle, but the quiet, exasperated yet amused laugh that comes when he doesn’t want to acknowledge his brother, yet still does. i’m still sorry ‘bout what i said back in high school.

we’re adults, now. it doesn’t matter. we’ll start again. right?

right.

osamu dares to open his eyes, and stares straight at his brother, who returns his gaze. his lips move beneath his oxygen mask, though no words come out. he hears him, loud and clear.

love ya, idiot.

love ya too, scrub.

--

inspiration: this comic of twin telepathy!

[hirocimacruiser]

What are old cars like to drive now?

Mazda Familia 3 door full time 4WD1600DOHC turbo review.

The second generation FF Familia tends to be overshadowed by the success of the first FF Familia. The Familia underwent a Key Concept model change in 1985, and the sports version of the 1.6 (twin cam turbo + full-time 4WD) became popular. Yasushi Shimono drove to Osaka for the later model after minor changes.

Text | Yasushi Shimono Photos Chihiro Abe

The other day, I rented a Familia car in Takamatsu, Shikoku. If you see Nippon Rent-a-Car, Toyota Rent-a-Car, and Nissan Rent-A-Car lined up at the counter in the airport lobby, if you're a car fan, you should probably rent a Mazda Rent-A-Car at this time of year.

It's a personal choice, but the Familia 1500AT I rented was actually very nice. The engine and suspension have the solid feel of a German car, and it feels great. Even though I've already driven over 20,000km, I can barely see any wear and tear.

During my summer vacation two years ago, I took a Familia rental car at the station in Tsuruoka, Yamagata Prefecture, and it was a great ride, and my family was happy with it.

For test drives, members of the media always ride in the manufacturer's so-called PR vehicles.

However, when they later try the same car in a rental car, they are often disappointed to varying degrees. I don't have the space to write about the reasons in detail here, but Familia is an extremely rare example of people rediscovering their charm through rental cars. It feels like a very seriously made car.

I am holding this.

FULLY MASCULINE NOUN CAR

In downtown Osaka, I was given a ride on a nostalgic Familia. 1988 model 3 door twin cam turbo 4W.D. It is a full-time 4WD high-performance model that was part of the second-generation FF Familia series that debuted in 1985.

I splurged on expensive 200,000 yen 0Z racing aluminum wheels for the car I bought this spring. There is a bright red mudflap in the wheel arches.

The guard hangs down. The hobby of the owner, Mr. M (35 years old), who really wants to drive a Lancia Delta Integrale, seems to be depicted on the outside.

The inside can also be customized.

It is. The front seats are BRIDE bucket seats. The handle is MOMO's Prototipo. At the tip of the shift lever is a plastic shift knob that looks like a white ball.

The main body of the 1.6LDOHC turbo engine has not been modified, but the muffler and air cleaner have been replaced with "HKS''. The suspension also uses Mazda genuine sports springs combined with GAB dampers. I'm not Kiyoshi Nishikawa, but I get the strong impression that he was trying to do things one by one, starting with what he could do. Mr. M, who works as a tire wholesaler, is a pleasant young man. It is the year of the year. When I pushed in the tape whose head was peeking out from the set, it played Mr. Children, which doesn't really suit Osaka (?).

However, once it started running, the Familia Integrale was a much more radical car than the standard.

First of all, the suspension is much harder than you might imagine from the specs. The ride quality is almost that of a competition vehicle, reacting honestly to the bumps and undulations of the road surface and transmitting short, jerky vibrations.

I didn't think it was power steering at first either. I slowly turned the steering wheel to turn off the engine and realized for the first time that it had power assist. That's how responsive it is. Basically, the normal engine is so energetic that it's hard to believe. Power is already 140 yen on NET display. However, it is more powerful than the face value, and at the signal Grand Prix the acceleration of all four wheels is like that of a rabbit.

I'll show you.

Even though it is a turbo, it starts to crash immediately after idling.

Delivers comfortable torque. The response in the low rotation range is also not bad. Tachometer red zone from 7000rpm. However, the latest 4-valve It's not as smooth and light as the unit.

It has been replaced with an air cleaner for competition. So, at the top end of 6500 or higher, the engine noise, mainly the intake noise, becomes louder.

Air conditioner control panels, air vents, and

-Dark areas where stereo units, ashtrays, etc. are crowded.

There was a designer who once described the center part of the dash as ``the most expensive part of the car's interior,'' but this car has a panel that says ``FULLTIME 4WD'' embedded in part of it. There is. It was kind of noisy. There is also a shiny silver switch inside the spring, and this is for locking the center differential. The owner once benefited from being muddy.

Apparently there is.

The turbo is effective without any noticeable bumps.

It starts to work, and what's more, it works like a turbo. I miss the way the green snail lights up in the instrument panel every time the turbo kick explodes. What's more, every time I shift up and release the accelerator, I hear the resonant whine of the turbine, which is nostalgic. I wasn't able to do it this time due to time constraints, but I was able to drive on mountain passes and some dirt roads, and it still looked really interesting. Manly and sweaty, a perfect masculine noun.

It's Luma.

Of course, the current Familia, which no longer has a sports model in its lineup, is not such a macho car. However, the Familia has always been a car that has not had a fancy feel to it for generations. Fancy is something like ``a womanly thing that a man has come up with.'' I like the character, which is unusual for domestically produced vehicles, but I'm sure there are people who say that's why it doesn't sell well.

PIC CAPTIONS

The second generation FF Familia underwent a full model change in January 1985. It has a 3/5-door hatch and a 4-door sedan body. Initially, it started with 1.3ℓ and 1.5ℓ NA and turbo units, but a 1.6ℓ turbo unit was soon added. The photo is of the later model. The body size is: total length x width x height = 3990 x 1645 x 1405mm. Wheelbase 2400mm.

The steering wheel has been replaced with "MOMO" and the seat has been replaced with "BRIDE". When the New Familia was announced, the company emphasized the improved quality of the interior, saying, ``If the packaging is the same, the quality of the interior is important.''

With minor changes in 8 years, NA unit

The remaining old E-type units were wiped out and replaced by B-type units. Photo of 1597cc 16V DOHC turbo with 140ps @ 6000rpm and 19.0kgm torque @ 5000rpm

Mr. M's Delta Familia has a majestic red mudguard. The ``GAB'' and ``HKS'' stickers and white OZ wheels clearly reflect the owner's taste.

[sinsofthefather-kulemi]

Osaka Locations: Cabaret Grand

Majima's Workplace Sotenbori

Cabaret Grand (or The Grand) is a popular cabaret in Sotenbori located on West Sotenbori Street. It's known for its superb staffing: beautiful, usually graceful women, waiters and floor managers that do their best at playing refined men and none other than Sotenbori’s one and only Lord of the Night, manager Goro Majima. Guests come to experience Cabaret Grand’s unique Sotenbori elegance complete with live performances by locally famous musical acts and sometimes even comedians and they stay for the men and women doing what they can to help them forget what’s happening in the outside world. 

The Grand prides itself on being an escape when one is in dire need of it. 

The Grand’s signature is its gorgeous wine red and lustrous gold color scheme. From the door to the ballroom (as well as the runway leading to the dancefloor), the flooring is carpeted in a fine, (imported) saxony then completed with an intricately designed berber carpeting. The dance floor and stage are made of porcelain that has a strict polishing schedule. It is rare to find filth and debris on the floor of The Grand as there is cleaning staff on standby that roam and monitor the ballroom like hawks. Gold lines the runway, strips of it are neatly pinned to the nose of each step leading to the 2nd floor, the red damask seating is topped with gilded accents even the walls aren’t free of that Cabaret Grand gold!

There’s not only a cover charge and request fee that might threaten to drain the average wallet’s er, customer’s pockets. The menu boasts a pretty hefty price tag too! There’s not much way around it. The Grand’s hostesses are some of the most skilled and persuasive salespeople one might meet. This is why, while Cabaret Grand tries to welcome anyone with an open billfold, the intended demographic isn’t quite the average entry level salaryman. 

The Grand prefers their boss’ boss! 

There’s a large dressing room and locker room for the talent downstairs not far from the restrooms. It’s not quite as luxurious as the rest of the cabaret but it was designed to allow the ladies to comfortably get themselves together between clients. There are even communal showers in the locker room for the busy bee who may not have time to get home and do so before or after their shifts. No men are allowed in there. The red patterned walls are lined with vanities that are assigned to a roster of women per vanity. This was recently implemented to aid with narrowing down the culprit when theft happens. It’s not foolproof but the manager of The Grand has heard fewer complaints since implementing this system.

Just upstairs is the main office that also doubles as a breakroom for staff. It’s typically empty as most staff prefer to enjoy their breaks outside of the cabaret. It’s far more unassuming than the ballroom and the ladies’ dressing room combined. There are simple, cheap desks, jamming file cabinets and dusty chalkboards on one side for work and with the help of a partition, the room is divided, allowing a rest area on just the other side. The rest area offers a decent television set, two couches and even a towel warmer to help take the load off. There is a telephone in the office as well that has a secure line unlike the recorded line downstairs at the front desk. This allows people like The Owner to call in to The Lord of the Night and offer some… words of encouragement from time to time. 

Visit Cabaret Grand whenever you’ve got the chance (and money)!

[chic-a-gigot]

La Mode illustrée, no. 10, 8 mars 1874, Paris. Toilettes de Mme Delaunay, 44 rue d'Argenteuil. Ville de Paris / Bibliothèque Forney

Description de toilettes:

Robe de faye noire. — Le tablier, plissé perpendiculairement, est coupé par cinq biais horizontaux brodés en jais noir, et bordés sur chaque côté d'une ruche en même faye, perlée sur son bord. Les extrémités de chaque biais sont passées dans une boucle en jais. Ces boucles s'attachent sur la ruche perlée, qui limite le tablier sur chaque côté. Le bord inférieur des lés de derrière forme de grands plis perpendiculaires. Au-dessus de ceux-ci se trouvent trois volants brodés en jais noir, surmontés d'un pouff. Corsage montant à basques plissées et renversées par derrière, à basques plates par devant, brodées en jais. Manches demi-larges. Le côté de dessus est pareil au tablier, c'est-à-dire plissé perpendiculairement avec biais horizontaux formant des brassards.

Petite fille de six ans. — Robe en popeline grise, avec corsage décolleté en carré. Basques longues. Le tout est orné do rouleaux en faye bleue.

Petit garçon de trois ans. — Jupe plissée et petit paletot en velours bleu.

Jupon en faye rose, garni de deux hauts volants plissés, et relevé en pouff. Tunique en crêpe osaka bleu pâle, avec rouleau rose et guipure blanche. Cette tunique est relevée à droite sous un grand nœud bleu et rose. Corsage à basques pareil à la tunique avec même garniture. Gilet rose avec ruche Médicis.

—

Black faye dress. — The apron, pleated perpendicularly, is cut by five horizontal bias embroidered in black jet, and edged on each side with a ruffle in the same faye, beaded on its edge. The ends of each bias are passed through a jet loop. These loops tie over the beaded ruffle, which limits the apron on each side. The lower edge of the back lengths forms large perpendicular folds. Above these are three ruffles embroidered in jet black, surmounted by a pouff. High bodice with pleated and reversed peplums behind, with flat peplums in front, embroidered in jet. Half-wide sleeves. The upper side is similar to the apron, that is to say pleated perpendicularly with horizontal bias forming armbands.

Six-year-old girl. — Dress in gray poplin, with square neckline bodice. Long tails. The whole is adorned with scrolls in blue faye.

Three-year-old boy. — Pleated skirt and little overcoat in blue velvet.

Pink faye petticoat, trimmed with two high pleated flounces, and raised in pouff. Tunic in pale blue osaka crepe, with pink roll and white guipure. This tunic is raised on the right under a large blue and pink bow. Basque bodice similar to the tunic with the same trim. Pink waistcoat with Medici ruffle.

[ishido-enjoyer]

It’ll never happen but my dream show would be a Shogun prequel, called Taiko, featuring:

-the rule of the Taiko (Lord Nakamura in Shogun canon, based on Toyotomi Hideoyoshi, who is an absolutely fascinating figure), showcasing things like the Sword Hunt that disarmed the peasantry, his building of Osaka castle, his love of tea ceremonies and Noh plays (and his acting in them on numerous occasions in front of his vassals), and his relationship/rivalry with Toranaga, who only grudgingly submitted to him after they fought to a stalemate

-the rise of Ishido under the Taiko, with more backstory for him showing his struggles to gain respect as a peasant-born man in a samurai’s world, his growing resentment towards born elites like Toranaga over the years, and his relationship with the Taiko, who was like a father figure to him

-the disastrous Korean invasion orchestrated by the Taiko because of his grand designs/delusions to eventually make Ming China his vassal; it was a total bloodbath that was basically two separate wars with a long truce in between. It easily did more harm to the Taiko’s legacy than anything else.

-backstory for Yabushige and how he and Ishido met during the Korean war. Ishido offhandedly mentioning in Shogun pulling Yabu out from under a mound of corpses in Korea is one of those little details they threw in that just has so much storytelling potential.

-Toranaga’s consolidation of power in the Kanto while the Taiko’s armies are being bled out in Korea, setting the stage for his domination later on

-more backstory for Ochiba, showing her years as the Taiko’s consort and everything she went through to produce him an heir, plus Ishido’s enchantment with her

-Mariko’s life with Buntaro after her father’s death following the betrayal of Kuroda

Just off the top of my head.

Well, I can always dream. And write fic.

[ilovejevsjeans]

2020- Russia- Equality Mask. The mask was sold by one of Daniels Sponsors Thorne.

"Ahead of this weekend’s Russian Grand Prix at Sochi Ricciardo, who sported a face mask with ‘equality’ printed across the front, explained the message and how Osaka shaped his decision.

“I saw after the US Open, was it Naomi? I saw what she’d done with her face mask and I was like this is a very strong voice for us, it is prime real estate,” began Ricciardo.

“I saw she’d used it really well and when I received this I was like, ‘it’s perfect’. So it should be that simple: treat everybody equally and everybody’s happy, that’s how the world goes on, but it’s not like that.

“I’m raising some sort of awareness, if somebody sees it and they’re like, ‘actually you’re right, let’s be kinder to people and they’ll be kinder in return’ – it should be that simple.”" (X)

[lovedrunkheadcanons]

WARNINGS: Gojo Satoru x Female OC, fluff, cuteness, comfort, established relationship, marriage, Hannah gets naked, Hannah’s a cute and adorable drunk, husband+wife.

SUMMARY: Shoko and Utahime take Hannah out drinking and she comes back home totally sloshed. It’s both adorable and amusing, until Hannah decides clothing is optional — Oh, and Makoto is out of town, leaving Satoru to look after his drunk-ass wife by himself. Mild hilarity ensues...and fluff.(Takes place between Ch. 20 and Ch. 21. Satoru and Hannah have not consummated their marriage fyi).

Read oneshot on AO3

Prequel: Gojo Takes a Wife (also on AO3).

Well, it’s official.

Satoru was never letting Shoko and Utahime take his wife out drinking again.

“Can we go to Disneyland? I’ve been wanting you to take me foreeeever.”

She had been this way going on five minutes now.

Gojo suspected it was Utahime’s marvelous idea to get Hannah roaring drunk, and since she and Shoko had declared the outing a “girls’ night” he had not been invited to come. Maybe then his wife wouldn’t have stumbled through the front door, blowing three sheets to the wind. The two conniving women responsible for her insobriety left without so much as a “Thanks for letting us borrow her, Gojo. She’s yours again, bye.”

Yup, that she most certainly was.

“I wanna go to Disneyland,” Hannah persisted, singing and twirling around the genkan, the skirt of her dress picking up and flying. “I know you~ I walked with you,” she hiccuped, “once upon a dreeeeeam…”

The clock read 2 AM. Disneyland had been closed for the past four hours.

Rarely did Satoru find himself home alone like this. As it were, Makoto’s much older brother had fallen seriously ill and with no wife or caretaker to look after him, she had left for Osaka immediately and wasn’t expected to return for a few more days. Satoru had waited all night for Hannah to come home. Now having returned in her drunken state, Makoto’s absence felt sorely missed.

“Sure thing, Sleeping Beauty. Buying us season passes now.” He slid open another door for her, following close behind so she didn’t accidentally kill herself.

She couldn’t walk in a straight line, wobbling down the hall like a dawdling penguin after being weeks out at sea, hunting for fish. He was afraid she’d trip and crack her skull or something, then they’d really be in a pickle. Hannah was short footed (when sober) to begin with. Hooking his fingers into the gold circular handle, he slid open another door for her.

Until very recently, Satoru didn’t see any compelling reason to chain himself to a single person for the rest of his life; Marriage was nothing more than a legal contract needed to continue his family’s bloodline, a necessary evil. But it had occurred to him lately that perhaps marriage had something more to offer. Companionship being one.

From the time he was a boy the Gojo house had always been a cold and empty place, with its miles of tatami and infinite paneled box rooms. This grand, noble house that was once inhabited by samurai. A house where a younger, sprier Makoto would chase him endlessly down the halls as a child, urging him to take a bath. Where he would spend his days studying and training, his many toys littering the parlor floor, with no one but himself to play with. Where for the longest time he had been forbidden to venture from its palatial gates. A gilded cage was still a cage. Hannah’s presence made this childhood prison feel like home, pushing away the clouded loneliness like warm, bright sunshine. If she asked him to jump, he’d say how high. If she ordered him to dig a hole all the way to China, he’d grab the nearest trowel and start digging. And if she needed assistance getting her drunk, sorry ass back to her bedroom because she was in no condition to ask, he would do that too.

Did that make him whipped? Certainly.

Was he upset about it? Absolutely not.

It took a lifetime to cross the end of the hall. Keeping her balanced on his arm, Satoru reached out to finger a trailing lock of her auburn hair, tucking the strand behind her ear. Upon departing with Utahime and Shoko, it had been woven in a long braid, now it hung past her hips like a curtain. She wasn’t paying attention to his fingers. Satoru had never thought of himself as a particularly soft guy, but lately he found it irresistible not to reach out and touch her when she was near. Who knew the simplest contact would derive such undiluted pleasure? Confessing his feelings to her in the butsudan room not long ago only enhanced the effect.

“Doth think thou hath had too much, m’lady.” he teased in old English.

“Thou hath — hiccup — not,” she definitively answered back.

He chuckled. Her hiccups were adorable, but it still had him concerned.

“Dear god, how much did they let you have?”

“Hehe, you said ‘God,’” she giggled, evading his query. “I thought you didn’t believe in God?”

“Freudian slip,” he sighed admittedly. Ever since she had come to live with him he’d picked up on some of her speech. “Now move it, missy. Sleep is that way — no, left, Princess. Your bedroom is down here to the left, remember?” He grabbed hold of her shoulders and gently steered her in the opposite direction, prompting a soft “Fuckin’ hell,” to exit his lips, which Hannah caught.

“Fuck? We haven’t done that yet. Is that what we’re going to do?”

“Huh? Of course n — ”

“Okay!!”

Spoke too late.

In the almost four months they’d been married - which was also the same time they’d known each other - Hannah had never cursed. Not once, and yet she had uttered the explicative like it was the most natural thing, prompting her to take the hem of her dress without a care in the world. He watched her hoist the fabric past her bare thighs, up her waist, and proceed to flash him in her lacey pink panties. One last yank and the dress was gone.

And not three seconds later so too was her bra.

“Weeeeeee.”

Satoru swallowed hard, eyes glued to the floor, Hannah’s undergarment laying forgotten in the corner. His face felt hot. Either he was the luckiest man alive or the most screwed over, wondering whether this was retribution for his misdeeds in the past. He had made good on his promise after the New National Theater not to see underneath her clothing. In fact he hadn’t ogled her naked body or stolen a peek of her bathing since then, but Hannah twirling down the hallway with nothing on except her panties made that frustratingly impossible. He was eating a huge, stinking pile of crow just now, watching her well-developed titties bounce up and down, free from any restraint, as she swayed to the imaginary music playing in her head like a tipsy ballerina. Goddammit. Utahime and Shoko were going to pay.

“Satoruuu,” she beckoned, letting out a bubbly laugh. “Hurry up, slow poke, we’re almost there.” She was still convinced they were going to Disneyland.

Fat chance of that happening.

Satoru grumbled incoherently as he trailed slowly behind. “Yeah, yeah. I’m coming, I’m coming.”

But she bounded back towards him like a Labrador puppy. Satoru caught her in his arms as she seized a hold of his shirt, “Fancy a kiss?” she asked, then took his mouth for her own, French and all. Satoru froze there on the spot, dumbfounded. As far as kisses went, her form was rather sloppy. She probably had no idea what she was doing, but he could taste the lingering agave on her tongue, on her breath. Tequila. So that was the culprit, he thought. He knew the flavor from his early days experimenting with alcohol before discovering he couldn't drink liquor to save his life. Yet the taste of her strangely aroused him. His pants suddenly grew tight, blood drawing further south towards his groin. He wanted to feel her arms wrap around him, her fingernails digging into his shoulder blades, her thighs writhing against his hips. He had to put an end to this.

Stop.

Satoru grabbed both her arms and broke away from the kiss. Hannah stared up at him, seemingly puzzled by his refusal to comply and smooshed her breasts against him, “Don’t you want me?” she pouted, hurt evident in her slurred voice. He could feel her pink nipples percolating through his shirt like tiny rose buds.

What on earth was she saying? Of course he wanted her. He wanted her more than anything in the whole universe. Gaping down at her ample bosom, he could tell by eye-balling them that each breast would fit nicely inside his palm; not too big, not too small, soft and round. Just right.

You could do it, Satoru, the perverted thought tempted. You could give them a good, harmless jiggle. What would it hurt? You’re married. She’s drunk off her rocker and won’t remember a thing at this stage. But logic prevailed. No, he was not going to fondle her breasts, regardless of whether they were ripe for the taking. It was wrong. He vowed to be her husband and protector, not her master. She wasn’t in her right mind. Alcohol had taken over. This wasn’t the Hannah he loved.

Granted permission from her to enter her chambers, the protective seal “unlocked,” and Satoru parted the fusuma doors, adorned with blooming paulownia trees and silver foil, and tugged her gently by the arm, pulling her inside. He guided her to sit on the plush futon (they really needed to invest in getting her a real bed) and told her to stay put. Situated on the bedding, Hannah examined her surroundings. “Wait a minute. This doesn’t look like Disneyland,” but Satoru wasn’t listening as he darted out the room. When he returned he was holding a full glass and some melatonin tablets.

“Here, drink this,” he said, offering the glass.

“Why? Is it more tequila?”

“Yeah, top shelf. Just for you.” He watched her eagerly down the water in one gulp, and then handed her the melatonin tablets that would rapidly dissolve on her tongue. Five mg should do the trick. He didn’t want to give her too much with the alcohol coursing through her bloodstream.

Satoru gave no time for pause as he strided into her closet next and hastily rummaged through her drawers, searching for where Makoto kept her nightgowns with the use of the Six Eyes. So many drawers. At least she wasn’t talking about sex anymore, he thought. Thank goodness. Milliseconds later he found the gowns in the bottommost chest to the right. He got one out and sauntered back.

“Alright, now put this on.”

Hannah looked at the gown as though he were a parent telling her to eat her vegetables. She crossed her arms and puffed her cheeks, turning away.

“No.”

Satoru blinked.

“Put the nightgown on, Hannah.”

She stuck out her tongue.

“Make me.”

Satoru closed his eyes against a surge of impatience. Since when did he become the adult in this relationship?

“Hannah, it’s too fucking late for this crap. I doubt you’ll remember anything in the morning.” He knew she was gonna wake up with the worst hangover, and he was beginning to feel indecent from staring at her chest. The sooner she fell asleep the better off they’d both be. “So put the stupid nightgown on…please.”

To his relief, the melatonin seemed to have finally kicked in. He noticed the way her hazel eyes drooped along with her head, bobbing up and down to keep her posture upright. Hannah stifled a cute little yawn. Without making any more fuss, she dazedly stood up from the futon and raised her arms for him to slip the blue silk atop her shoulders, clothing her breasts and allowing him to slide her dainty arms through the spaghetti straps. The skirt fell right above her knees. Mission accomplished.

Rubbing her eyelids, Hannah plopped back on the futon with a “whoosh” and turned to rest her head on the pillow. Her husband knelt down to settle her inside and pulled the covers on top of her.

“Satoru,” she mumbled, a small smile gracing her lips as her eyes flitted closed. “Disney...land...”

The Six Eyes wielder couldn’t hide his own smile. They were gonna laugh about this one day.

“You’re truly something else, Princess,” he softly chuckled. “You know that?”

Hannah didn’t stir, the melatonin having succeeded in putting her to sleep. He could hear her gentle snores wisp in and out, and bent down to press a secret kiss to her crown.

He would leave her door ajar to check up on her throughout the night, but for now he would leave his wife to dream.

“Sleep well, my hana-chan.”

[yuzukahibiscus]

【Takarazuka】 Flower Troupe Top [Star] Yuzuka Rei Retirement Press Conference "I want to meet myself from the outer world that I haven't know about yet"

(Source taken from Nikkan Sports)

Takarazuka Revue Flower Troupe Top [Star] Yuzuka Rei had her retirement press conference in Osaka city on 16th [of August]. Together with Takeyuki Kiba, the chairman of the theatre company, she appeared in front of a gold folding screen and talked about her thoughts on leaving the revue.

In a pure white suit, inner white shirt and wearing a gold accessory on her chest reflecting light, she expressed concern, "Due to the typhoon, there have been great damages in some places, thank you for being assembled here in my retirement (press conference)."

She continued, "Knowing that this time has come has felt once again real to me, that I am nervous."

Her intention of graduation came in February as she told the revue. The reason was "I was raised well in the Revue, and I received love from so many people, and since I've only known about Takarazuka Revue, and I am only thankful, and I also hope to stay that way [to know only about Takarazuka], but I want to meet myself from the outer world that I haven't known about yet."

Whatever the type of production it was made no difference: "(Because of the coronavirus), on multitudes, I am filled with much love and gratitude (to Takarazuka and to the fans)", emphasizing her love for Takarazuka."

She told the troupe members the day after the performance on the 12th, a day before the 13th which is the Senshuuraku day of the Takarazuka Grand Theatre performance "Singing Lovebirds" "GRAND MIRAGE!"

When asked about memorable performances, “Which should I choose…time passed by like that. These roles are like my duplicates…” and was thinking a lot into it. She replied with 2 times of starring “Haikara-san”, “Years of Pilgrimage” where she played Liszt, “Boys Over Flowers” then also adding “Ah TOP HAT too! Gosh, I said too many… (LOL)”

The turning point for her was 2015 Taiwan performance where she played Oscar and others, and when asked if she wants to restage these, there were so many names that, “I couldn’t eliminate and choose from all. (Since it’s going to take time) Why don’t we go eat first?” and laughed it off.

Yuzuka entered the revue in 2009 as a 95th class student. She played Oscar in the 2015 Taiwan performance, and had her first external performance [outside Takarazuka theatres] for "Haikara-san ga Tooru". She also starred in "Boys Over Flowers" in Tokyo in 2019. The same year in November, she was the successor of Asumi Rio and became the Flower Troupe Top [Star]. As a member of Flower Troupe, she shaped an otokoyaku figure that is so full of the Takarazuka aesthetic, growing and improving with her outstanding sharpness in her dancing.

Her [last] Sayonara performance [in Takarazuka] will be ""Arc en Ciel ~The Rainbow over Paris~", an original production written by Koike Shuuichirou. She will play a dancer role that protects the Parisian revue and defends against the Nazist German invasions. The same performance will have the Senshuuraku day on May 26 in the Tokyo Takarazuka Theatre, where her partner [Top] Musumeyaku Hoshikaze Madoka will be retiring together.

[twentydaysofdrabbles]

The Concierge Reports (Part 53)

"Akira," the Manager breathes out, standing up from behind her desk. The former concierge of the Osaka Continental Hotel only stands at attention, her father's katana strapped to her side, her eyes cast down respectfully at the Manager's collar.

"Manager," Akira says quietly. Beside her, you stand, still clad in the red outfit that was given to you, though with white gloves. The skeleton brothers are absent from your side, needing to go report to their new Queen.

The Manager only gives you a quick, relieved glance and then steps forward, placing a hand on Akira's shoulder. "You may shelter here for as long as you need."

Akira bows deeply then, exhaling. "Thank you." "Go rest. You've been through a lot," the Manager's voice is kind and soft, perhaps feeling pity or sympathy for the woman who saw her father cut down in front of her and her hotel destroyed.

You and her watch Akira leave, her shoulders hunched, her back bent. A woman beaten down, but not broken.

"What happened?" the Manager asks you quietly, still looking at the elevator door as it closes.

You close your eyes. "Wanton bloodshed."

"They wanted Wick."

A nod. "Yes."

She growls and folds her arms, stalking to the window to watch as the sun rises beyond the horizon. "First they destroy New York. Then Osaka," she mutters. "What if Wick hadn't been in Osaka, would they still have destroyed it under the guise of hunting him?"

You don't say anything. You cannot. It's a hypothetical to which you have no answer.

But you do have a question. "This suit..."

A soft noise of acknowledgement, but the Manager doesn't turn to face you.

"Did you commission this suit, knowing that it would draw attention to me?" Your voice is soft, but firm.

Silence, then. You wait a heartbeat, two. And then you prompt her again when no answer comes forth. "Did you know that without Misters Sans and Papyrus, I wouldn't be standing before you now?"

Her fists tighten against her sleeves, that much you can see, but little else. "And what would you do if I said yes. To both questions." The Manager likewise pitches her tone low and quiet.

It is your turn to stay silent. You drop your eyes to the desk filled with plans and inventory lists. What would you do indeed. It's not as if you would ever quit. It's not as if you would leave her side.

...Right?

"I have faith in your abilities, my Heart," the Manager finally says. "I knew you would come back to me, one way or another. Even if you were a target. Even if they had turned their focus on you." Even if they had all fallen upon you.

The bruises on your back and thighs throb at her words. Your hands tighten into fists, and it is only through Papyrus' ministrations on the plane that they do not stiffen up as before. It just makes you think - you might have been able to face the Myrmidons in a fight, maybe even take Chidi and his squadron.

But there was no way you would have come out alive had Undyne faced you as she desired. No way that you would have fled the firefight with the extra squadron of High Table soldiers unscathed if Sans hadn't intervened.

"The former Captain of the Royal Guard was there," you say instead of responding to the Manager's words. "Did you know?"

Again, the Manager doesn't look at you. "...I suspected."

"Then you let me walk into a deathtrap without telling me." Your voice is even. Flat. Utterly devoid of emotion.

Sharp, hawk-like eyes turn to you, looking over your impassive expression. "What would that have changed, in the grand scheme of things?" She asks, finally moving to sit back in her chair. "Would you have refused to go to Osaka?"

Something burbles in your chest. Something hot. "No. But it would have changed my plans, my preparation." Unable to restrain the unfamiliar emotion in your chest, you step forward until you're pressing your fingertips against her desk. "Manager, I have served you faithfully for many, many years. I have allowed myself to be wielded as a weapon. But I refuse to be a mindless pawn for you. For anyone."

"I know." Comes the Manager's response.

"Do you?" You shoot back without heat. "Keeping important information and intelligence from me isn't going to convince me that you treat me as anything more than a pawn."

For the first time in a very long while, you see a contrite expression on the Manager's face. Perhaps even a little bit of regret. But she says nothing more, her eyes averted to the side.

So you sigh. Close your eyes. Shove your emotions back down into your chest. "I'm taking a few days to recover." You don't even wait to hear her response before you turn on your heel to summon the elevator.

"Take all the time you need, my Heart," the Manager says quietly, softly.

But you don't turn around, or even react. Into the elevator you go, closing the door behind you without another word to the woman who sits behind her desk, alone in her expansive office.

[kalliopeia]

Daisuke Takahashi - Cutting Edge 2005

Congratulations to Kana and Daisuke for an amazing performance at Worlds! I'm so glad they finally managed to skate a program that they're happy with, in front of the home crowd.

When I first heard that Phantom of the Opera would be Kanadai's FD this season, I was skeptical. But it made for an amazing story. I still remember 2007 Worlds so vividly -- I tuned in to the live audio stream of British Eurosport at 4am (there was no video stream back then!) and cried with happiness when Daisuke won the silver medal. I never imagined that another lifetime later, he'd be skating to Phantom at Worlds again, this time as an ice dancer.

The legacy that Daisuke has left on the sport is undeniable. Mark Hanretty said during the ISU broadcast that so many of the 180 competitors at Worlds cited Daisuke as an inspiration. It's pretty incredible that even after becoming a two-time World Champion, Shoma stated that he still wants to be able to give a performance like Daisuke.

The first interview I ever read from Daisuke was from Cutting Edge 2005, where he said that he hopes that his skating will remain in people's hearts in the future. It's so heartwarming to know that has come true.

I translated this interview and posted it on FSUniverse in 2006. The site I used to host the original translation is gone now, but sometimes I still see parts of the interview quoted in various places. Here's the full interview and scans of from the original book.

Daisuke Takahashi Surging Brilliance and Passion (Translated from Cutting Edge 2005)

At the age of 16, he obtained the honor of becoming Japan's first men's Junior World Champion. The boy who was expected to become the ace of the next generation turns 20 this season. He has fluid skating, splendid footwork, and a natural spark that captures the hearts of spectators. If he conquers his competitive weakness, he has the ability to become the World Champion. Not a former Junior World Champion, but a true World Champion someday. A firm goal can be seen before his passionate gaze.

Those effortless jumps in exhibitions, those intense steps. If only he showed that energy in shows in competition... Daisuke Takahashi, who always makes people nervous, was even more lackluster than usual in the first half of the 2004-2005 season. In the Grand Prix Series' Trophee Eric Bompard, he was in third place after the short program, but fell four times in the free and ended up eleventh. At the important Japanese Nationals, he finished a nightmarish sixth. What happened to him in the critical pre-Olympics season?

Where did the passion for skating go?

"Last year... I hated skating. I didn't want to do it. I had an injury, but it wasn't very serious, so that wasn't the reason. Why... I don't know, but I hated being on the ice. In practice, I'd think, 'I've already skated for 30 minutes,' but not even 10 minutes had passed... When I skated, time somehow felt longer. My feelings weren't into it at all.

When I got injured in September and took a break for a while, I thought, I've done nothing but skating up until now. All through high school, I had gone from school to the rink. I'd go to school and practice in Okayama, and then go to Osaka on the weekends to practice. ...With that kind of lifestyle, I never had any fun. I didn't know how to have fun.

Then in April I started college and moved to Osaka. My environment changed, and I became more independent. When you can take care of your everyday life and school matters on your own, your perspective changes, right? So then I thought... 'Is it okay for me to only focus on skating?' But even though I thought I'd do other things, in the end I didn't do anything. I still felt that I had to skate. But when I went to the rink, I didn't want to skate at all. I neither skated well, nor had any fun doing other things. If I couldn't participate in the special training camp... I definitely would've quit skating. The reason I didn't quit was because I was at the level where I couldn't quit by my own will. That's all. But anyway, my feelings of hatred towards skating were really strong last year..."

Due to his major environment change, he began to question his life of solely skating. In the 2004-2005 season, Daisuke Takahashi wholly felt the difficulty of the sport of figure skating, where mental doubts show up in one's skating itself. But he did not end his career like this, for he is the man who went as far as becoming the Junior World Champion.

"But those feelings finally subsided when I finished sixth at Nationals in December. I thought, ah, the season is over now. Strangely, when I thought that, the turmoil disappeared. Then after Nationals was the Medalists on Ice show. I was called to participate even though I was sixth, and at first I didn't want to go. 'I'm not a medalist, so I won't go!' I said. But my coach Nagamitsu-sensei told me, 'Go anyway,' so I went reluctantly. But it turned out to be really fun! I skated to Secret Garden's 'Nocturne,' a song I chose myself. The program was a very simple one that I also choreographed myself. Since the shows were right after Nationals, I was tired after the first of the three. But as I skated, they became more and more fun. I skated happily for an audience with a program I chose and created myself! From then on, I was gradually able to think once again that skating really is fun."

Along with his recovered feelings, his skating visibly regained its spark. In Medalists on Ice, he showed unbelievable jumps and skating that made spectators think, "This is the sixth place finisher?" At the beginning of the new year, he placed first at the Universiade, and finished on an international podium again with a third place at the Four Continents Championships. Unable to maintain his good results, he finished fifteenth at the World Championships, but even so, his revitalized expression after the season's end was like a different person's.

"So last season was the season where I grew to hate skating once, but then became able to love it again. Because that happened last year, my feelings this year are different. Of course, practices are still tiresome, but I'll never slog through them reluctantly like last year. I practice decisively now with refreshed feelings. So every day, when I'm done practicing, I feel good. I don't know how that'll turn out in competition, though. (laughs)

But the biggest difference from last year is that I don't just 'wish' in competitions now. My thoughts last year like, 'I wonder if I can land this jump, it'll be nice if I can,' were merely 'wishes.' But this year, I don't wish; I have strong feelings of, 'I'll land it' or 'I won't fail.' I've practiced to have that kind of confidence this year!"

Those new feelings have already appeared on the ice. At the Japan International Challenge in October, he defeated foreign skaters and placed second! The voices of, "I want to see Daisuke in Torino!" continue to build.

Daisuke Takahashi's Craftsmanship

He captivates spectators with his beautiful skating, and excites them with his triple axels and quadruple jumps. When he sends his strong gaze to the audience, his steps have even more force. When he's on, Daisuke Takahashi is almost unrivaled. Many fans had been waiting anxiously for him, thinking, "I wanted to see this kind of male skater!" Just how was this kind of skater born?

"When I was little... I was weak, and I hated going to school. (laughs) My parents were worried about me, so they made me try many different sports. I have three older brothers, and all of them did Shaolin Kung Fu. But Shaolin is painful, isn't it? I hate pain. It's scary! At first I thought about doing hockey, which is also skating, but I couldn't do it because I was scared of getting hit in the chin. I really am a coward. (laughs)

Other than martial arts and hockey though, I originally thought gymnastics might be good. But the gymnastics place was far away in inner Okayama, so it would've been difficult for my mother to drop me off and pick me up there. So I tried skating thanks to a friend's suggestion, and it was really fun!

What about skating was fun... I can't remember anymore. I don't remember what about it was fun at all, but anyway, it was fun. I didn't take skating lessons with the intention of becoming a serious athlete, or because I admired anyone. I just started it normally, without thinking about anything. When I was little, I used to joke around saying, 'I'm going to skate in the Olympics!' but it really was just a joke. I skated really contentedly just thinking of it as a hobby.

But... when I won Junior Worlds in my first year of high school, I thought, 'I have to do this as a serious athlete' for the first time. That I can't just do this as a hobby. I felt that I had to become a responsible athlete. To think that... shouldn't have been so difficult. But after Junior Worlds, I was completely awful in seniors, right? I might've tried too hard to become serious after skating as a hobby for so long... No, I didn't try hard enough to be able say that (laughs), but these past few years, I tried too hard with only my feelings. With those feelings accumulating for so long... last year, I just thought, 'I don't want to skate anymore.'

But even though I say that, it's not that grandiose of a story! When I talk about it like this, it sounds exaggerated. (laughs)"

Skating fixations, style fixations

The boy who attracted great expectations due to his talent and potential forgot his feelings of "Skating is fun" and "I love skating" somewhere down the line. But now that he has remembered that important something, he is able to laugh away all the hardships he has had. One can also see his relaxed attitude towards skating.

"Truthfully, there aren't really any skaters that I aim to be like. Of course, I like certain parts about skaters; for example, I want Nobunari-kun's flexibility. But this year I've been working on my flexibility, so I've become a little more flexible! Also, I want Jeffrey Buttle's transitions. His transitions between elements and connection to the music are really amazing. There are various skaters whom I want to steal things from like that, but none of whom I think, 'Everything about him is great!' Because Takahashi's ideals are high. (laughs)

But there's the actor Joe Odagiri, right? I love him! I love his atmosphere. He has this mysterious air about him that other people don't have, right?

I admire that mysterious charm, so although I'm not trying to imitate Odagiri-san, I'd like to show that kind of charm that attracts both men and women in my skating. Do I think I'm handsome? I've never been conscious about that kind of thing! No, I don't, I don't. (laughs) I'm trying to become handsome, though! Because out of the four brothers in my family, I'm the plainest. I don't look like my three older brothers at all. Ah, I think the second eldest has gotten a little chubby lately, and has become a little dirty looking?

My brothers never talk about skating. Their attitude is, 'Why don't you just do what you want?' Though they do cooperate with me... Generally, my brothers don't watch my skating. (laughs) But it's easier that way. Isn't it easier to go home and not talk about skating? We talk about completely unrelated things, like they ask me, 'Have you gotten any presents from girls?'

Since I have those brothers, I'm not popular at all. (laughs) I'm bad with girls. Actually, I think girls are scary. (laughs) My skating friends are fine, but... I'm bad with girls I like. I can't talk to them at all. But I look okay with long hair, right? Didn't I look better when I had long hair? My choreographer in America, Nikolai, cut my current hair! Though, I had planned for a better hairstyle...

There's that much of a difference between my normal self and my skating self?

No, there's no difference. I'm always like this. But when I'm on the ice... I like people watching me. I want everyone to watch me. Starting from practice, I want people to watch me, not other skaters. I might really want to stand out! So when I come to Nobeyama, I skate while conscious of people around me. Anyway, I want to become really famous!

I want to become a skater that everyone in Japan knows. So I think of Miki Ando as my rival. (laughs) Though we haven't really become rivals at all. Huh, this interview is going to become a book? The picture you just took will be the cover? Seriously? I'll buy it when it comes out! You'll send me one? Yay!"

To Torino, with Nikolai Morozov's programs!

He says there's no difference between his off-ice and on-ice persona. But when this friendly young man stands on the ice, he turns into the ultimate entertainer who draws all eyes to him. Mysteriously, he shows us a completely different Daisuke Takahashi. But that's probably the Daisuke Takahashi who mischievously thinks, "I want to stand out, I want to attract people's attention." This year, a new choreographer who helps to bring out his entertainer quality even more joined Takahashi's team.

"My choreographer this year is Nikolai Morozov. At first, I thought about asking Lori Nichol. But when Nagamitsu-sensei suggested, 'How about Morozov?' I thought, 'Ah, that might be good...' Right when I heard Morozov's name, I thought, 'That might be good.' Just based on my feelings, I thought Nikolai might be better than Lori. I'd never had choreography done by either of them before. When I was with Tatiana [Tarasova] last year and the year before, Nikolai had already split from her. So that's how I went to Morovoz's place in America for the first time this year... There was no need to give him my opinions at all. I'm plenty satisfied with what he created! Since Nikolai's ideas just came flowing out one after the other, rather than telling him, 'I want to do this,' at first I had trouble trying to see how well I could do what he asked of me.

After Nikolai made my programs in America, he also looked after my practices... Nikolai used to be an ice dancer, so there are a lot of dancers around him like Ukraine's Grushina/Goncharov and Russia's Kulikova/Markov... Besides getting choreography, I learned a lot of things by watching Nikolai's practices with them. In Japan, the rink I used to skate at closed down, and the rink I skate at now is hard to commute to. But I was able to practice in a good environment this year thanks to my connection to Nikolai. Since I was able to practice well in the off-season, I don't want to lose to Nikolai's choreography! My free program this year is Rachmaninov's Piano Concerto, so I don't want to lose to Rachmaninov's music either! I want to show my own interpretation of it."

The Morozov programs he chose by intuition fit him perfectly. They are dramatic and sensational. In 2005-2006, the Olympic season arrives, as if it had been waiting for his mental growth and new choreographer. If he makes it, it will be his first Olympics. What kind of skating does he intend to show us?

"I haven't had many performances that I've truly been satisfied with. The only ones I can say were really good are this year's free program from the Universiade and the short program from the World Championships in Germany. And, well, the performances that I won Junior Worlds with. That's about it. Those are the only ones I think were 'complete' performance-wise, regardless of the jumps.

In competitions, I'm always overwhelmed. When I skate, I don't think about anything. When I receive applause during the steps I'm happy that the audience is cheering me on, but I can only feel like that for a split second during the performance. This is different in shows and exhibitions. Because I can be at ease with feelings like, 'It'd be nice if both the audience and I have fun.' That's why Dreams on Ice wasn't bad.

But this year, I want to have more satisfying performances in competition! My goal is to go to the Olympics, and I'm aiming for... the podium! I want to have a goal that's at least that high. (laughs) Everyone is serious this year aiming for the Olympics, which only one person can go to. Of course, I'm aware of the others. Even if we practice together, I don't dislike anyone. So if someone else goes instead of me, I want to cheer him on. I want to fight everyone without any bad feelings. But of course, other people have nothing to do with my own skating. So even above that, I want to have my own goals. I'll continue working on my flexibility, becoming more flexible little by little over the next four years, towards my final goal of Vancouver. I'm thinking of Torino as a stepping stone... but without abandoning my feelings of wanting to medal. If I'm lucky, that is. (laughs)

In Vancouver... it'd be nice if I could become the Olympic Champion. I want not only the people who watch at that time, but also young skaters way in the future, when I become an old man, to see my skating. My goal is to become good enough so that people will watch videos of me and say, 'Daisuke Takahashi was really good.' So that my skating will remain in the hearts of people who watched the Olympics. So that it will resonate in their hearts, no matter how many years pass. In order to make my skating have that kind of worth... Takahashi skates today!"

This was the interview he gave during the training camp. After we finished talking, he headed straight to the rink. His extremely serious appearance while skating, and his bright appearance while joking with friends... Hiding his tough heart with a smile, to Torino, to Vancouver. His journey continues. And someday, everyone in the world, not just Japan, will surely know of Daisuke Takahashi.

[hirocimacruiser]

Wise Sports Y32 and Y33 Cedric / Gloria

Two patterns of form that give you a sense of ability speak passionately about the sedan.

Wise Sports is an essential brand for dressing up your sedan. The Wise Y32/33 Gran Turismo introduced this time are each equipped with an aero system named Type 2. First, let's look at the Y32.

This car added side steps and a rear bumper spoiler to match the previously announced Type 2 front bumper. As the original front bumper had a relatively mature image, the overall form is also organized along a chic route. But Wise doesn't just stop at simple chic. The main point is the sense of volume, and the uniformity of the line that flows from the lip of the front bumper through the bottom of the side steps to the rear bumper is as expected from a company that knows everything about sedans.

There are some things that only those manufacturers can do. In particular, the side steps, which are set approximately 20mm lower on the type 2, have enough volume to give a sense of status even though it is a grand car.

On the other hand, at first glance, the Y33 Glanz Type 2 gives the impression that it pursues a sportier direction. The front bumper duct has a wide opening, and the center-mounted wing and over fenders, similar to those on a JTCC machine, give the overall image a strong ``driving sedan'' feel. However, it is important to note here that this sporty appearance is not the essence of this car. Use your imagination a little and take a look at the wingless styling. Although the front bumper has a large duct, it is shaped with a sense of volume in mind as a whole, and the side steps are composed of subtle curves so as not to make you think of the narrowness of the normal body. The natural lines of the rear bumper are a perfect match for the VIP finish, which emphasizes volume. This means that the aero can be used in a wide range of finishes, from VIP to sporty finishes, depending on the user's preference. This deep pocket is what makes Wise's cars so special.

There aren't many aero cars that can change their expression depending on the user while maintaining a firm identity as a manufacturer. This Y33 Glanz Type 2 is a representative example of such aero.

PIC CAPTIONS

In order to neatly organize the Y33, which has a tight body, it is important to treat the side steps and rear bumper. It matches well with the over fender, making it look wider and lower.

The conspicuous wing has a center-mounted racy design. If you just look at this part, it emphasizes the driving aspect of the Granz, but the overall shape is chic and mature, full of status. These Y33 type 2 parts are scheduled to be released around spring 1997.

The combination lamp set on the front bumper is a genuine one. The way the ducts open is also designed to be normal, so it doesn't give the impression of being pointy. Therefore, one of its characteristics is that it looks cohesive.

WISE SPORTS

0427-40-2800

In addition to aero parts and wheels, we also plan to develop original springs.

Mr. Takasago of Wise Sports says that while the Y32 was designed to have a sedan-like look with an emphasis on volume, the Y33 was aimed at having two aspects: it looks sporty, but is actually chic. ``I think overfenders will become a key item when thinking about future sedans.In addition to items such as wheels, we are also developing an original suspension system this year. The spring set for the Y32 is a prototype spring, and I think it will be released around the spring of 1997. It's still under development, so I can't say for sure, but it will be used for NA and turbo. There may be a lineup for cars, so please look forward to it. Also, we will also have a plated version of this Super Wade Mesh. It will shine on a sedan, and the mono wheels look pretty nice. It's decided, so I'd like to have a lot of people set it up, not just Yokohama/Daikoku, Osaka/Nanko."

PIC CAPTIONS

Side steps (87,000 yen) and rear bumper spoiler (95,000 yen) have been announced based on the front bumper, and the lines are neatly connected. It can be said that it is an aero that you would definitely want to have as a complete set. By the way, the lowering was done using a prototype Wise original spring.

There are also small trick parts that change the Bonnet emblem on Brougham and both Brougham and Granz symbols. For Y32 only, there are two types: Granz set and Pro Am set.

The trunk of the car

Wise emblem

Super Wade Mesh is 18 inches for Y32, and the compatible sizes are front 8J+35 (87,000 yen)/rear 9J +35 (92,000 yen). It seems that plated versions and gold discs will also be released, so keep your eyes peeled.

[soranihimawari]

Between Sweets & Coffee

Osamu learns how to help a rival next door.

Pairing: chef!osamu x cafe owner! reader

Warning: meet cutes//supposed rivals->lovers

Rating: MOF (miya osamu fluff)

“Maybe going door to door is a bad idea,” you’re on the phone with a benefactor for a new pastry shop. The grand opening is set for later this month with Valentine's Day around the corner. Considering you’re back home in Osaka and after months of trying to work with banks and investors for backing a pastry business in an already diverse culinary community was a bit tiresome, the fliers in your hands are proof that hard work does pay off.

Your co-owner is on the other line so you balance your phone on your shoulder and hear summer last minute pep-talk from them. The words of ‘your desserts are the best! don’t get too self-absorbed because I know your little bakery will do just fine.’

“Not if I’m competing with that hot chef across the street,” you sigh as your stuff fliers in the mailboxes at your apartment complex’s basement level. “Who has a line out the door for his Onigiri h o u r s before they’re open.”

Your friend reassures you you have nothing to worry about. After all, you think it might be time to give the chef across the street a good run for his money. Your friend laughs gently as you exasperatedly say you’re done with the stack. Bidding each other good night and heading home to relax before the grand opening tomorrow was all that remains. Hopefully the turn out will be great. Hopefully. 

Granted, the official opening went as smooth as anyone who runs a business goes. Well, sort of smooth, a few bumps here and there because of the coffee machine not working properly, everyone in the small (six people deep queue) had enough time to drink some homemade drip coffee. Thankfully, these were the neighbors who seemed to have adored your charm and ambitious goals, who also were your first taste testers for those delightful checkerboard cookies that were on a special at the register. Surely there were some stragglers who chose to come in for a fresh cut baguette and fruit jam sandwich with some sinisterly righteous cup of chai tea later that mid-morning, but around two in the afternoon, as you bring out some other pistachio creme dessert, you see an odd sign on the onigiri restaurant across from you. The sign had been flipped to ‘closed’ and you didn’t know if it was just for lunch or why.

Apparently, the answer was right in front of you when you rose from the glass of your dessert display–he was tall, taller than you by like a foot or so, gray silvered hair peppered in with dark roots stare right at you. He has an onigiri embroidered shirt with the kanji of his name underneath it and he folded his arms over his chest. Your cashier just laughs nervously before waving for you to switch tasks at the moment. You lock eyes with the young lady as she scampers off with an empty baking tray to the back of the prep kitchen.

You’re behind the register, noticing the long line now forming behind said ‘hot chef’ from your phone call last night. The menu is next to the register and as you nervously intake a breath, you hear him chuckle a bit. He leans over the small counter space to whisper an, “Easy there dollface,” to you and you try not to lose your cool when you greet him with the spiel you perfected earlier that day.

“Welcome to Winter’s Cafe,” you smile at your first afternoon customer. “Now, what can I get brewing for you?”

The order he makes is a small, modest one: ham and cheese sandwich with a large coffee. He pays and takes his little number card to a table as the rest of the people he brought with him (his entire line cooks and cashiers) begin their orders. The cafe was decked out in a soft orange marble swirl, a paint job you helped design with an interior designer—your shop felt like a soda fountain from a classic Archie Comic he and his brother used to read. Along the walls where accolades would hang, one in particular stands out to Osamu: it’s framed in a shadow box and upon further inspection he notices there’s a whisk inside and next to that? A series of glass knives and cleavers pique his curiosity. He is amused and enthused at how you’re balancing all the hats of an entrepreneur too.

How did Miya Osamu, the ‘hot chef’ get here? Inside your restaurant?

… for that answer let’s go back to this morning when Miya Osamu is preparing his morning notes to give out to his staff. His coffee machine had finally breathed its last, so his cooks prayed their owner and restaurant head chef had some form of caffeine before the doors would open. Regardless, they did not get their wish though Osamu had gotten more than halfway through his notes as a reminder for the FIFO labels then he mentioned he’s closing the store earlier than normal today. It was not inspection time nor was it inventory night, as pointed out by his second lead cooks.

“There is a new cafe openin’ right ‘cross from us,” Osamu rubs his temples with a slight frown. He feigns doing just fine when he drinks his water from the glass he used earlier after prep was done. “We might lose some customers, so I figure we close early an’ see what these competitors be makin’.”

“Hai.”

The collective agreement caused your little cafe tables inside to be occupied a few hours later. As quickly as those orders came in, the first few batches of orders came out. You’re busy handing over the reigns of the register to your cashier as you read the first couple of orders aloud more so to yourself as you prepare the sandwiches amidst the sweet rolls being warmed and plated.

It is painfully obvious for a young entrepreneur to stand where you once stood as you flutter by dropping off orders left right and center. You’re efficient as all hell and when Osamu, your self-thought rival across the way, takes a bite into his sandwich, he’s immediately reminded of how his mother used to make these sometimes when he was four. The food is good, nostalgic even, as he sees his other employees unabashedly enjoy the plates you made, from the savory to the sublimely sweet. You’re only stopped a few times for his cooks to rave about your pistachio and chocolate-hazelnut croissants or your chai lattes. You bow saying how next time you’re thinking of making them into European dragons. The way his cooks’ eyes light up as if they’d order a whole half dozen has Osamu smiling into his cup. He might have to ask you to sneak some for him.

A steadier flow of customers come an hour or so later and though there are no bussers yet hired, Osamu on blind faith and a great cup of coffee now in his system, starts collecting all the dishes he and his employees had used. He doesn’t seem to be stopped by you, who now with an upturned smirk, tells him where the dish pit was in the back of the kitchen. His second and third cooks start cleaning the rest of the tables they had previously sat in as a silent, ‘thank you for the meal’ to you and your scrumptious food. Pretty soon, it was time to close your doors as well as you sit with your cashier at the booth at the end of the dessert case. You’re tallying up the first day’s riches around six in the afternoon before giving her a four percent cut of the total gross sales. It’s enough yen for her to finish paying off her culinary school semester.

“I’m going to need a really strong pastry intern this year, what do you say?” you offer as the cashier hugs you profusely thanking you for the opportunity. She goes and turns in her little time card to you for filing purposes; she exits with her bag slung over her shoulder whistling a happier tune when you catch a glimpse of her cousin waiting for her at the street corner by the combini store. 

Considering how quiet the restaurant had become, Osamu comes out of the kitchen swinging doors, drying his hands and you, not realizing he was still there, you scream at his presence.

“Ack!! You’re still here!?” 

“Yeah,” he chuckles as he sees you try to breathe normally. “Seemed like you needed a dishwasher tonight.”

He apologizes for giving you a fright, but you shake your head offering him a seat next to you.

“Well, it was the grand opening and I only had one cashier show up… did you put away everything where I can reach?”

Cloud gray eyes stare curiously at you as he ponders, he tells you to hold that thought as you hear some equipment making it to the prep table in the back. You laugh to yourself amused when he comes back out to talk for a little while. You’re going over the numbers of the day and it’s then that you deflate a bit after you sign and date the restaurant book. 

“And what about the other cooks?” he sees ‘hire sous’ on your to-do list. “Don’t ya have any?” 

“Believe it or not, it’s just me,” you smile. “These are family recipes I perfected before trying to commercialize them, so no. No other cooks until I can afford them. I’m practically broke even after this grand opening business.”

You half smile at the taller guy to your right, thanking him for telling his friends to come over to give you that afternoon boost. You curl a hand under your chin and look at the shadow box whisk.

“Want to hear how I got that whisk?”

And so you ramble off on a story of how your first culinary teacher was your elementary school’s lunch lady. When the lady retired when you were nineteen about to go off into the university of your choice, you were handed the whisk with the advice of, “even whipping cream needs a little time to breathe.” You confide in your unofficial dishwasher that for the life of you now you can’t tell if the lady was really sage or old age made her say some funky stuff.

It’s then when Osamu begins to take notice at how you look: you’ve got some dark circles forming under your eyes, your jeans looked well loved, but almost tattered, your best looking shirt is covered in ganache from this morning, and the dirt under your nails came from using the citrus zester for the lemon meringue cookies from two hours ago. You’re exhausted, probably by now, considering how creased your shoes are and for someone who just moved to Osaka, you looked..proud. Proud, according to his mother, is what she was of both of her children. Osamu is proud to be a chef just as much as his twin is proud of continuing to play volleyball. 

“I know ya might think this is a bit too forward o’ me, but,” Osamu straightens up and turns a quarter of the way to shake your hand. “The name’s Miya Osamu.”

Taking his hand with a curt scoff before a more natural smile takes over your gorgeous face, “YLN,YN.”

He’s still holding your hand after you have shaken it, an idea bursts in his head. “Hey, YN, I know ya just got off yer shift, but would ya like to come over to my place for dinner? I heard there’s this onigiri guy across the street that makes some of the best in the city.”

You glance over his shoulder, read the neon lights of the name of the restaurant, then glance back at the eyes of the young man in front of you. You seemed to be the same age, yet you can’t for the life of you help what the masters of the red string of fate had pulled to get you and Osamu together like this. You’re smiling a bit though before you cheekily inquire if he’s asking as, “Miya Osamu,” or if he’s asking you as “Onigiri owner and head chef, Miya Osamu.” Both of which, you clarify, you do not mind, stating that for now, you’re only interested in simply Miya Osamu. 

So, if you ever find yourself in the city of Osaka late in the afternoon, be sure you stop by Miya Onigiri if you’re looking for the best onigiri in town or take a break right across the street at Winter’s Cafe, where the cakes this season are literally a love story waiting to begin.

[gettatranslations]

Osakaa Osakaa Yumigeta Ako (23.08.03)

Good eveningー！

I'm Yumigeta Ako🛑

Thank you very much for your comments yesterday！

Adding plums to a clear broth soup sounds unexpectedly delicious…！

As long as you're careful about the saltiness！

Thank you very much for letting me know🙏

Also today was our very first First Event、the Osaka performance！！

Did you all enjoy it〜？？？

I had an unbelievable amount of fun！

Rather than using a grand range of vocabulary to express how amazing it was、

It just felt like it was too short？Like it was over too soon.

The mini live was fun too ♡

I'm the type to suddenly get super nervous when singing at recitals to the extent that I don't want to to on stage！、

But today was the first time I actually enjoyed singing on stage 😭

Instead of constantly worrying about the next note、I just focused on purely enjoying performing！

I hope I was able to convey how much fun I was having〜

Yumigeta Ako from after the evening performance ended

Once again thank you very much for our Osaka performance！

I'm looking forward to our Tokyo performance tomorrow too！

Let's all get fired up together💪

⋆┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈⋆

Well then it's time for today's 【Gettaa Life】✨

I think many people already know this…

Since at today's evening performance、I announced today's Gettaa Life in front of the audience！

Today、I！

Ate Osakan takoyaki for the first timeー‼️

Yayー！！

Recently I've constantly been thinking I wanna eat takoyakiー I wanna try itー、

And the today we happened to receive takoyaki as refreshments backstage！

They were really fluffy and delicious✨

I Getted 「Local Flavours」！

I wanna eat takoyaki again〜！

That's all！This has been 【Gettaa Life】！

⋆┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈⋆

T/N News and information has not been translated

⋆┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈⋆

While travelling today、

Inoue was next to me and she was sound asleep with her eyemask on which was super cute。

Inoue has a small face so seeing her with a mask＋eyemask＋hat meant all I could see of her face was fabric which made me laugh。It was super cute 笑lol

🐙🐙🐙🐙🐙🐙🐙🐙🐙🐙🐙🐙🐙🐙🐙

Well then I'll see you tomorrow！

This has been YumiGettaa Ako！Good night🐸🐸🐸

[kokiafans]

KOKIA in flashback - 2007

After her performances in France last year, KOKIA returns to Paris in 2007 to hold two successful performances at Le Bataclan, with the recording of the concert ending up on her first own concert DVD later this year. She promotes her new album aigakikoeru, which gets its Japanese release this year, and draws 1,200 people to her Paris performances. It's a big success and draws attention in Europe, with Japanese musicians pioneering on the continent.

KOKIA has performed for charity causes over the years, and this year she releases the single Watashi ni dekiru koto ('the things I can do') as a charity single for the victims of the Chûetsu offshore earthquake that year.

She also directs a movie this year, Ojiichan no chuuripu ('Grandpa's tulips'), which she dedicates to her grandfather, as something permanent to leave an impression. An earlier song which she has never released, Grandfather's ship, was dedicated to him while he was still alive, as he was the manager of a shipbuilding company.

On a lighter note, this year also marks her second successful tie-in single: Follow the Nightingale, for the Nintendo DS game Tales of Innocence, which uses KOKIA-go ('KOKIA language') like she did before in Chouwa oto ('Sound of harmony') before.

◆ Lives and events ◆

January 19 In-store live in Paris (Paris, Fnac Italie 2)

January 20 KOKIA Live in Paris 2007 (Paris, Le Bataclan)

February 25 <Tasuke-ai ('love in help'), Yubari, LIVE> KOKIA 47 stories in Hokkaido (Zepp Sapporo) ※ Screening of the first KOKIA directed movie Ojiichan no Chuurippu ('Grandpa's tulips') and live performance

February 26 KOKIA Fure-ai ('love in touch') LIVE in Yubari (Yubari Hotel Shuparo) ※ Yubari International Student Film Festival 2007 event

March 3-4 KOKIA Live in Naeba Prince white notes (Naeba Prince Hotel Chatelaine)

April 7 KOKIA 47 stories in NARA Light up concert (Nara, Tsubosaka-dera temple)

April 15 ALWAYS' MUSIC LIVE ※BS Asahi live performance for raffle winners

May 3 ZIP-FM HOLIDAY SPECIAL AMERICAN EXPRESS presents RELAXING MOMENTS (Matsuzakaya, Nagoya store, south building, Organ plaza) ※ Live recorded performance by ZIP-FM

May 5 club ancoro 2007 (Tokyo Kinema Club) ※ Event limited to members of the KOKIA fan club, club ancoro

May 13 Sakae Minami music festival (Aichi, Yaba Park)

【KOKIA tour of 2007 Listen for the Love】 June 12 - Tokyo, Sogetsu Hall June 21 - Osaka, Recital Hall June 22 - Aichi, Imaeki Gas Hall

July 20 KOKIA 47 stories in FUKUOKA (Fukuoka Gate's 7)

August 6 Kashiwazaki concert Mirai ni habatake ('spread one's wings into the future') (in front of the Kashiwazaki public plaza) ※ Live performance in prayer for recovery from the Niigata-Chûetsu offshore earthquake. Sang while accompanied by the Japan Ground Self-Defense Force East band, Watashi ni dekiru koto ('the things I can do') etc.

August 19 24 hour TV Ai wa chikyuu o sukuu ('love saves the world'), Nagaoka assembly hall KOKIA LIVE (Community square in front of Kome hyappyo no gunzou)

September 17 KOKIA presents Watashi ni dekiru koto ('the things I can do') concert (Kashiwazaki public plaza) ※ Commemorating the sale of Watashi ni dekiru koto. Also visited the local elementary school to mix in and perform before the concert.

October 3 Mizu no oto ('sound of water') Vol.11 (SHIBUYA O-WEST)

October 21 Soai University festival Blue Ocean Festival 2007 KOKIA Live (Osaka, Soai University, south harbor hall)

November 30 Eastern Army music festival 2007 Uta no chikara, burasu no chikara ('Strength of songs, strength of brass') (Wako public culture center Sunazalea)

December 22 Jump festa 2008 Yappari 'Tales of' stage ('After all') (Chiba, Makuhari Messe)

December 24 Marunouchi Music Cube Christmas Special KOKIA LIVE (Tokyo, Maru building, Maru Cube)

December 25 KOKIA 2007 Christmas Dinner concert ~1 nenkan no jibun e no gohoubi ni~ ('a reward to oneself after a full year') (Tokyo, Hotel Grand Pacific Meridian Palais Royal)

◆ Releases ◆

March 16 Release of the single Arigatou... ('thank you...') (Victor Entertainment) ※ Single cut from the best of-album 'pearl ~The Best Collection~. The B-side, Utau hito ('singing people') is used as end theme for the theatrical release of the animated movie Furusato - JAPAN ('hometown').

May 5 Release of concert DVD KOKIA Live in Paris 2007 les couleurs de Paris (anco&co.) ※ First KOKIA concert DVD

May 23 Release of original album aigakikoeru (listen for the love) (Victor Entertainment)

September 16 Release of the single Watashi ni dekiru koto ('the things I can do') (anco&co) ※ Released 2 months after the earthquake disaster)

November 21 Release of the single Follow the Nightingale (JVC Entertainment) ※ Opening theme for the Nintendo DS game Tales of Innocence. B-side say goodbye & good day is the end theme for the same game.

◆ Other releases ◆

January 17 Release of TV ANIMATION RED GARDEN ORIGINAL SOUNDTRACK (Ponyo Canyon) ※ Original soundtrack for the TV animated series RED GARDEN. Sang 5 songs: Ai~wazuka na omoide (‘indigo ~merely memories’), Katsu ~mabara na hikari (‘brown ~sparse light’), Kurenai ~negai (‘crimson ~wish’), Sumire ~you to tomo ni (‘violet ~together with the sun’) and Shiro ~watashi tachi no hibiki (‘white ~our sounds’).

◆ Other ◆

April 7 Opening of the theatrical release of the long animated film Furusato-JAPAN ('hometown') ※ Utau hito ('singing people') was used as end theme

◆ Videos with links to watch ◆ 2007 thetrical release of long animated movie Furusato-JAPAN ('hometown'), end theme utau hito ('singing people') 【Trailer】Furusato-JAPAN

[konradnews]

Grand Front Osaka" will host a kaleidoscopic giant Christmas tree lighting ceremony on November 7. First Santa parade of about 500 people will also be held.

Grand Front Osaka (Ohfuka-cho, Kita-ku, Osaka City, Osaka Prefecture) will hold the Christmas event “GRAND WISH CHRISTMAS 2024 – Infinity Lights” from November 7 to December 25. The Umekita area (north of Osaka Station) has become even more lively with the opening of “Grand Green Osaka” on September 6, and this year, under the title of “Infinity Lights,” the wishes of the unique people who gather…

[flowerspirit0]

i was lil nervous last winter and go around places like this listing to these ambient music.

for my ambient mental

place: Incheon International Airport, Arts Maebashi, GRAND FRONT OSAKA, 日本海, Niigata