#Gael Kudo

[andy-clutterbuck]

𝐀𝐧𝐝𝐲 𝐚𝐭 𝐒𝐚𝐯𝐚𝐧𝐧𝐚𝐡 𝐌𝐢𝐥𝐥𝐞𝐫'𝐬 𝐰𝐞𝐝𝐝𝐢𝐧𝐠 𝐨𝐧 𝐃𝐞𝐜𝐞𝐦𝐛𝐞𝐫 𝟗, 𝟐𝟎𝟐𝟐 𝐢𝐧 𝐋𝐨𝐧𝐝𝐨𝐧

[lafakiwi-draws-archive]

And now, the cover for a very silly playlist for very silly knights with nearly all the music being a little silly but not quite as silly as it could be to prevent it from being far too silly to be a playlist that could be just serious enough that people will understand the reason for why it is for these particular set of silly knights

Or alternatively, these folks cannot take a normal photo at all and I needed something a little sillier in my life anyways

Playlist on both Spotify and Youtube!

[piers-wifey]

Man I love Lucia Kudo lines. I believe she’s mutated tho. Nelo did tag u in it. Man I like some of the lines. You can tell how much hate Lucia has for Adalia and wants you kill her but it’s shown in one of the lines that Gael gets in the way of Lucia killing Adalia. I’m pretty sure Gaels mutated too. So maybe Gaels a protector

Yeah, she seems pretty jealous too. Poor Adalia. At least she has her brother who protects her.

[milkofthewildpoppy]

AO3 Author Tag

thanks for the tag @citrusveins 💙 can I even call myself an author w/only 2 fics that are in progress??? hahaha.

AO3 Name: milkofthepoppy Fandoms: BNHA Number of Fics: 2 (thus far)

1. Fic you spent the most time on: Guillotine

2. Fic you spent the least time on: Blood of the Dragon (it’s a GoT AU)

3. Longest fic: Guillotine for sure (wordcount: 90.5k and unfinished)

4. Shortest fic: Blood of the Dragon (but I’m expecting between 25-40k)

5, 6. Most hits/kudos: Guillotine, the reception it’s gotten is fucking insane given it’s my first fic

7. Most comment threads: take a wild guess ;)

8. Fave fic you wrote: Guillotine obvi, it’ll probably be my baby forever

9. Fic you want to rewrite/expand on: Blood of the Dragon, SO BAD. I need to rewrite the shitfest that was GoT Season 8.

10. Share a bit of a WIP or share a story idea you’re planning: (if I allow my ADHD ass to entertain more than juggling 2 stories/ideas at once nothing’ll get finished sooooo I’ll just share something from a far-in-the-future chapter of Guillotine)

Kirishima’s fight may be desperate, in vain, but he’s fighting with everything he has. Everything he is. “Please.”

“Eiji…” Bakugou leaned closer, pressed their lips together. Probably just to shut him up. One hand drifted from Kirishima’s jaw to his chest, splaying firm against the muscle.

The room drowned scents of forest trails after rain and wildfire, damp and smoked, somehow simultaneously rotting and bursting with new life. It smelled like sadness, and like soft hope, and like devastation.

____________________________

GAEL YOU KNOW WHATS COMIN @shoutosdaddyissues​ + whoever else if ya want

[wheredandylionscometogrow]

There's no way he isnt going to CR with his kids and Gael this year, especially if the divorce announcement is coming. I definitely expect it and will not assume that this means Andy is trying to resolve things with his 'wife'. I think (and kudos to them) they want to make sure the split doesnt have any sort of negative impact on their children. But I definitely expect a statement, dword to come out: I expected before but this New York getaway sold me 110 % *love is in the air*

I got that feeling of them wanting to keep things as "normal" as possible too with the Costa Rica trip last year too. We'll see what happens, things are moving quickly.

[poesreyofsunshine]

GO👏🏽 WATCH👏🏽COCO👏🏽

It’s so beautiful!!! I got to see it in Spanish and it made me so proud to be Mexican and seeing my culture being represented in a positive way. I was blown away with the music and the story line. By far the best Pixar film !!!

Kudos to Gael García for recording the voice for Hector in Spanish & in English !!!

Thank you Disney for this beautiful film!!!

[shenanigans-and-imagines]

Go See Coco!!!

Random Thoughts/Rant Below

This movie is beautiful and touching.  I walked out of the theater with tears still in my eyes.  

This is easily Pixar’s best film since Inside Out.  

Anybody who says this film is ripping off Book of Life hasn’t actually seen this movie. 

I’ve never wanted to hug a skeleton, but this movie make a good case for it. 

Honestly one of the best kid character’s I’ve seen. He has selfish kid moments without at any point being unlikable.  The voice actor for him is amazing.

The voice acting all around is amazing, special kudos to Gael Garcia Bernal

Predictable is some places, but doesn’t diminish the impact of the story.

(Seriously I was not expecting to cry as much as I did.)

Did I mentions how BEAUTIFUL THE ANIMATION IS!!! SO PRETTY!!!

Also, the character animation, especially for Hector, was energetic without totally taking me out of the movie

I need to go see this movie again in theaters. 

I need it to make all the money.

GO SEE COCO

[tahoma-italic]

I’m not really into Star Wars, so I only watched Rogue One yesterday and it was awesome. I was really into it and I wasn’t expecting it. Kudos for every one involved on it. But what really caught me by surprise was the ships. I mean, I was already expecting to ship Jyn and Cassian because well... it’s Diego Luna and that boy stole my heart along with Gael and their motorcycle trip through Latin American, and because let’s be honest, I was already kinda shipping them via gifs here on tumblr, but what really caught be off guard was Chirrut and Baze. WHAT WAS THAT????? That ship was so adorable and beautiful!!!!

Why are we not talking more about them? I’m still not over Chirrut’s death scene. It was sooooo beautiful. I just LOVE those ships that we are not expecting at all and then BAAAMMMNN!!! They fuck you up!!!

[amyd]

2018: a year in books

I stuck with twenty of my favourites but this list could have been longer, it has been another excellent reading year. Thank you once again to all the wonderful writers, publishers, librarians and helpful local booksellers.

In Our Mad and Furious City, by Guy Gunaratne 

The Only Story, by Julian Barnes

The Lost Flowers of Alice Hart, by Holly Ringland

Asymmetry, by Lisa Halliday

The Gallows Pole, by Benjamin Myers

Gravel Heart, by Abdulrazak Gurnah

Kudos, by Rachel Cusk

Nagaland, by Ben Doherty

Small Country, by Gael Faye

Sadness is a White Bird, by Moriel Rothman-Zecher

The Attachment, by Ailsa Piper & Tony Doherty 

The Line Becomes a River, by Francisco Cantu

Saga Land, by Richard Fidler & Kari Gislason 

Motherhood, by Sheila Heti

The Cost of Living, by Deborah Levy

One Hundred Years of Dirt, by Rick Morton

You Daughters of Freedom, by Claire Wright

Any Ordinary Day, by Leigh Sales

Winners Take All, by Anand Giridharadas

The Library Book, by Susan Orlean

[mrmichaelchadler]

KVIFF 2018: Closing Night, Barry Levinson and Four More Highlights

There wasn’t a dry eye in the house as the visage of Miloš Forman once again radiated from the stage in the Grand Hall of Hotel Thermal, only this time, it was projected on a screen. As part of the elegant closing ceremony for the 53rd Karlovy Vary International Film Festival held on July 7th, an In Memoriam segment was screened that mixed Hollywood icons with giants of Czech cinema. Forman, who passed away on April 13th at age 86, served as a bridge between both worlds, and it was only appropriate that his segment in the montage was saved for last. The audience applauded throughout the entirety of the clip, showcasing the famous final moments of Forman’s Oscar-winning classic, “One Flew Over the Cuckoo’s Nest,” where Chief Bromden pulls off a crowd-pleasing escape. Yet the cheers morphed into an aching silence, as footage materialized of the filmmaker accepting KVIFF’s highest honor—the Crystal Globe for Outstanding Artistic Contribution to World Cinema—in the exact same theater 21 years ago. There’s no question that the presence of Forman’s spirit was palpably felt throughout the evening. Though Robert Pattinson received the most media attention while accepting the President’s Award, it was a fellow honoree, veteran Czech actor Jaromír Hanzlík, who earned the most rapturous ovation of the ceremony. 

The past week has left me feeling drained and exhilarated, and I wish it could’ve gone on for at least a week longer, if only so that I could find time to see more of the winning films. The Grand Prix went to Radu Jude’s Romanian drama, “I Do Not Care If We Go Down in History as Barbarians,” a film that juror Mark Cousins hailed for “pointing a finger at the people who are rewriting history.” 33-year-old Olmo Omerzu, one of my very favorite modern Czech filmmakers, earned a richly deserved Best Director prize for his latest triumph, “Winter Flies,” which I reviewed in my second dispatch. “Sueño Florianópolis,” a family road movie from Argentinian director Ana Katz, took home a Special Jury Prize as well as the Best Actress accolade for its lead, Mercedes Moran, who ended her speech by calling for the legalization of abortion in her home country. Other big prizes of the night were given to Moshe Folkenflik, Best Actor winner for the Israeli film, “Redemption,” and Elizaveta Stishova’s Kyrgyzstani/Russian co-production, “Suleiman Mountain,” Grand Prix winner in the East of the West competition. Yet perhaps most potent of all was the recipient of the top prize in the documentary competition—a picture that is destined to galvanize American audiences as midterm elections inch ever closer on the calendar.

“Putin’s Witnesses” is the latest amazement from director Vitaly Mansky, whose penchant for keeping the camera rolling has served him remarkably well over the years. His 2015 film, “Under the Sun,” contrasts scenes crafted for propaganda purposes by the North Korean government with moments of unscripted truth. His new film has similar origins—the footage was originally captured for the purposes of Vladimir Putin’s electioneering, intensified by the sudden retirement of Russian president Boris Yeltsin on New Year’s Eve of 1999. What immediately sets Putin apart from a crude blowhard like Trump is the cool-headed, persuasive nature of his public persona. He comes across as a reasonable human being, granting Mansky and his camera jaw-dropping access, while willingly engaging in the filmmaker’s spirited debates. Yeltsin mistakenly thinks the newly elected Putin will fight against totalitarianism while ensuring the freedom of the media. Instead, as evidenced in numerous onscreen conversations, Putin intended to exploit the nostalgia of the populace by guiding it backwards through history toward a revived Soviet nationalism. A string of bombings further fuel Putin’s agenda, causing citizens to vote with their heart rather than delve too deep beneath the surface of the candidate’s promises or omissions (such as his never-addressed economic plan). It’s not long afterward that TV journalists will be censored for speaking out against Putin, while those less lucky will simply be bumped off. “Tacit concern,” as defined by Mansky, is what turns witnesses into accomplices, and the director reveals himself to be one of the most crucial witnesses of all. 

Ranking high among the other gems I caught at KVIFF is Alonso Ruizpalacios’ “Museum,” a Mexican heist film that is so much more entertaining and thoughtful than I had expected it to be. It’s also a huge upgrade from the naggingly dull “Ocean’s 8,” and not just in terms of how it utilizes museum locations. Having just serenaded the world with the tear-jerking tune, “Remember Me,” in Pixar’s great and regrettably timely “Coco,” Gael García Bernal turns in another splendid performance as Juan, a determined young man who goes to extreme lengths in order to remind others about the importance of history. Inspired by a real-life burglary of epic proportions, the screenplay by Ruizpalacios and Manuel Alcalá (which earned a Silver Bear at Berlinale) is narrated by Benjamin (Leonardo Ortizigris), the friend Juan recruits to help steal priceless Mayan and Mesoamerican artifacts from the National Museum of Anthropology. Though’s Juan’s motivations occasionally seem no less empty-headed than those of the kids in “American Animals,” at one point claiming that he’s simply tired of “waiting for something to happen” in his life, his true purpose stems from the betrayal he felt at a young age from watching these precious items stolen from the land where they originated. Cinematographer Damian Garcia creates compositions worthy of Hitchcock—the actual heist sequence is hold-your-breath suspenseful—and the filmmakers continuously succeed at what Juan had always strived to do: they exceed expectations at every turn. 

Guaranteed to be more polarizing with audiences is the latest dizzying spectacle from Gaspar Noé, the visionary French provocateur who routinely pushes the envelope on what viewers can withstand before fleeing from the theater. With the exception of his 2009 masterpiece, “Enter the Void,” Noé’s films are comprised of overwhelmingly visceral moments strung through a narrative that is less-than-memorable. In the case of “Climax,” perhaps the first picture in his career that is proving to somewhat of a crowd-pleaser, the first half is so deliriously enjoyable that one hopes the second half—where everything inevitably goes to hell—will never arrive. After a series of talking head interviews with young dancers, which materialize on a television screen surrounded stacks of prophetic VHS tapes (including “Suspiria” and “Labyrinth Man,” a.k.a. the original title of “Eraserhead”), the film dives headfirst into a group dance number so spectacular in its frenzied choreography and swirling camerawork (kudos again to Noé’s irreplaceable DP, Benoît Debie) that the Grand Hall erupted in applause. Think the opening sequence in “La La Land” if the lyrics had been “Another Day of Drugs.” Yet once the sangria at this all-night dance party becomes spiked with LSD, the film becomes considerably less interesting, as the kids stumble through a murky labyrinth while tearing each other apart. Still, Noé never reaches the explicit levels of sex and violence that defined his earlier pictures, thus making this one his most accessible to date. 

If any intriguing line could be drawn between “Climax” and “Cold War,” the latest black-and-white marvel from Polish master Pawel Pawlikowski, it is the frequent insertion of black frames throughout the narrative. Whereas Noé uses a black screen to separate shots that are meant to resemble seamless blocks of unbroken time, Pawlikowski cuts to black whenever his narrative skips over a chasm of time in order to arrive at the next pivotal moment in the torrid romance between a musician, Wiktor (Tomasz Kot), and a singer, Zula (Joanna Kulig). In a tale that spans fifteen years and multiple countries, Pawlikowski beautifully illustrates how, as one character observes, time doesn’t matter when one is in love. When this pair gets together, it’s as if the years they spent apart have faded into the ether. Zula is a fascinating character prone to making bold decisions, including one that has proven to define her life. When prodded on why she nearly killed her father, Zula explains, “He mistook me for my mother, and I used a knife to show him the difference.” Though “Cold War” doesn’t quite have the emotional impact of Pawlikowski’s 2014 Oscar winner, “Ida,” it is every bit as exquisite a showcase for cinematographer Lukasz Zal, filling the 4:3 aspect ratio with a painterly level of detail, culminating with an impeccably timed gust of wind. Yet my favorite scene of all is when Zula dances at a bar to “Rock Around the Clock,” prompting the woman seated next to me to start dancing in her seat. Only a few evenings beforehand, I was at the same venue—the gorgeous Neo-Baroque Municipal Theatre—watching Tim Robbins and The Rogues Gallery Band bring down the house with a two-and-a-half hour Fourth of July concert. Their final song was “Hang On Sloopy,” another golden oldie that brought the entire theater to their feet singing. It was a euphoric experience that easily topped any fireworks display I’ve attended. 

Last but not least, I must share a few highlights from this past weekend’s press conference with Barry Levinson, another of this year’s Crystal Globe honorees. The film for which he earned the Academy Award for Best Director, 1988’s “Rain Man,” became the surprise winner of KVIFF’s Právo audience award, thanks to its thirtieth anniversary screening at the festival. Of course, before I knew Levinson as an accomplished director, I knew him as the deranged bellhop who stabbed Mel Brooks in the shower with a rolled-up newspaper in 1977’s uproarious Hitchcock parody, “High Anxiety.” I couldn’t resist asking Levinson about this scene, and he was only too happy to discuss it.

“I was one of three writers who worked with Mel Brooks on the film, and we would throw ideas around,” Levinson told me. “Sometimes they worked, sometimes they didn’t. At one point, I started talking about Bernard Herrmann’s music for the shower scene in ‘Psycho’—‘EEE! EEE! EEE!’ I started putting lines to it and went, ‘HERE! HERE! HERE!’ The idea simply came from me imitating the music. And Mel said, ‘That’s so insane—if we do that, you’ve got to play the bellhop.’ That is how that scene came about. Not long ago, I was going through security on my way to Los Angeles, and I was just about to step through before realizing that I had my key in my pocket. I got my key and put it on the conveyer belt, but the agent said that I could come through with it. I said, ‘But my key is metal and it’ll beep,’ and he said, ‘No, just come through.’ So I stepped through, it beeps, and he immediately said, ‘Get into the machine.’ He told me where to put my feet for the full-body scan, and then he leans in and says, ‘I loved you in ‘High Anxiety.’ Hands up over your head!’”

Levinson’s latest film, “Paterno,” which premiered on HBO in April, also screened at KVIFF, and stars Al Pacino as the celebrated college football coach whose life and reputation are forever tarnished by the repercussions of denial. The sex scandals that have shaken the foundations of Hollywood and Michigan State University are reflected in the self-serving steps that enabled Jerry Sandusky to abuse students at Penn State. 

“Paterno became the winningest coach in the history of college football on a Saturday afternoon,” said Levinson. “Eight days later, the scandal broke. Immediately, he’s under pressure and finds himself fired. Then he learns that he has cancer and will die within months. That happens within a two-week period, and it seemed like an interesting place to start the film. I thought the film should open with him getting into an MRI machine, so basically the whole movie is a remembrance of what occurred beforehand. An MRI machine scans your body layer by layer by layer, and in the film, it is sort of scanning his life layer by layer by layer. While he is in that MRI machine, all of these things that have happened in that time frame are flashing through his head. That became our visual approach.”

Set to premiere on HBO this week is “Robin Williams: Come Inside My Mind,” a documentary about the comedy icon who received his first Oscar-nomination for Levinson’s 1987 classic, “Good Morning, Vietnam.” Levinson’s press conference reached its emotional peak at the very end, as the filmmaker paid tribute to Williams. 

“He was an extraordinary character who was always filled with a certain degree of insecurities,” said Levinson. “At the time we were going to do ‘Good Morning, Vietnam,’ he had done three or four films, and none of them had been successful, so he felt the pressure that this may be his last chance. My feeling was that he was astoundingly funny and interested in everything. That aspect played out and was very influential in ‘Good Morning.’ We were shooting with the Vietnamese in a classroom, and Robin was the teacher. We did the scene and I didn’t think it worked particularly well. It didn’t feel real. The Vietnamese couldn’t do the lines that were written and it didn’t fit together right in my ear. So during the break, I’m wondering what in the world I have to do because I can’t make the Vietnamese real people. There had never been a movie at that time and I’m not sure there’s been one since that just dealt with the Vietnamese people. We only saw them during wartime, running around in the jungle. But these are people who do normal things—they eat, they go to school, they go out in the evening, they go to the movies and they have a life as people. The scene I had written did not feel real to me."

"I was wandering around outside of the building, and I see Robin talking to the Vietnamese. They were all laughing together. The Vietnamese would say something, and then Robin would try to say something back, and he’d get a laugh. The genius of Robin was that he could communicate with people, even when they didn’t quite understand what he was saying. I watched him with the Vietnamese, and I thought, ‘This is real. Why don’t we put that in the movie?’ When we were going back to film, I said to Robin, ‘Let’s forget about all the dialogue because it’s never going to work that way. Let’s just take the plot points—what’s important in this scene—and then just start talking to them like you were talking to them over there. Let’s just start to communicate with them, and you can guide them toward some of the lines that are necessary. I’m not even going to slate it. I’ll give hand cues to the cameras, the cameras will roll and we’ll just do it that way. They will never know that we are even filming.’"

"So for all of the scenes with the Vietnamese, not only in the classroom, but wherever we went, that is the way we did it. The Vietnamese never knew what was being filmed at any given time, and when we did the softball game at the end, I didn’t even tell the Vietnamese how to play the game. When you watch the movie, you’ll notice that there are two MPs who I told, ‘If you see that they are doing something wrong, like running to the wrong base, just go over and tell them that they gotta go here, like a traffic cop. Just tell them where to go. The confusion of not knowing how to play the game will be part of it, and it will be more fun than just playing the game.’ All of those scenes really gave us a chance to understand the people, and I think that was the key to the movie. It is also what defines Robin Williams. He wanted to understand people, and knew how to connect with them.”

from All Content https://ift.tt/2ujRSiW

[gossipnetwork-blog]

Peter Travers: Pixar's Day-of-the-Dead 'Coco' Is as Lively as They Come

New Post has been published on http://gossip.network/peter-travers-pixars-day-of-the-dead-coco-is-as-lively-as-they-come/

Peter Travers: Pixar's Day-of-the-Dead 'Coco' Is as Lively as They Come

With its cast of skeletons and macabre “I see dead people” vibe, Coco may be the strangest thing ever to come out of the Pixar animation factory. That’s a good thing. Their latest animated movie finds the company spreading its wings and pushing into new territory, including betrayal and murder, without neglecting its family franchise responsibilities. It’s a tricky business, which Pixar, mostly, pulls off in high style.

Lee Unkrich, his co-director Adrian Molina and their team of screenwriters have conceived Coco as a salute to Mexican culture – the voice cast is almost entirely Latino, as are the settings. The film’s hero is 12-year-old Miguel Rivera (voiced by Anthony Gonzalez), a kid from the small village of Santa Cecilia who just wants to sing and play guitar. But his family of shoemakers forbids it. Why? It’s seems Miguel’s great-great-grandfather deserted his wife and daughter to hit the road and make it as a singer. His daughter, Mama Coco (Renee Victor), now sits silently in old age, lost in memories she never speaks of. Miguel, however, is driven to follow in the footsteps of Ernesto de la Cruz (Benjamin Bratt), the Mexican Elvis who died young  – a church bell gonged him – but left behind hit songs and movies that the boy obsesses over. He even fantasizes that Ernesto could be his great-great-grandfather. If only the lad could meet him.

Which brings us to the dead. In one of those plot loopholes perfect for fables and kid-flicks, Miguel steals a guitar from the de la Cruz mausoleum, which leaves him cursed. The boy’s only recourse is to cross a bridge made of a magical marigold petals and slip into the underworld on Día de Muertos, beg forgiveness and maybe meet the late, great troubadour himself before being permitted to return to the land of the living. Did we mention that Miguel’s hairless pup, Dante (!), follows him. Too cute? Maybe. But his furry friend offers much-needed comic relief.

It’s a lot of plot, but the movie charms itself into our good graces when it enters the netherworld, a neon-colored  nonstop fiesta that’s a blast even if you’re just a bag of bones. And, oh boy, those alebrijes, the fantasy creatures that leap around like Mexican folk art brought to vibrant life! It’s here that Coco picks up visual punch and a creative head of steam. On the Day of the Dead, those who’ve passed to the other side can also cross over to the living, as long as someone remembers them in the real world. If not, there’s nothing. 

While the kiddies wrestle with that conundrum, grownups will be treated to a story that involves real-world issues. Miguel finds a guide to the spirit world in Hector (Gael García Bernal), a scam artist who brings him to his idol Ernesto. What happens next is something viewers should discover on their own, but let’s just say more than a few family mysteries. Bernal and Bratt do their most resonant voice work in these scenes, and kudos to the latter for showing real vocal chops on the film’s biggest song, “Remember Me,” a lush ballad from the Frozen duo of Robert Lopez and Kristen Anderson-Lopez. There’s also “Un Poco Loco,” a snappy duet for Miguel and Hector that’s a real spirit lifter (literally).

Coco brims over with visual pleasures, comic energy and emotional wallop. The climax is a real weeper as well: There’s something indelibly moving about a child getting in touch with the ancestors he’s lost and forging a bond that can last over time. Of course, a lesson is being preached to children about the need to respect elders. But Pixar’s 19th feature brings a soulful core to that message that helps the film ride over its rougher patches. It’s not in the master class of, say, Toy Story, Inside Out or Wall-E. But it’s definitely worth remembering.

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[lafakiwi-draws-archive]

And now, the naughty bits

[collymore]

Barbados di-ben a Bajans anghyffyrddus!

Gan Stanley Collymore

 Rydych chi mor anhepgor i bob un ohonom, Bajans, Barbados, os nad oeddech chi'n bodoli mewn gwirionedd, yn amlwg, buasai angen pwysicaf i chi eich dyfeisio yn annhebygol. Ond yn ddiolchgar, nid yn unig y mae hi'n bodoli, ond yn ogystal, fe fu, erioed, ar y gweill, a byddant byth yn cael eu hymsefydlu'n ddwfn ac yn barhaol yn fy seic bersonol a phob rhan arall ohonyn nhw sy'n tynnu ei ysbrydoliaeth ysgogol o'ch bodolaeth.

 Ac felly, rydych chi'n llawer mwy na gwlad arall neu hyd yn oed cenedl annwyl i mi. Yn y bôn, rydych chi yn wir yn fy nghartref hynafol ac yn ysbrydoliaeth gyson o ble y mae popeth sy'n ffurfio rhan adeiladol a pharhaus ohonoch ac yn ddi-fwlch wedi bod yn elfen gyfarwyddiadol ac offerynnol o fy mywyd parhaus yn cael ei greu yn fendigedig, wedi'i feithrin a'i fynegi'n gadarnhaol i chi.

 The Aliis Non Sibi o fy marn i fy hun; dawn ryfeddol fy nghefiad crefyddol, a'r sail wych y cafodd fy nisgwyliadau aeddfedu yn wych ffasiwn ac yna anogwyd y rhan fwyaf ohonynt i fwynhau buddiol yn ffrwythlondeb ysblennydd.

 Yn ddibyniaeth wirioneddol yn y Caribî, Barbados, wedi ei bendithio gan Dduw Hollalluog, a lle mae kudos yn canolbwyntio'n gadarn ar yr egwyddorion, rhinweddol, cardinal a chleverus y gellir eu gwasgu â'i gilydd egwyddorion a rhinweddau di-bai ar normau democratiaeth a sefydlwyd yn ddiogel, bondiau eithriadol o ffyddlondeb, yn rhad ac am ddim ac ar gael i bawb gofal iechyd cyffredinol ac yn yr un modd yn wych ar bob lefel - yn amrywio o lwfans meithrin a kindergarten yn llawn, yn gynhwysol ac yn llawn i astudiaethau ôl-radd uwch, trydyddol a phrifysgol, ac felly'n cyfrif am yr holl ystadegau, canran y cant ar draws y bwrdd graddio llythrennedd cenedlaethol ac yn wirioneddol cofnod trawiadol o fyw byd-eang canolog - system addysgol a feddylir yn dda ac a weinyddir ynghyd â'r rhyddid meddwl a mynegiant anghyfannedd, a'u hunain yn gadarnhaol gyda moesoldeb diwylliannol a diwylliannol trawiadol yn dryloyw yn brif ffocws Bajans ni a'r ddau ymgorfforiaeth amlwg o'n t Motherland Barbados ailddechrau.

 Ar y 30ain o Dachwedd 2017 - yn ffit St Andrews Day a phwy yw ei hun yn Noddwr Saint Barbados - bydd y Genedl Gristnogol a gydnabyddir yn eang o Barbados yn dathlu ei phen-blwydd yn 51 oed o annibyniaeth sofran o'r Saesneg cyntaf ac wedi hynny ar ôl yr undeb am ddim a gwleidyddol o Loegr a Yr Alban i ffurfio'r Deyrnas Unedig, Prydeinig a beth sy'n fwy trwy gydol ei hanes cytrefol ar gyfer rheol ymreolaethol Barbados. Ac o ganlyniad, mae dathliadau enfawr yr ŵyl ar gyfer y dathliadau 50 mlynedd pennaf hyn yn awr yn cael eu crynhoi yn gyfan gwbl, gan adael y llu o Bajans gwladgarol yn y cartref a thrwy gydol ein Diaspora byd-eang gyda'u cyfuniad personol, sefydledig a trawiadol o atgofion godidog ac atgofion calon eu hunain er mwyn cynhesu coconau eu calonnau, mae'r un ymroddiad hyfryd a hyfryd yn gyfatebol ac yn bleserus, yr wyf wrth fy modd wrth ddweud, yn effeithio'n ddifrifol ac yn emosiynol imi hefyd.

 Ond nid yn unig felly yn fy nghyd-destun arbennig a phersonol, gan fod y datblygiadau hyn hefyd wedi cael effaith fwyaf dwys ar fy Mhartner Almaeneg, sydd ei hun yn aficionado angerddol o Barbados a'r rhan fwyaf o bethau Bajan, gan gynnwys Criced. Pa un i Almaeneg o'r naill ryw neu'r llall yw, dyweder, yn eithaf anghyffredin gan fod Almaenwyr, ac eithrio mewn enclaves bach ohonynt lle'r oedd dylanwad arwyddocaol o Gymru ar ôl y rhyfel, peidiwch â chwarae criced, heb unrhyw ddiddordeb ynddo, neu hyd yn oed ddeall y gêm.

 Fodd bynnag, nid oes gan y budd criced hwn ar ei rhan unrhyw beth i'w wneud ag unrhyw un ohonyn nhw, a gallaf yn eithaf gwirioneddol ac yn hyfryd ddweud bod y diddordeb angerddol hwn mewn criced, sef hyn yn hynod o wych, hynod ddeallus, a byddech yn disgwyl i mi ddweud yn hynod brydferth - y mae hi yn sicr, - ac mae gwraig broffesiynol yr Almaen yn ormod o fywyd ym mhob ystyr wedi datblygu'r diddorol hon gyda criced yn gyfan gwbl o'i fwriad ei hun.

 Yr hyn sy'n wych i mi, ac yn arbennig felly oherwydd bod criced i bob Bajan yn fwy na dim ond gamp neu gêm ac mewn sawl ffordd mae hyn yn debyg i'r ymroddiad y mae un yn ymddiried yn ei grefydd benodol. Ac yn cyfrif am pam mae Barbados wedi cynhyrchu dros y degawdau rhai o chwaraewyr mwyaf deniadol y byd yn y byd cricedio gêm. Yn cynnwys yn eu plith y Syr Garfield Sobers eiconig a chwedlonol: y cricedwr enwocaf erioed ac sydd yn ychwanegol at ddatganiad seneddol Barbadaidd unfrydol ac yn llwyr yn y broses anrhydeddus hon, yn ymladd Bajan yn anhygoel ac yn adleoli'r unig Arwr Cenedlaethol Barbados sy'n byw, yn ddealladwy, yn briodol ac yn y rhan fwyaf yn ddiolchgar iawn iddo gan ein gwlad ddiddorol Barbados a'n Cenedl o Bajans!

 Mae'r barddoniaeth a'r erthyglau yr wyf yn eu creu, yn eu hysgrifennu ac yn cael eu cyhoeddi wedyn bob amser yn cael eu hysgogi gan faterion yr wyf o'r farn eu bod yn bwysig ac yn berthnasol neu sydd wedi gwneud yn annhebygol effaith enfawr a pharhaus arnaf. Ac yn ystod sgwrs ddiweddar rhwng fy mhartner a fi, ac ymhlith y rhai niferus a diddorol y mae hi a fi fel arfer â'i gilydd, bod canlyniad ei sylwadau'n fy helpu i ysgogi genesis yr erthygl hon a'r gerdd gyfredol .

 Fe wnaethom ni ddweud wrthym a pha mor ffodus iawn y bu Barbados i gael ei atal, nid yn unig Corwynt Maria, a oedd yn anffodus yn difetha rhannau eraill o'r Caribî ond hefyd yn ystod y degawdau diwethaf yn ogystal â nifer fawr o corwyntoedd eraill a oedd wedi taro yn yr un modd yn yr un modd yn llethol wedi dinistrio bywydau a bywoliaeth cyffredin llawer o drigolion y Caribî ond heb Barbados; ac o ganlyniad daeth i'r casgliad bod Barbados a'i phobl Bajan yn fwy na thebyg yn cael eu gwahardd o'r uniaethau hyn yr un fath oherwydd yr ymrwymiad cyffredinol a chryf y mae gan yr holl Bajans i'w Hollalluog Dduw, eu ffydd Gristnogol ddirfawr ac, yn y rhan fwyaf, yn anhygoel iawn bywydau y mae Bajans yn byw, oherwydd eu cyfuniad helaeth, yn ogystal â chyfuniad hintegreiddio'n dda o'u dyfodiad cudd, moesol a diwylliannol trwyadl. Mae rhywbeth yr ydw i'n ei ddeimlo'n ddiamwys, yn empatheiddio'n llwyr ac yn cytuno â chymorth dwys.

 Felly, yn llawn gwerthfawrogiad llawn ac yn ddiolchgar iawn am fy holl foddhad, hoffwn gyflwyno'n bendant, yn ogystal â chofio, y gwaith hwn i mi i bob Bajans: yn fyw neu nad ydynt bellach yn gorfforol yn y byd hwn gyda gweddill i ni, yn ymestyn yn ôl yn y broses dros y canrifoedd at ein hynafiaid Du gorfodedig a gweiniledig. I'r holl Bajans, yna, gartref a chydweithredol yn byw gyda'i gilydd ar ein mamwlad arysgedig o Barbados, yn ogystal â'r rheini trwy ein Diaspora Bajan eang a byd-eang; ynghyd â chroeso cynnes a chroesawgar i'r holl ychwanegiadau newydd presennol a'r rhai a ragwelir ond yn y dyfodol hyd yn oed yn y dyfodol ymhobman, o'n "llwyth" rhyfeddol o Bajans rhyfeddol.

 Ond ni allaf, na fyddaiwn erioed wedi ystyried cau'r gwaith hwn heb sôn am fy nawdd fyth i'r holl bobl, yn y gorffennol yn ogystal â'r presennol, gan gynnwys fy nghartrefau biolegol niferus, rhai a fabwysiadwyd yn hapus a ffrindiau personol agos, o ranbarth cyfan St Andrew ac yn ymgorffori'n gynhwysfawr: Ardal y Lakes lle mae fy ngwreiddiau teuluol wedi'u hymgorffori'n ddwfn; yr Arfordir Dwyreiniol, Benab, Belleplaine, Cerddwyr, Pentref Shorey, Mynydd Chalky, Haggatts, Baxters, Bruce Vale, Gardd y Cwn, Neuadd y Rock, Hillaby, Pentref Redman, St Simons, Caergrawnt lle crewyd y Collymore Clan, Neuadd Turner, Farley Hill, Corbin's Village a thirlun darluniadol, eiconig ac eithriadol o ardal yr Alban o Barbados. Yn olaf, gyda'm cydnabyddiaeth bersonol ac ymroddiad i'm mater Almaeneg crefyddol: Eglwys y Plwyf Anglicanaidd Sant Andrew a leolwyd yn St Andrew ac a sefydlwyd yn 1630 dim ond 3 blynedd ar ôl sefydlu cytref Lloegr o Barbados yn swyddogol a 9 mlynedd cyn ffurfio Senedd Barbados ym 1639, sef yr ail senedd hynaf a pharhaus yn y byd i gyd ar ôl Tŷ'r Cyffredin, ac mae'n sylweddol henaethach na, er enghraifft, na chreu yr Almaen, yr hyn sydd bellach yn Rogue State USA a llawer o wyn arall o'r fath endidau gwleidyddol gorllewinol fel Canada, Awstralia neu Seland Newydd.

 Yn yr un modd, mewn ymroddiad hefyd, i fy myfyriwr Almaeneg, y ddau brif, nodedig a ffurfiannol: Ysgol Bechgyn St. Andrew's (a elwir yn Ysgol Belleplaine Boys yn lleol ar ôl yr ardal lle y'i lleolwyd) a sefydlodd Ysgol Gynradd Gramadeg Alleyne yn 1785: : Allis Non Sibi, a daeth yn 1947 yn yr ysgol ramadeg gyntaf ym myd Barbados i gyd-addysgol, trwy gydol yr holl bethau academaidd, creadigol a goddefol eraill sydd wedi ei wneud yn ei hanes parhaus 232 oed.

[collegenewsupdates-blog]

Seth Davis of SI gives UTA hoops some kudos

UT Arlington Mavs Blog Sports Illustrated’s noted college basketball reporter Seth Davis was recently asked which are the most dangerous mid-majors not named Gonzaga or Wichita State.  He listed (in order) Middle Tennessee State, Saint Mary’s, UTA and UNC Wilmington. Here is what he said about the Mavericks: If I’m going to list the Gaels,…

Seth Davis of SI gives UTA hoops some kudos College News Updates