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[skygurutraveltourism]

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[dubaiestourismportal]

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[oneexperiya]

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[ayushjain03]

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[lelifeholidays]

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[ankitkumartravel]

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[tourismirctc]

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[msbyzsz]

rich husband!todoroki always taking you on trips around the world any time theres an occasion, like your birthday, holidays, anniversary’s, all of it. your birthday, wanna go to dubai? he’s booking a private jet. anniversary? he’s packing for indonesia. wanna go to hawaii for valentine’s day? he’s doing it all.

rich husband!todoroki that always buys you expensive gifts. dresses, shirts, skirts, pants, etc. touch it, he’s already putting it in the cart. can’t decide between 2 dresses? he’s grabbing them from you saying let’s just get both. he thinks you looking so stunning and gorgeous in anything or wearing anything so if you like something he’s obviously getting it for you. trying on an item and then show him? he’s automatically getting it for you.

rich husband!todoroki getting you jewelry, anything you want he’ll get. oh that necklace is a couple thousand? he’s still getting it for you, your his baby. don’t even get started about the ring he bought when he knew he wanted to marry you. it doesn’t matter how expensive it is, he needs to make sure it’s perfect for his love. diamonds, gold, crystals, he’s getting you it. he just can’t resist he loves you so much, your so perfect in his eyes <3.

[dubaiestourismportal]

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[alarici]

State of decay

Rated T, 950 words

-

In the years since the Kira case, with Near at the helm, and L and Watari long since buried in the plot beside the west wing, what was once called The Wammy’s House decays.

It takes seven years to fully dismantle the program. The youngest children need to find foster homes or new families or other, carefully vetted, well-funded programs to matriculate into. The older children are graduated and placed in the best universities around the world—set to become the everyday successes of tomorrow. Tsinghua, Juilliard, Cairo, LSE, UCLA, Tohoku, ETH Zurich, Oxford. The residual funds are allocated appropriately to make sure that everyone is well taken care of. Study funds and stipends, merit grants and insurance.

Personally, Near sees to the edge cases. Kids who, according to the headmasters and the instructors, never lived up to the promise of their aptitude testing—the weak, the attention deficit, the headcases. He speaks to each one—Do you want to live alone? Do you want to learn a skill and work? Do you want to go back to where they found you? What are your medical needs.

It’s dispassionate work that he takes on in his limited spare time. The dismantling of the program was not necessarily his idea, but he saw it to the end.

By 2024, L Lawliet has been dead for almost two decades. Enough time for a child to grow and have a child of their own. Near has no children—will never and can never—and finds this fact amusing.

At exactly 13:23 GMT on 21 October, 2024, Near celebrates a homecoming of sorts.

—

The grounds have been left to wither. The estate is unsellable—or, nobody wants to bother selling it to a Silicon valley expat or a London financier’s portfolio. After all, it was a school. Renovations would be required.

When Near is driven into town and left there—”I’ll get there from here, thank you,”—he overhears, in a quiet cafe, that the children think the mansion on the hill is haunted. “Halloween” is an American holiday that is not celebrated in England. The evening is foggy and limpid. The sky threatens an afternoon rain.

He arrives at the wrought iron gates at 15:13. He knows there is nothing for him, here. But he’s already been given this time to pay his respects. A holiday of sorts. Never in the past twenty years has he kneeled before graves. He expects he won’t today, either. There is nobody here to pay respects to. Mello is buried in an unmarked plot in a quiet district of Tokyo. The stake on the eastern edge of the property in Winchester—In Memoriam, Mihael Keehl—is growing moss. Near stops by this landmark, first. Many colleagues and coworkers, commanding officers and cadets, have died since Mello. Near has not kept track of many of their names.

Mello’s memorial has not been cared for. They stopped sending groundskeepers to the property in 2019. Near carries a book in one hand, his plastic cane in the other. He stares at the spike, leans on the arm brace, and considers the most respectful acknowledgment of this memorial. This isn’t what he came here to do. Mihael Keehl—no, Mello—has been dead for more than a decade. In that time, Near has solved more than five hundred cases. A-Kira. The Hong Kong murders. The Dubai trafficking ring. A few stray Death Notes.

In the years elapsed, the loss has simmered. Like soup, which Near has seen others make (his current boyfriend is fond of cutting the mirepoix into centimeter by centimeter cubes) the thought of Mello is turbid and wafts around him constantly. However, there is no room for the what if. There is only the course the universe bent, that day.

Near, in his own way, has paid his respect. Said his thank yous, if he owes any thanks. He bows, as far as he can manage, to the spiritless grave. He does not kneel.

In Tokyo, Mello’s bones are likely rusting, rotting in the temperate soil. Were he buried here, at 51° latitude, he may still have his skin, in death. But this is unimportant. He would not wish to be buried here.

Near bows, and says two prayers for the dead. He knows a Latin version as well as a Hebrew. To this day, he does not know if Mello died religious—died believing in any gods beyond those he had met and been scorned by.

“Requiem aeternam dona eis Domine, et lux perpetua luceat eis.”

“יִתְגַּדַּל וְיִתְקַדַּשׁ שְׁמֵהּ רַבָּא.”

He adds a hymn Mello might have sung for his parents in the dialect he most likely spoke before his life as a successor began.

“Святой Юмо, Святой Куатле, Святой Колыдымо, мемнам серлаге.”

Near has been told not to pass judgment on the irrationality of faith, so he has learned the hymns. The grass grows tall around Mello’s stake.

One year, Near had gotten angry about it. Back when he was twenty one or twenty two—inconsequential—and awake for forty hours, Near had raged at a silent room over it, and never again. And the anger was not about the death, nor about Near’s inheritance, his duty. Not Mello’s mistakes nor his sacrifice. Likely, looking back with the hindsight and wisdom of a man ten years older, Near images he experienced as much grief as he was capable of, that night. There was no grave to stand over, and there was no body, in the small room in Cape Canaveral when Near was twenty one. No surviving images of him. No letters nor notebooks. The bout of rage, insanity, grief (he cautions to call it) was triggered by a smell (something sweet burning), of all things. And had subsided with the yellow dawn.

The frustration was likely at being left alone. Of his own inefficacy in his first trial, and the acknowledgement that a man like Mello had deserved to live to see more days. Had deserved better than a pine wood stake on a lonely corner of the grounds of the school where he was raised and an unmarked plot in Adachi City, Tokyo.

Next, Near walks slowly towards the house itself. A jackrabbit sprints across the lawn in front of him. A hawk circles to the north. 

[jokeroutsubs]

Interview with Joker Out's member Nace Jordan, from Slovenian magazine Kranjčanka!

"Enriched by a special experience"

We caught up with Nace Jordan, bassist of Joker Out, a week or so after the Eurovision show in Liverpool, a few days after the show in Zagreb, and just before they left for the show in Dublin, where they sold out their first show in twenty minutes… On stage, they kept company to the Irish performers.

The fact that this guy, who is otherwise from Mlaka (T.N: small village near Kranj), is fully booked, can be confirmed by telling you that he moved into a new flat in March of this year - he has been living in Ljubljana for some time now - but he has spent less than 14 days there until it was time for the Eurovision Song Contest. He still returns to Kranj at least twice a week to visit his mother and to stay true to himself: he decided to get a personal trainer a while ago, so now he also goes to Kranj to train there.

Nace Jordan came into contact with music in primary school. He first played the guitar, which he soon replaced with the bass guitar. "Around the fifth grade of primary school (T.N: 10-11 years old), I became interested in instruments and a classmate and I decided to start a music group. He bought a drum set and I bought an electric guitar. Then we quickly saw that there were no bass players. So I sold the guitar and bought a bass guitar," he explains. He has no formal musical training, but says he has been lucky that wherever he has gone in life, there has always been a good mentor who has been able to guide him.

I: How long did this primary school group last?

N: In those days it was a well-known Kranj band called Success. We did a lot of gigs. It's interesting that all the band members from that time are now living off music. They are, for example, the guitarist Nejc Ušlakar, Tajda Jovanović - also from Mlaka - who is a top classical singer and used to sing at the famous Scala in Milan; if I am not mistaken, she is now teaching classical singing in Dubai. We just created an environment for ourselves and stayed in music. The drummer and keyboard player, Aljaž Bernik and Miha Petrovič, have, for example, a very successful wedding band, called Pop Deluxe.

I: What came after primary school? (* (T.N: In Slovenia, primary school lasts for 9 years, from ages 6-15)

N: I enrolled at the then Iskra University, majoring in mechatronics, but just before graduation I started working - actually playing on a cruiser. By some chance I found myself at a jam session open mind in Kranj, where the Kranj drummer Rok Rozman was looking for someone to go on the boat with him. He was impressed with me, I auditioned and of course they weren't very happy at home when I confronted them with the fact that I was going to take my final exams the following year. I was just 18 years old.

I: Was that a cruise ship?

N: Yes. We were travelling in the Baltic Ocean. I remember that we started in Germany, in a port north of Hamburg, then continued on to Gdansk, St Petersburg and to the Scandinavian countries.

l: That was probably the only time you've been on a cruise ship of that kind, a tourist cruise ship?

I've had a lot of people ask me if I would ever go on holiday on a cruise ship. Probably not. But I would go and have another look at the one I played on.

I: When you came back to Slovenia, did you graduate from high school? N: I didn't and I still regret it a little bit. When I came back from the ship, I started working with the singer Katarina Malo. During that time, I was also taken under the wing of two musicians from Primorska (T.N.: a region in the South-Western part of Slovenia) - that's what I mentioned: I found myself somewhere and then a mentor came along. I learned a lot from them. They were David Morgan and Denis Beganovic - Kiki. The first one is a top jazz drummer from the coastal area, he organises a lot of stuff, and he also plays with Avtomobili (T.N. slovenian band), I think he even played with Plestenjak (T.N. Jan Plestenjak, a famous Slovenian pop singer) at one point. Whereas Kiki is a multi-instrumentalist. He's an extraordinary talent. He has worked with Kanzyani and other famous DJs and musicians from abroad. He has made a lot of music, and he also led the Big Band from the coastal region. That was a really nice period for me. I even moved to the coastal region for a short period.

I: Why music, why not football?

N: Certainly not football (laughs). It's the sport I'm least talented in, or rather, all ball sports fall into that context - be it table tennis or football; and, even though my surname is Jordan, I'm the worst basketball player in the world (laughs). Just two days ago, I met my first grade teacher, and of course the topic of music and Eurovision came up. She told me that she knew even back then that school was not for me, but that I would definitely do something creative in my life. It brought back memories of how bored I was at school and how I would rather draw under my desk than listen, even though I was not a bad student.

I: You haven't been a member of Joker Out for long.

N: Since last year. Martin Jurkovič, the original bass player, felt at some point that music was not his main path. He is also an extremely talented programmer and is studying in that direction. He wants to study abroad and decided to finish that chapter. I knew the lead singer of the band, Bojan, from some mutual friend groups before, and the guys were looking for someone who was around their age, professional, good at what they do, and they thought of me. And Martin was in favour of me coming into the group instead of him.

I: And did you imagine that the band would continue the way it did?

N: From the beginning I went into the band with a bit of hesitation. I even suggested a test period. I had learnt that there has to be chemistry between the members. And if we didn't get along with each other the way we do, we wouldn't have performed on the Eurovision stage. We would have had a fight otherwise.

I: Do you spend a lot of time together?

N: First there were the Eurovision showcase concerts, and now there is the summer concert tour in Slovenia. We also have quite a few problems, because we get a lot of calls from abroad. It's logistically difficult, so we're looking for a solution to link some of the concerts to the tour. After the Eurovision Song Contest, we really started to get noticed abroad.

I: Was this your first Eurovision Song Contest?

N: Yes. But I have been to EMA (slovenian national selection for ESC) several times before.

I: Was it as you imagined it would be?

N: Even better. I can say that everyone who has been through this kind of experience has told us that it will be really tough: there will be a lot of work, but that we should also expect crazy parties. But in the end, it was much less exhausting than we expected. In fact, we had such a busy schedule beforehand that Eurovision itself was almost easier for us afterwards. We were practically in the Arena for five days, the rest was socialising, interviews and other commitments. In principle, we like that.

I: You seemed to be well received.

N: We were lucky enough to have connected with practically all the performers. We were always in a good mood, which was seen and felt both in the performances and in the interviews, during the statements. We came home really enriched by a special experience. And it was really nice to see how the people at home supported us. After the first semi-final, we got some footage of how they were watching us and we were just amazed how behind Bežigrad (Ljubljana district), let's say, they watched the first semi-final show in an organised way. The energy was crazy, like at a match.

I: What about Liverpool? Was there any time to "play tourists"?

N: During Eurovision, not really. We were in Liverpool before, because we were shooting a video. I think it was after Barcelona, and we did a lot of walking around the city then. For those who like the Beatles, Liverpool is great.

I : How did it come about that you went to Eurovision in the first place?

N : When I came into the group, the guys and I immediately started talking about whether we would go to this year's EMAs. We decided to go. We knew we would definitely be one of the favourites because we have a really big and extremely loyal audience. Well, then the EMA didn't happen. The jury decided to make their own choice, from the five entries who had the most songs of the week during that year. And I think only two of us ended up applying. There was no EMA, and they sent us to Liverpool.

I: You mostly use Slovenian in your songs.

N: Of course. We have a few songs in English, but we mostly sing in Slovenian. We were talking about how we would work going forwards, and we agreed not to bother with the language. We are proud of our Slovenian language. It's really something beautiful when you see an adult Peruvian man or a five-year-old Spanish girl singing our song in Slovenian. In that moment you understand the athletes and you are proud to be Slovenian.

I: How is it on the street? Do people recognise you? You often hear: is that the bass player of Joker Out?

N: Yes, quite. Most of the time it's people who say something nice to you, or want a selfie. Of course, there are also some "admirers" who stick gum all over my car or leave messages. There's a good side and a bad side to being a public personality. Sometimes it requires of you to spend three hours taking photos - but if you enjoy doing something, that's not a problem either.

I: Do you think that it is actually the fact that you get along well in a group that "pulls" in the audience?

N: The energy between us is definitely something that is contagious. I don't know if it's what makes the audience really like us, but it's something that puts even someone who is in a bad mood in a good mood.

Translation by @kurooscoffee (jokeroutsubs). DO NOT REPOST!