#hana no nagori

[goldscans]

花の名残り (Restos de flores) - Picon

La última canción que ha sacado Picon, hace aproximadamente... ¿media hora? Será que tenía pocas cosas que hacer.

El título se puede traducir de varias formas. La traducción oficial, que no me hace mucha gracia, es La flor que queda, pero creo que Restos de flores es mejor. 名残り (Na-go-ri) también se puede traducir como final o el dolor de la despedida, dos cosas que encajan muy bien con el tema de la canción. ¡Maravillosa elección, Don Picon!

Como siempre, traducción bajo el corte.

Aunque el tiempo no cese su marcha, mis heridas siguen sin curarse.

Las flores se mecen, y las que a ti te gustan han florecido. Simplemente estoy solo, y simplemente recuerdo.

Sigo buscando el significado de esto, y sigo respirando.

Estos días que tanto se siguen meciendo son solitarios; me acostumbro a ellos y desaparecen. Todo, simplemente…

Me falta algo, y una vez más se te me escapas entre los dedos. Incluso ahora, simplemente…

Las flores que se mecen, ese adiós, hasta tu voz, todo, simplemente…

[konjaku]

花海棠[Hanakaidō] Malus halliana

花[Hana] : Flower

海棠[Kaidō] : Crabapple

This is from my garden. Somewhere in my heart, I seem to find melancholy beauty in these flowers in nodding figures, wet from the pre-dawn rain and illuminated by the morning sun. That one in the photo I took last year was also wet from the rain. Of course, I am not the only one who is attracted to the beauty that is somehow felt in them.

海棠はいつでも雨を待つている花であつた。あでやかな色に一杯の憂をためて、上を向かないで、いつもうつむいて、雨を待つてる花であつた。

[Kaidō wa itsudemo ame wo matte iru hana de atta. Adeyaka na iro ni ippai no urei wo tamete, ue wo mukanaide, itsumo utsumuite, ame wo matte iru hana de atta.] Kaidō was always a flower waiting for rain. It was a flower waiting for the rain with its fascinating colors filled with melancholy, never looked up and always lying face down. From Zassō zatsugo by Kawai Kanjirō Source: https://www.aozora.gr.jp/cards/001906/files/58094_63079.html (ja)

盛りいみじき海棠に、 灑ぐも重し春の雨、 花の恨か喜か、 問はんとすれど露もだし、 聞かんとすれど花いはず。 夕しづかに風吹きて、 名殘の露は拂はれぬ、 風の情󠄁か嫉みにか、 問はんとすれど露もだし、 聞かんとすれど花いはず。

[Sakari imijiki kaidō ni, sosogu mo omoshi haru no ame. Hana no urami ka yorokobi ka, towan to suredo tsuyu modashi, kikan to suredo hana iwazu. Yūbe shizuka ni kaze fukite, nagori no tsuyu wa harawarenu. kaze no nasake ka netami ni ka, towan to suredo tsuyu modashi, kikan to suredo hana iwazu.] On the flowers of Kaidō, which are now in full bloom, the spring rain is pouring heavily. Do the flowers resent or rejoice in it? I try to ask, but the dewdrops fall silent, and I try to listen, but the flowers say nothing. Wind blowed quietly in the evening, and the remnants dewdrops were swept away. Is it the wind's mercy or jealousy? I try to ask, but the dewdrops fall silent, and I try to listen, but the flowers say nothing. From Kaidō by Doi Bansui https://www.ndl.go.jp/portrait/e/datas/6063/ Source: https://dl.ndl.go.jp/pid/1684495/1/24 (ja)

Although there are many more, I presented just two this time.

[yuripoll]

making good headway in reading (or rereading) everything for propaganda collection & rec writing, but @whysapphics suggested posting the list of titles for season 3 in case anyone wants to read things beforehand

still subject to change if i end up quibbling over what to include, but here's the current roster (under the cut)

dark forest, white road <- yoshida chiyu (high school drama including a blind girl)

ayaka is in love with hiroko <- sal jiang (silly office romcom)

the moon on a rainy night <- kuzushiro (high school drama including a deaf girl)

serendipity <- mimiyori (webcomic about an overworked magical girl)

handsome girl and sheltered girl <- majoccoid & mocha au lait (silly miscommunication romcom)

aoi hana <- takako shimura (classic schoolgirl yuri)

composing spring in this room where cherry blossoms bloom <- tokuwotsumu (angst. ough.)

makoto no momoka <- sumiko arai (oneshot)

i decided to fake a marriage with my junior to shut my parents up <- kodama naoko (exactly what it says on the tin)

sakura namiki <- takahashi makoto (OLD old. proto-yuri)

i'm not cut out to be a princess, so i'll elope with the villainess <- yamagata atsuka (isekai oneshot)

netsu wo obiru veil <- sakura togane (oneshot about unrequited love)

muted <- miranda mundt (fantasy webcomic)

the girl that can't get a girlfriend <- mieri hiranishi (autobiographical lesbian dramady)

a lady's table <- hwemi (girl dinner <3)

because you are a red rose <- mokuzuko (oneshot about unrequited love... again. im not having issues i prommy)

that time i was blackmailed by the class's green tea bitch <- xian jun (silly high school romcom)

2dk gpen aftertime <- yayoi ohsama (anthology including an epilogue to 2dk gpen alarm clock)

kanojo ni naritai kimi to boku <- takase umi (kind of a stretch to call it yuri (for spoiler reasons) but about a girls crush on her childhood friend who recently came out as trans)

indigo blue <- yamaji ebine (down to earth josei drama about a writer cheating on her bf with a woman)

destroy it all and love me in hell <- kuwabara tamotsu (so THIS is the toxic yuri ive heard so much about)

mahou josei chimaka <- kaiju (webcomic turned real comic about an ex-magical girl who needs to save the world again; no longer available online which unfortunately means i wont be able to read this one at the moment... hmu if anyone knows of an ebook sale for it ToT EDIT: oh im dumbbb i looked at the submission to double check for content warnings and its on IA)

savior <- junqi & jo9 (vampire yuri)

to die in june <- kuragenanami (alternate history where young girls were recruited to the jp army in ww2)

soulmate <- wenzhi lizi & ke ran bing (woman gets bodyswapped with her 17 year old self)

yuki and the authoress <- nagori yu (historical romance)

blooming sequence <- lee eul (college student romance)

you are my angela <- murasakino (short romance about an angel)

maria-sama ga miteru <- konno oyuki & nagasawa satoru (classic schoolgirl yuri)

a kiss and a white lily for her <- canno (modern schoolgirl yuri)

ohana holoholo <- torino shino (gay josei family drama)

kakegurui <- kawamoto homura & naomura tooru (not strictly yuri but, like teppuu, ive been led to believe its homoerotic enough to break that barrier)

[sinful-liesel]

Blackstar Theater Starless - Black Live III & Blackstar IV Split

Hello! I’m hosting a split for BLACK LIVE III & BLACKSTAR IV. Please see the registration form below for more details.

Reblogs & shares are appreciated! ❤ #lieselGOs

📝 GENERAL INFO

Registration Form: bit.ly/3vO69Vy

Deadline: Jan 31 (11PM CST)

Payment: Paypal, Ko-Fi, Venmo & Google Pay 🆗

💿 CONTENTS

BLACK LIVE III Blu-ray

DAY1 Disc / DAY2 Disc / Tokuten Disc

※The Tokuten Disc contains a special digest video of BLACK TOUR 2022

BLACKSTAR IV ✨ Disc 1:

Hana wa Kasuka ni / Kei (Singer: Ray Fujita) & Yoshino (Singer: Tomoki Saito / Academic BANANA)

Mosquitone / Heath (MC: Takuya IDE)

Seaside Escape / Akira (Singer: Taro Kobayashi)

Kaijin ni Tsumi / Zakiro (Singer: Shakemii)

Idaten / Heath (MC: Takuya IDE)

Cry:Pta / Zakuro (Singer: Shakemii)

Hitoshizuku no Himitsu / Maica (Singer: Kradness) & Rindou (Singer: Ajikko)

That’s my life / Akira (Singer: Taro Kobayashi)

Ugou Shima (Akira ver.) / Akira (Singer: Taro Kobayashi)

Hakuchuumu / Zakuro (Singer: Shakemii)

PRISMATIC TEAR / Yakou (Singer: Akito Matsumoto / Shinku Horou)

Too bad / Kei (Singer: Ray Fujita), Yoshino (Singer: Tomoki Saito / Academic BANANA), Yakou (Singer: Akito Matsumoto / Shinku Horou), Akira (Singer: Taro Kobayashi), Rindou (Singer: Ajikko), Maica (Singer: Kradness), Sinju (Singer: Stungun), Zakuro (Singer: Shakemii), Heath (MC: Takuya IDE)

– Special Track –

Scarlet Desire / Haseyama (Singer: SOPHIA Mitsuru Matsuoka)

White Wish / Unei (Singer: Masaki Ota)

✨ teamK Ver. Special Disc

Nami no mama ni / Yakou (Singer: Akito Matsumoto)

caprice of love / Yoshino (Singer: Tomoki Saito / Academic BANANA) & Yakou (Singer: Akito Matsumoto / Shinku Horou)

Temptation Game / Kei (Singer: Ray Fujita) & Yoshino (Singer: Tomoki Saito / Academic BANANA)

Run away together / Kei (Singer: Ray Fujita)

To the world / Yoshino (Singer: Tomoki Saito / Academic BANANA)

UnlockU / Kei (Singer: Ray Fujita)

The lament moon / Yoshino (Singer: Tomoki Saito / Academic BANANA) & Maica (Singer: Kradness)

You are mine / Kei (Singer: Ray Fujita), Rindou (Singer: Ajikko), & Yoshino (Singer: Tomoki Saito / Academic BANANA)

Hyakka no Sakigake / Yoshino (Singer: Tomoki Saito / Academic BANANA) & Yakou (Singer: Akito Matsumoto / Shinku Horou)

✨ teamW Ver. Special Disc

Kodoku no Yoru, Inori no Tsuki, / Akira (Singer: Taro Kobayashi)

Payback / Akira (Singer: Taro Kobayashi)

ALL IN / Akira (Singer: Taro Kobayashi)

Nagori no Hana / Akira (Singer: Taro Kobayashi)

Tsukikage Akaku / Akira (Singer: Taro Kobayashi)

TURNT UP / Akira (Singer: Taro Kobayashi)

MASTERMIND / Akira (Singer: Taro Kobayashi) & Yakou (Singer: Akito Matsumoto / Shinku Horou)

✨ teamP Ver. Special Disc

Trick or Truth / Maica (Singer: Kradness)

Luminous Snow / Rindou (Singer: Ajikko)

Hinageshi / Rindou (Singer: Ajikko)

Violet / Sinju (Singer: Stungun)

Futatsuboshi ga Deau Yoru / Maica (Singer: Kradness)

✨ teamB Ver. Special Disc

Kiraboshi / Heath (MC: Takuya IDE)

Fushichou / Heath (MC: Takuya IDE)

San B Uta / Heath (MC: Takuya IDE)

Kaikinisshoku / Heath (MC: Takuya IDE)

✨ teamC Ver. Special Disc

Kurenai ni Shiro / Zakuro (Singer: Shakemii)

Sword of love / Zakuro (Singer: Shakemii)

ermitage / Yoshino (Singer: Tomoki Saito / Academic BANANA) & Zakuro (Singer: Shakemii)

vow of love / Zakuro (Singer: Shakemii)

[weeklyvocajournal]

Weekly Vocajournal #47 (30/09 - 05/10)

kemu - Neppuu (ft. Hatsune Miku)

Sometimes you need a kick in the butt to kickstart something, and this was the kick for this update. Nothing like your old fave putting out a really good song (with a nice MV at that!) to put you back on the mood. Uplifting, much like a hot wind underneath wings.

Abaraya - Kanashibari ni Attara (ft. Kaai Yuki, Nurse Robot_Type T)

Cool glitchy electronic sounds with a pleasing voice combo. Can’t believe I haven’t found this producer earlier.

dama - Izoku no Wakusei (ft. Merrow, Amaga Elu)

Insane music and MV quality (all by the producer!) for the criminally low amount of views. Interesting contrast between the more natural SynthV voicebank and an older, more robotic UTAU bank.

Hachi - Donut Hole 2024 (ft. GUMI) [New MV]

It’s just a new MV, but it’s no less iconic than the original. Worth a watch if you miss Hachi.

4o/TadanoCo - amay (ft. Gekiyaku V6, Gekiyaku β, Gekiyaku)

There’s a specific flavor of experimental sounds in this and the upload before this that I really like. This also has the vocal parts clearly labelled, so it’s great if you ever want to compare Gekiyaku’s various voicebanks.

UtaP - Unmei o Aragau Mono (ft. Frimomen)

There’s seemingly less vocafolk these days, so I treasure the producers still making them, especially veteran producers like UtaP. Great use of Frimomen, and if my Japanese was better I might enjoy the what appears to be a Frankenstein-esque story.

nuyuri - Inochi ga Mitai (ft. Kasane Teto SV)

nuyuri strikes again with the tragic gays! A much more cheerful song than Lower for sure, but no less painful.

Other Cool Stuff:

杏戸 - Addict (ft. RIME)

Kazunami - 昇 (ft. Yuzuki Yukari, vflower, Xin Hua)

LIQ - chupa chups (ft. Kagamines)

Picon - Hana no Nagori (ft. SEKAI)

koyuki - Niji no Hashi no Shita de (ft. Hatsune Miku, Kasane Teto SV, Meika Mikoto, Hanakuma Chifuyu, VY2)

CrystalP - I’m buddy (ft. KAITO)

KIRA, Asteroid - FAKE HEART (ft. Kagamines)

DOPAM!NE - Shani Muni (ft. Kasane Teto SV)

Toiki - Date Plan (ft. vflower, Gekiyaku)

Jin - Summering (ft. Hatsune Miku)

Xero - Twinkling Stars (ft. Yuzuki Yukari)

Usagi 3 - Haikei, Usotsukina Bokutachi Yori. (ft. Kagamine Len)

[harunokijournal]

Amagi suka lagu2nya Balloon (especially Redire, yang lagunya dinyanyiin sama V Flower)

Minami suka Gehenna (Wotaku) sama Kigeki (Gen Hoshino)

Aika suka Shoujo Rei (MikitoP)

Kana suka Shinpakusuu#0822 (ChouchouP)

Osya suka lagu2nya Toumyu (fav dia Hogiuta sama Towazugatari)

Nora, Akari, sama Ai punya satu lagu yg sama dalam playlist mereka: Totemo Suteki na Rokugatsu Deshita (eight)

Karena nyebut Osya jujur gue jadi kepikiran lagu2 toumyu yg mungkin bakal disukai sama anak2 gue (udah lama kepikiran sbenernya tpi gue ga berani rambling di twt. Jadi bikelah gue akan ngoceh di bawah setelah read more)

Setsuna seleranya aga random, tpi dia bakal suka Ruriiro no Sora San. Dia juga bakal demen Towazugatari, dan sama lagu2 dari sesi gebuk2 taiko (?) kayak Kemono sama Otokomichi (oh she'll like Otokomichi so much, probably bakal dinyanyiin keras2 pas lagi piket di kelas).

Kana juga suka Ruriiro no Sora San. Tapi ketimbang lagu2 bernada semangat kayak Setsuna, dia justru demen lagu yg aga nyes: dia bakal demen Hana no Ame Kimi no Nagori, perhaps semua solonya Manba dia bakal demen www. Also dia bakal demen Chiru Hana wo.

Minami ... Kalo liat seleranya di atas dia kayaknya bakal satu selera sama Kana. Plus point dia bakal demen Erabarerumono sama Noraneko Nihiki.

Terus gue ngebayangin Mai seleranya lagu anu (wjaksgsksjss) she probably will likes Scarlet Lips ato Yura Yurara, ato YSS, dengerinnya sambil ngerjain gambar komis klien. Kadang dengerin Eoeoa kalo lagi ga mood denger lagu anu.

Akari satu selera sama Mai (she'll like Scarlet Lips and Secret Sign so much gue yakin). Also dia bakal demen lagu kebangsaan umat toumyu aka Touken Ranbu (isi playlistnya Touken Ranbu dari jaman Atsukashiyama Ibun sampe yg terbaru versi Kousui Sanka no Yuki).

Akane demen lagu yg lucu2~ dia bakal suka Brand New Sky sama Super Duper Day sama Eoeoa (trus dia ngajakin Shou dengerin juga). Perhaps suka lagu yg aga absurd juga kayak Kappore sama Waga Mitogaku (lagi2 habis itu ngajak Shou ikut dengerin).

Shou pribadi lebih demen Utsukushii Higeki (www). Dia juga kayaknya bakal demen sama Kizuna, ato Mistake, ato dua2nya /y

Nora gabung sama Osya dengerinnya Hogiuta sama Towazugatari wqwqwq. Also kadang dengerin Dreamless Dreamer (kalo yg satu ini beneran, satu lagu yg nangkring di playlist dia tu lagu ini).

Aika sama Ai seleranya bakal sama: lagu2nya Mihotose sama Kisho Hongi, mostly dengerin Bokutachi no Asu e bareng2 sambil jalan pulang ke rumah (satu earphone bagi dua dengernya lewat hpnya Aika sampe mereka pisah di pertigaan).

Sakuya bakal demen Yume Hitotsu sih kalo kata gue. Also suka Kimi wo Sagashiteta sama Illussion of My Heart. Blue Light juga rada demen. (Dualitas banget isi playlist dia www).

(Bonus gue ga ngebahas cowo tpi kalo kata gue Takigawa bakal demen Utsukushii Higeki sama Kimi wo Sagashiteta /y)

[sunshine-overload]

[BSTS] Menou 3rd Anniversary 4* Card Story 

chapter 1 -restaurant area-

unei: Please strike that last pose again Menou-san!

menou: Uhmm… which one was that again? Oh well, I’ll just go onto the next one.

unei: The next? …Ah, this one’s good too though! I’ll take lots of shots!

saki: (I was wondering what was going on, it appears Menou-san is having his photoshoot.)

(menou striking different poses while the camera flashes)

saki: (The atmosphere of each pose he makes is so different, almost like he becomes a different person. Yet… all of them look familiar…)

menou: …Hm? So you’ve been watching me from over there have you?

saki: Excuse me, I was curious as to what was going on.

menou: Come over here, I’ll be more motivated with someone else watching me.

(saki steps closer)

menou: Say, how did my poses look from your perspective?

saki: Well… I thought that they all had a different vibe, and that you really did seem like a different person each time.

menou: Ahaha, correct answer. Since I had the chance I was trying to remember and reproduce some of the roles I’ve played recently.

saki: So that was the case, I did get the feeling there was something familiar about each one.

menou: As expected, you understood. Hey I’ll strike each pose again, so try and guess which role they’re supposed to be.

saki: Huh!?

unei: That sounds interesting! I’ll try and guess too~!

menou: I’ll say a line as a hint too. Here I go~

menou (smirking): —Ivan, as long as you have that willingness, the gates of heaven will always be open.

unei: I remember hearing the name Ivan before… but which show was it from again?

choice: only seek you - Luminous Snow - Amegasa

>only seek you

saki: Could it be… only seek you?

menou: Fufufu, that one was easy huh. I played the devil.

unei: You really know your stuff, Saki-san. I’ll try get the next one right!

menou: Ok, here’s the next one.

menou (smiling): Oliver-sama is an exceptionally good boy. I would know this better than anybody else.

unei: He’s giving off the feeling of a caring older brother isn’t he? Is it Hikari wa koko ni?

saki: I’m not so sure...

choice: Violet - Zankou no Yukue - Hitoshizuku no Himitsu

>Hitoshizuku no Himitsu

saki: Could it be… Hitoshizuku no Himitsu?

menou: Correct, Housekeeper Grose treasures Oliver more than anything.

unei: I really thought it was Hikari wa koko ni… I’ll get the next one for sure!

menou: Ok, next.

menou (angry): For you to have deceived my treasure that I value just as much as my very life, for that I shall serve you a quiet and honourless death.

unei: Uwah, this one sounds really scary! Umm, scary, scary… Ah, Raijin!?

saki: T-this one’s tough but…

choice: Futatsu Hoshi ga Dechigau Yoru - Nagori no Hana - Rurutaru wa Kibou

>Nagori no Hana

saki: Could it be… Nagori no Hana?

menou: Fufu, Correct. General Fabio loves his younger sister, the heroine, so much that he resorts to acts of brutality.

unei: Great job, Saki-san!

saki: Yay, I got them all right!

menou: You really have been paying close attention to me haven’t you. I’m glad you could pick them all correctly.

saki: They were all such wonderful shows, I’d love to see them again one day.

menou: Yeah, while imitating them I starting wishing I could perform them again too.

unei: I couldn’t get a single one right~ Even though I’m the one that made arrangements for every single show… Menou-san, please give me one more chance! I’ll definitely get it right this time!

menou: Huh~? Mm…… yawn.

unei: Ah, I got it, I got it! You’re a cat from Trick or Truth!

menou: Nn~ This is well… a tired man, I guess.

saki: (Was there even a role like that…?)

-

chapter 2 -restaurant area-

menou: Mm, so sleepy…

unei: I thought you were a cat for sure~ In which show did you play a tired man?

menou: Hm? I’ve never played a role like that. I just started feeling sleepy.

saki: (As I thought…)

menou: There’s still time before tonight’s show, so I’ll go and take a nap backstage.

unei: Eeh, you can’t do that yet~! I haven’t finished taking the photos!

menou: Oh right, we were doing a photoshoot.

unei: Please do those poses of your previous roles one more time! I’m sure it’ll help you shine in the 3rd anniversary show!

menou: Don’t wanna. You didn’t even get any of them correct Unei-kun… yawn.

saki: Menou-san, please do your best in the shoot for just a little longer!

menou: Mm… I wonder what’s suddenly made me so sleepy. Oh, it must be because of this.

-cg

menou: This flower crown, it was made using real flowers. Their scent has made me super sleepy somehow. If I nap while wearing it I feel as though I’ll have a nice dream.

unei: Like I said, please don’t fall asleep~!

saki: I think the pose he’s making right now is very fitting for Menou-san though.

unei: Ah, true! This will make for a great picture then. Please stay just like that Menou-san, I’ll take the picture now.

-cg gone

unei: Alright, I got it!

menou: Are we done now? I’m headed backstage to nap then.

saki: Good work Menou-san.

menou: …All that said, I really have played a lot of different roles up until now huh. But it’s still not nearly enough. So, Saki-chan, make sure you choose me for the next show as well, ok? I’d like to entertain you more and more.

—end

~Alternate dialogue~

[all incorrect answers]:

menou: Nope. The answer was only seek you. Getting to play the devil that tempts Ivan was fun.

unei: Don’t say scary things with such a wide smile… it gives me the chills~

menou: Incorrect. It was Hitoshizuku no Himitsu. I played the role of Housekeeper Grose.

unei: Isn’t the difficulty level a little too high? I have concerns about this quiz!

menou: That really was a difficult one hm? The correct answer was Nagori no Hana, I played General Fabio.

unei: If it wasn’t Raijin I thought it’d have to be Enjin for sure~

saki: Aw, I didn’t get any right…

menou: It’s alright, I don’t mind the result. Cause it was fun getting to watch you giving it your all trying to think about what I was acting.

[one correct answer]:

saki: I managed to get one right, but that was tough.

menou: Was the one you got right a favourite role of yours? I would love to know what aspect of it captured your heart.

[two correct answers]:

menou: You understood a surprising amount from just some lines and mannerisms.

saki: That’s just how fascinating your acting is, Menou-san.

menou: Ahaha, I’m happy to hear you feel that way about it.

[mankaissengen]

Translations Masterlist

compilation post for my translations! if you spot a mistake or something that’s worded weirdly, please do let me know

-ˋˏ ༻✿༺ ˎˊ-

Idolish7

Idolish7 Part 5 PV

A3!/Mankai Stage

20 For Colors (Mankai Movie)

Sakura no Shita de (Mankai Stage)

Touken Ranbu/Toumyu/Tousute

Kimi wo Sagashiteta (TouMyu)

Hana no Ame, Kimi no Nagori (TouMyu)

Omae ga Shitteru (TouMyu)

Mahoyaku

East & West Golden Week home screen lines (2022)

Holostars/UPROAR!!

Utsugi Uyu Dengeki Online interview

UPROAR!! Manager Comments

Menhera ▼ Panic! Short Version

Menhera ▼ Panic! Full Version

[ma-bien-aimee]

Anime episode titles in Japanese, English and French

Similar to the post listing manga chapters, here is a list of anime episodes in three languages. I think it’s a good idea to have them listed all in one place, looking all neat and ready for comparison. The English and French titles are taken from the official DVD releases. Episode 41 is not included.

1. オスカル! バラの運命 (Oscar! Bara no sadame)

Oscar! The Destiny of the Rose

Oscar ! Le destin d'une rose

2. 舞え!オーストリアの蝶 (Mae! Austria no choo)

Fly! The Butterfly of Austria

Vole, papillon Autrichien

3. ベルサイユに火花散る (Versailles ni hibana chiru)

Sparks Fly at Versailles

Une étincelle de rébellion à Versailles

4. バラと酒とたくらみと... (Bara to sake to takurami to...)

Roses, Wine and the Conspiracy...

Rose, vin, intrigues et...

5. 高貴さを涙にこめて (Kedakasa wo namida ni komete)

With Tears of Dignity...

Larmes de noblesse

6. 絹のドレスとボロ服 (Kinu no doresu to borofuku)

The Silk Dress and the Ragged Dress

Robes de soie et haillons

7. 愛の手紙は誰の手で (Ai no tegami wa dare no te de)

Who Wrote the Love Letter

Qui a écrit la lettre d'amour ?

8. 我が心のオスカル (Waga kokoro no Oscar)

Oscar in My Heart

Oscar de mon coeur

9. 陽は沈み陽は昇る (Hi wa shizumi, hi wa noboru)

The Sun Sets, the Sun Rises

Un soleil se couche, un soleil se lève

10. 美しい悪魔ジャンヌ (Utsukushii akuma Jeanne)

The Beautiful Devil, Jeanne

La belle et démoniaque Jeanne

11. フェルゼン北国へ去る (Fersen kitaguni e saru)

Fersen Leaves for the Northern Lands

Fersen retourne dans les pays du Nord

12. 決闘の朝オスカルは...? (Kettou no asa Oscar wa...?)

On the Morning of the Duel, Will Oscar...?

Le matin du duel, Oscar... ?

13. アラスの風よ応て... (Aras no kaze yo kotaete...)

Winds of Arras, Answer Me...

Vent d'Arras ! Réponds-moi !

14. 天使の秘密 (Tenshi no himitsu)

The Angel's Secret

Le secret de l'ange

15. カジノの伯爵夫人 (Casino no hakushaku fujin)

The Countess of the Casino

La comtesse du casino

16. 母, その人の名は...? (Haha, sono hito no na wa...?)

Mother, Her Name is...?

Mère, quel est ton nom ?

17. 今めぐり逢いの時 (Ima meguriai no toki)

Now, the Moment of Encounter

À présent, le temps des rencontres

18. 突然イカルスのように (Totsuzen Icarus no you ni)

Suddenly, Like Icarus

Soudain comme Icare

19. さよなら, 妹よ! (Sayonara, imouto yo!)

Farewell, Little Sister!

Adieu, petite soeur !

20. フェルゼン名残りの輪舞 (Fersen nagori no rondo)

Fersen, A Farewell Rondeau

Le bal d'adieu de Fersen

21. 黒ばらは夜ひらく (The Black Rose Blooms at Night)

Kurobara wa yoru hiraku

Les roses noires éclosent la nuit

22. 首飾りは不吉な輝き (Kubikazari wa fukitsuna kagayaki)

The Necklace Shines Ominously

Le collier au sinistre éclat

23. ずる賢くてたくましく! (Zurugashikokute takumashiku!)

Cunningly and Resiliently!

Forte et rusée !

24. アデュウ, わたしの青春 (Adieu, watashi no seishun)

Adieu, My Youth

Adieu ma jeunesse

25. かた恋のメヌエット (Katakoi no minuet)

Minuet of the Unrequited

Le menuet d'un premier amour

26. 黒い騎士に会いたい! (Kuroikishi ni aitai!)

A Sought Encounter with the Black Knight!

Je veux rencontrer le chevalier noir

27. たとえ光を失うとも... (Tatoe hikari wo ushinau to mo...)

Even If I Should Lose the Light...

Même si je perds la vue

28. アンドレ, 青いレモン (André, aoi lemon)

André, a Green Lemon

André l'immature

29. 歩き始めた人形 (Aruki hajimeta ningyoo)

The Doll that Began to Walk

Une poupée qui apprend à marcher

30. お前は光俺は影 (Omae wa hikari, ore wa kage)

You are the Light, I am the Shadow

Tu es la lumière, je suis l'ombre

31. 兵営に咲くリラの花 (Heiei ni saku rira no hana)

A Lilac Blooming in the Barracks

La fleur des lilas pousse dans les casernes

32. 嵐のプレリュード (Arashi no prelude)

Prelude to the Storm

Prélude à la tempête

33. たそがれに弔鐘は鳴る (Tasogare ni choushou wa naru)

The Funeral Bells Toll Amidst the Twilight

Une cloche sonne au crépuscule

34. 今"テニスコートの誓い" (Ima "Tenisu kooto no chikai")

Now, "The Tennis Court Oath"

Le serment du jeu de paume

35. オスカル, いま, 巣離れの時 (Oscar, ima, subanare no toki)

Oscar, Now is the Time to Leave the Nest

Oscar, vole de tes propres ailes

36. 合言葉は"サヨナラ" (Ai kotoba wa "sayonara")

The Watchword is "Au Revoir"

Adieu est un mot d'amour

37. 熱き誓いの夜に (Atsuki chikai no yoru ni)

On the Night of Their Passionate Vows

La nuit du serment solennel

38. 運命の扉の前で (Unmei no tobira no mae de)

Before the Door of Fate

Aux portes du destin

39. あの微笑はもう還らない! (Ano hohoemi wa mou kaeranai!)

His Smile is Lost Forever!

Son sourire ne reviendra jamais

40. さようならわが愛しのオスカル (Sayounara waga itoshi no Oscar)

Adieu, My Beloved Oscar

Adieu mon aimée Oscar

[chanoyu-to-wa]

Nampō Roku, Book 2 (2):  (1586) Tenth Month, First Day, Go-atomi [御跡見].

2) The same day¹.

    Things were left [exactly] as they were [when Hideyoshi departed]².

◦ [Guests³:] Bizen-saishō [備前宰相]⁴, Sōmu [宗無]⁵, Sōkei [宗惠]⁶.

◦ The room was the same⁷.

﹆ Toko:  the flower arrangement [by Toyotomi Hideyoshi] was left as it was⁸.

◦ On the shelf, the remainder of the tea, [in] the Shiri-bukura, on its tray⁹.

﹆ When [the guests] entered the room, everything remained as it had been¹⁰; the kama was lifted up so that [the new guests] could have a look at the remains of the charcoal [that had been arranged by Hideyoshi]¹¹.

◦ And again, a little more [charcoal] was added, and the kama returned [to the ro]¹².

▵ Kashi ・ senbei [センヘイ], kobu aburite [コフ　アブリテ]¹³.

Go [後]¹⁴.

Kurete [暮テ]¹⁵.

◦ Toko:  after [Hideyoshi's] flower [arrangement] was taken away¹⁶, a tōdai [燈臺]¹⁷ [was hung up in its place].

﹆ The Shiri-bukura was lowered [to the mat]¹⁸.

◦ Mizusashi:  the same as before¹⁹.

◦ On the shelf:  the habōki²⁰.

◦ Chawan:  as before²¹.

    Everything else was the same [as earlier in the day]²².

_________________________

¹Onaji hi [同日].

    This means “the same day.”

    It was the first day of the Tenth Lunar Month of Tenshō 14 [天正十四年] (1586).

²Go-ato ni sono-mama [御跡ニ其儘].

    Go-ato [御跡]:  go [御] is an honorific (it indicates that someone important did something*); ato [跡] literally means footprints.  In other words, everything was left exactly as it was when Hideyoshi left the room†.

    Sono-mama [其儘] means "as it is;" "as one finds it;" "as (things) stand." __________ *In this case, it was what remained (in the room) after Hideyoshi took his leave.

†In this kind of construction, ato refers to the (intact) setting (just recently) vacated by an important personage -- i.e., Hideyoshi.

³In this kaiki, the names of the guests are simply listed without being introduced by the word “guests.”

⁴Bizen-saishō [備前宰相].

    This refers to the daimyō and nobleman Ukita Hideie [宇喜多秀家; 1572 ~ 1655], who, in addition to being the lord of Bizen [備前] and Mimasaka [美作] provinces*, served as an Imperial Chamberlain (jijū [侍従]), Imperial Councillor (sangi [参議]), lieutenant-general of the Left Imperial Guards (sa-konoe ken-chūjō [左近衛権中将]), and provisional Vice-councilor of State (gon-chūnagon [権中納言]), ultimately attaining the second grade of the Third Rank (ju-sanmi [従三位]†.

    Hideie also was a member of Hideyoshi’s Council of Five Elders (go-tairō [五大老]), which was created to act as the regent for Toyotomi Hideyori after his father’s death, and opposed Tokugawa Ieyasu at the battle of Sekigahara, for which he was exiled to Hachijō-jima [八丈島], an island in the Philippine Sea far distant from the Japanese archipelago.

    The sobriquet Bizen-saishō [備前宰相], which means something like “Chancellor of Bizen,” was Ukita Hideie’s nickname, due to his huge influence over the affairs of this province. ___________ *Both provinces form part of modern-day Okayama Prefecture.  The village of Imbe [伊部], which is in Bizen, is the original home of Bizen-yaki.

†Though at the time of this chakai, Hideie was of course not such a high noble.  His father, Ukita Naoie [宇喜多直家; 1529 ~ 1581], the hereditary lord of Bizen, had died several years before, and Hideie was elevated to a prominent position several months later at the very young age of 10, by the Oriental way of counting.  (At the time of this chakai, Hideie was just 15 years of age according to the same way of counting ones age where the person is assigned the age of “one” at birth.)

    Hideie was subsequently adopted by Toyotomi Hideyoshi after he married Hideyoshi’s adopted daughter Gōhime [豪姫; 1574 ~ 1634 -- whose birth-father was the great lord Maeda Toshiie], and it may have been for some such reason that Hideyoshi invited him to attend this atomi (and possibly was the reason why Hideyoshi deigned to arrange the charcoal before serving usucha to his two attendants and Rikyū -- to impress the young man with the importance of mastering chanoyu as his soon-to-be-adoptive-father had done).

    It might be doubted whether Hideie was actually known as Bizen-saishō at the time when this chakai took place (since he would have only just celebrated his gempuku [元服], or ceremony of attaining manhood, earlier in the year).  The use of this sobriquet, then, might represent a later emendation (perhaps intended to clarify the identity of the guest, and so associate him with the person thus named in the Rikyū Hyakkai Ki).

⁵Sōmu [宗無].

    This refers to Okayama Hisanaga [山岡 久永; 1534 ~ 1603*], who is also known as Sumiyoshi-ya Sōmu [住吉屋宗無]†.  He was a wealthy townsman from Sakai, and also a highly respected chajin‡, and served as one of Hideyoshi’s Eight Masters of Tea (sadō hachi-nin-shū [茶頭八人衆]).

    Sōmu’s presence as the ji-kyaku was very likely intentional (perhaps at Hideyoshi’s direction)**, so that he could assist Hideie (who, at his young age, probably did not know much about chanoyu††). ___________ *Certain accounts suggest that Sōmu may have died in 1595, at the time when Sakai was razed on Hideyoshi’s orders (as a punishment for the city-state’s opposition to his invasion of the continent).

†He is identified in this way in the other versions of the Hyakkai Ki.

‡Sōmu is said to have first studied chanoyu under Jōō, and then later with Rikyū (though, given his high standing with both Nobunaga and Hideyoshi, this latter assertion might be a revisionist opinion popularized by the Sen family during the Edo period).

   He studied Zen under Shunoku Sōen oshō [春屋宗園和尚; ? ~ 1611], from whom he received the name Sōmu [宗無] -- which he used as his professional name later in life.

**In the Hyakkai Ki, Sōmu frequently appears in a role that might be interpreted as being Rikyū's assistant, in situations where the shōkyaku either was inexperienced, or his rank indicated that he needed to be treated with especial deference (in such a case, Sōmu would convey the chawan to him, for example, and then return it to the host after the shokayku had finished drinking).

††Since only usucha would have been served at this atomi, this may have been Hideie's first experience of chanoyu.  Thus the atomi is being staged as a sort of miniature chakai.

⁶Sōkei [宗惠].

    This refers to Mizuochi Sōkei [水落宗惠; dates of birth and death unknown], who was another respected machi-shū chajin from Sakai*.  He is also said to have been the father of Rikyū's son-in-law, Sen no Jōji [千 紹二]†. __________ *Some suggest that he was also one of Rikyū's disciples (though it is more likely that he was a member of the group that formed around Rikyū in the years after Jōō’s death -- given Sōkei’s contemporary reputation as a chajin).

†Sōkei's son is usually known as Sen no Jōji because Rikyū adopted him into the Sen family upon his marriage to Rikyū's daughter (Rikyū having only one biological son -- which, for a merchant, was akin to putting all of ones eggs in one basket).

⁷Onaji zashiki [同座敷].

    Literally, the same sitting-room.

    This refers to the 2-mat room which Rikyū used during the chakai for Hideyoshi (that had just concluded).

⁸Toko ・ go-hana sono-mama [床 ・ 御花其マヽ].

    Go-hana [御花]:  the use of the honorific (go [御]) means that Rikyū is referring specifically to the chabana created by Hideyoshi (which Rikyū moved from the floor of the toko to the hook attached to its rear wall).  Hideyoshi's chabana (white chrysanthemums in an Arima-kago [有馬籠] -- this basket is shown below) was left as it was.

    The Shigaraki hanaire and usu-ita would have been removed from the toko after Hideyoshi left.

⁹Tana ni go-cha no nokori, Shiri-bukura ・ bon ni [棚ニ御茶ノ殘、尻フクラ・盆ニ].

    Go-cha no nokori [御茶の殘り]:  the use of the honorific (go [御]) indicates that this was the matcha remaining from what had been used to serve Hideyoshi.

    As was mentioned before, the Shiri-bukura [尻膨] was Rikyū’s most prized chaire; and it was from contemplating this bon-chaire that his unique ideas about how to perform the bon-date temae arose*.

    Because reused tea could only be served as usucha, Rikyū is also suggesting that koicha was not served to Hideie and the others (as was sometimes done in other atomi no chakai). ___________ *This was perhaps the greatest difference between Rikyū’s chanoyu and that of Jōō (who created the bon-date temae).  Oddly (considering the over-blown lip service that they accord to Rikyū), none of the modern schools perform bon-date in his way:  all of them prefer to do this temae the way Jōō did it (even though most of the modern schools prefer to use the smaller “Rikyū-sized” chaire-bon, rather than the larger trays -- now almost always used as higashi-bon -- that were employed by Jōō and his disciples).

¹⁰Za-iri sono mama [座入其マヽ].

    This means that when the guests entered the room for the (abbreviated) sho-za of this atomi no chakai, the ro was left exactly as it had been when Hideyoshi departed.  This was important, since the idea was to allow the guests to inspect the charcoal laid* by Hideyoshi. __________ *Actually, Hideyoshi had simply repaired the fire that had been laid by Rikyū.  Nevertheless, the condition of the different pieces of charcoal would make this obvious to someone who understood chanoyu; while simply impressing the importance of mastering chanoyu to the young man who was nominally the shōkyaku at this atomi.  (This atomi seems to be attended by mock formality, which in turn suggests that this may have been Hideie's first experience of chanoyu.)

¹¹Kama agete go-sumi no nagori ikken [釜アケテ御炭ノ名殘一覧].

    Ageru [上げる] means to raise something up; lift something up; bring something up.  The kama was lifted out of the ro (and presumably stood on a kamashiki that was placed on the left side of the utensil mat*).  This allowed the guests to have an unobstructed view of the interior of the ro.

    Go-sumi [御炭]:  once again, the use of the honorific indicates that this refers to the charocoal arranged (or repaired) by Hideyoshi.

    Nagori [名殘] means, remains, remnants, vestiges.  Since the time of Jōō it had been said that the host's skill could be ascertained by the remains of his arrangement of the charcoal (since the vestiges of the fire showed not only the arrangement, but the manner in which the fire had taken hold, and burned down -- things that were just as important as the beauty of the arrangement itself).

    Ikken [一覧] means to glance at something; to have a look at something. ___________ *I have seen a commentary that suggested that the kama was left suspended on a chain several shaku above the mouth of the ro, so that the guests could look at the fire underneath.

    However, given the size and weight of Jōō‘s ito-me kama [絲目釜] (shown above), this would have been ill-advised (since it would look very dangerous to the guests, even if the chain and ceiling were actually strong enough to support it).

    This interpretation was probably the result of the result of the commentator (who was not a practitioner of chanoyu) misunderstanding the word kakuru [掛くる] -- see the next footnote.

¹²Mata sukoshi oki-soe, kama kakuru [又少置添、釜カクル].

    Oki-soeru [置き添える] means to place something beside (something else); add one thing to another.  The new pieces of charcoal were placed next to the burning pieces, so that they would catch fire slowly (and so keep the kama boiling until the "gathering" was ended).

    Kama kakuru [釜掛くる] literally means to hang or suspend the kama (over the ro).  This expression originated in the old days, when the kama was suspended over the ro on a chain*.  And it remained the way to express the idea of returning the kama to the ro even after the kama came to be placed on top of the gotoku.    

    This sentence is a good example of the way that Rikyū expressed himself.  It is much closer to Korean syntax than Japanese (I was asked to point this kind of thing out by certain followers of this blog). ___________ *The expression is also used with regard to placing the kama on a furo.  This may be an example of post hoc terminology; or the fact that the original furo was a kake-awase furo on which a kiri-kake kama was suspended -- here used because the kama rests on the ring-like mouth of the furo, with part of it hanging below the point of contact.

¹³Kashi ・ senbei, kobu aburite [菓子 ・ センヘイ、コフ　アブリテ].

    Senbei [煎餅] are rice crackers.  They would have been procured from a specialty shop.

    Kobu aburite [昆布 炙りて] means konbu (kelp) that has been toasted over a charcoal fire (rather than boiled in broth and tied into a bite-sized knot, which is the other way that it could be served as a kashi).

    The kashi would have been served in a shallow vessel of some sort -- perhaps on a large dish, resting on an unpainted oshiki [折敷].

    This kind of chakai, where only kashi are offered to the guests, is sometimes referred to as a kashi-kai [菓子會].

    After eating their kashi, the guests would have gone out for a brief naka-dachi, while Rikyū readied the room for the service of tea.

¹⁴Go [後].

    This indicates that what follows occurred during the go-za [後座], the second half of the chakai when tea is served.

¹⁵Kurete [暮テ].

    Kureru [暮れる] means to become dark.  The day is drawing to a close, and it is now dark enough outside that artificial illumination is needed within the room.

¹⁶Toko ・ go-hana tori-irete [床・御花取入テ].

    Tori-irete [取り入れて] means to bring something in -- in this case, into the katte.

    That is, the flowers arranged by Hideyoshi were removed from the tokonoma.

¹⁷Tōdai [燈臺].

    This is a kake-tōdai.  It is an L-shaped stand (sometimes made of wood and metal, and sometimes made from a piece of bamboo -- the two most common styles are shown in an Edo period sketch, below) that can be hung on the wall (in this case, from the hook attached to the back wall of the toko), which in turn supports a saucer of oil containing several burning wicks made of the pith of the lamp-rush plant (Juncus effusus var. decipens), called igusa [藺草] in Japanese.

    Hanging the kake-tōdai in the toko (in place of the flower arrangement) is a practice called tō-ka [燈華] -- which is usually translated as “flower of the lamp” (though apparently without a clear understanding of what is intended, on the part of the translator).

    This word is a pun (the homophonous tō-ka [燈火] is the “lamp-flame,” the source of the light); but hanging the tōdai in the toko, as a substitute for the chabana, was one of Jōō's most closely guarded secrets (and this is the reason why chabana were not displayed at night -- because the flame takes the place of the flowers).

¹⁸Shiri-bukura oroshite [尻フクラヲロシテ].

    Orosu [下ろす]* means to lower something (in this case, from the shelf to the mat).

    According to Rikyū's densho, precious utensils should not be placed on the shelf when it is dark (since the presence of candles on the floor will throw the things on the shelf into shadow, making it easier for the host to inadvertently knock them over when he goes to lower them to the mat).

    Furthermore, the Shiri-bukura chaire now contains used tea (that will be served as usucha).  Thus it is not appropriate for the tea container to be displayed on the shelf at the beginning of the service of tea.

    The Shiri-bukura chaire, on its red Chinese tray, was placed on the mat, in front of the mizusashi. ___________ *Oroshite [下ろして] is, of course, past tense.

    The Shiri-bukura chaire, on its tray, was lowered to the mat during the naka-dachi.  It was already resting on the mat, in front of the mizusashi, when the guests entered the room for the go-za.

¹⁹Mizusashi ・ migi-dō [水指・右同].

    As before, this was the aka-Raku yahazu-kuchi mizusashi [赤樂矢筈口水指] that had been made for Rikyū by Chōjirō.

²⁰Tana ni habōki [棚ニ羽箒].

    This would have been the same go-sun-hane, made from the feathers of the shima-fukurō [島梟].

    In Rikyū's temae, the habōki was used to dust the utensil mat at the end of the service of tea, as well as after the sumi-temae*.

    Furthermore, it is a rule that, if there is a tana preset in the room, it should never be empty when the guests enter the room, or when they leave.

    At the end of the temae, the hishaku and futaoki would be placed on the tana; and after dusting the utensil mat, the go-sun-hane would be removed from the room. __________ *Neither of these things are usually done in the modern school’s temae.

    When the utensil mat is a maru-jō [丸疊] -- a full-length tatami -- the habōki is used to dust only the upper end of the utensil mat (which is equivalent in size to a daime).

    After sliding out of the katte-guchi, the host turns around and leans back into the room, and cleans the lower 1-shaku 5-sun of the mat with a za-baki [座掃], a large feather broom (usually made from the pinions of a large bird, such as an eagle, such as shown above) that is used for cleaning the room in general.

²¹Chawan ・ migi-dō [茶碗・右同].

    This was the Wari-kōdai [割り高臺] chawan, a very old Korean bowl that had been brought to Japan by one of the refugees escaping the Ming military invasion of Korea in the mid-fifteenth century.

²²Sono-hoka nanimo mina onaji [其外何モ皆同].

    Everything else was the same (as during the earlier chakai).

    This means that all of the other utensils* that have not been mentioned above were the same.

    But it also means that things were done in the same way as earlier* -- in other words, the chawan (with chakin, chasen, and chashaku arranged in it) was placed inside a (new) mentsū [面桶]†, and so everything not already displayed in the room was brought out at one time. ___________ *In other words, the kōgō would have been his ruri-suzume [瑠璃雀].

    And Rikyū would have used an ori-tame [折撓] that he had made himself, as his chashaku.

    While the futaoki would have been a take-wa [竹〇], as was almost always the case at Rikyū’s wabi chakai.

    As earlier in the day, the hishaku would probably have been resting on the futaoki, on the left side of the mizusashi, with its handle parallel to the left heri of the mat.

†The only exception to which was that only usucha would be served during this atomi no chakai.  Both because tea that had already been used to serve koicha at an earlier chakai could never be used to serve koicha at a subsequent gathering.

    But also because, if this were Hideie’s first experience of chanoyu, he would probably not like koicha -- which is an acquired taste:  the host must always consider the shōkyaku when deciding what he is going to do.

‡The mentsū [面桶] (above) should only be used one time, since absolute purity is its special feature.  This is the reason why the chawan could be placed inside of the mentsū and so carried into the room -- something that would be unthinkable were the host using any other kind of koboshi (which could be used again and again).

[r95irth]

I don’t know what to do about this text i wrote today. At first it just came out because i was considering making a “what if” scene. But then i started writing it and include things i didn’t say yet about characters, and then it turned up into world building and i kind of want to continue it but i have no place where to post except on the blog. So here it is =)

Keeps in mind that this scene is set during Satoru’s third year at UA ! 

And here is the list of the kids if you’re lost, since you don’t know them all that well yet. Especially since i tried to have every single one of them having at least one line: 

https://docs.google.com/document/d/1acW4wZqcFobpi7CzRArJazrgfi4K1BSeiBeAp8wKAAg/edit?usp=sharing

-The next kid who open his mouth is expelled!

The bus went silent, and all student sat back on their sit under Aizawa’s death glare. The teacher sighed, and went back to sleep, knowing that he would need to to do that again in less than 20 minutes. It was always like that when they traveled by bus. Even more now that Class A and Class B were reunited in the same bus. (But it was, he supposed, less tiring than having to check two bus and retrieve the student who tried to sneak in the other class vehicule to sit with their friends).

-Risu, off the damn roof.

The squirrel girl went back to her sit -or more precisely, went back to her friend, Kenya’s sit, and hide in his fluffy cotonhair - as if nothing ever happened.

-Shashin, if you duplicate just another paper airplane with your power, you’re the first one to go.

Hibiki raised his hand, like a criminal apprehended and sit back, as a dozen of paper airplanes fall to the ground.

All might, and his never ending patience and kindness, stepped in and recalled them all:

-It’s fine to have fun, but don’t forget to behave well when we arrive at the center, children will be looking up to you, it’s important to give them a good example! All right kids?

-Yes Mr All Might!

-Wait? What center? What kids? Suddenly asked Makoto, looking as if the bus was suddenly leading him to hell.

Of course, his headair habit never ceased to amuse the rest of the class who laughed wholeheartly. He never ceased to surprise them, even after almost three years together. Satoru was beginning to think that Electric-type always had the tendencies to shut down their brain cells.

-Come on Man, i talked to you about it all week long, complained Daisuke next to him. -We’re going to see my little bro! In my hometown!

Makoto frowned for a moment, noticing how this classmate’s shoulder was against his, and how he was not striking by lightning yet. Which meant only one thing:

-Wait that’s the truth? I’m totally lost!

Yuu took pity on him and explained:

-We’re going to visit the government center, airhead. You know the place where government put into safety people with quirks too dangerous for the society or show new kinds of ability that we need to study.

Makoto’s eyes lightened up as he finally made the connexion.

-Ooooh!

All might saw the opportunity to start the lesson early, and be sure to keep the whole bus calm, so he took it and resumed:

-As Miss Jishaku said, the place we’re going right now is under the governement’s supervision. But it is not a research center as you might think. This is a city, where people with abilities so great that it’s either a danger for others around, or that needs to be developped under constant supervision, are welcomed. The government provide them a  place to be.

-Is this really okay though, wondered Heiji with empathy -WHat about their family?

-This is an excellent question, my girl! Well, the government isn’t allowed to separate family -history proved that it was never a good thing to do- and so all close family is relocated along, there, with jobs within the facilities provided.

-Why can’t they keep their old jobs? Asked Nagori.

-Because, my boy, this place is heavily secured. For years it it was even a secret place that only a few knew the localisation! Think of it like witness protection program in USA, people who are relocated here are to be protected and have to leave their old lives behind for the sake of confidentiality.

-I heard that 20 years ago, the place was even located on some island, commented Takashi.

-Well there can’t be just one place like this for the whole japan, there’s probably other places, i would try to hid it in one of our islands too if i were in charge, remarked Hana with a smirk.

Satoru shook a bit Mahô’s shoulder, to woke her up, as the teacher started to tell them how such places came to be, and how it was always under the supervision of private society to make sure that human rights were respected. The girl snored, rubbed her eyes, listened for maybe, half a second, and then went back to sleep on her friend’s shoulder.

-You know, it might be on the test next month, you should really listen.

The girl grumbled as she took her phone off her school bag and tapped the screen, so it could record whatever the teacher was saying. Then she rolled the other way and resumed her nap. Satoru could feel how tired she was, and gave up the fight, making sure the phone was close enough to record All might’s lesson (even if he knew she had enchanted it in such a way that it couldn’t miss a single word from a teacher).

-Hey, isn’t he talking about your mom’s family? Asked Max, the seat right behind him.

And though Satoru had missed what All might had said, all he had to do was focus on his friend’s memory to get it back and answer correctly:

-Yeah, The Yaoyorozu are one of the private companies that assures governments treats people with special quirks with human decency, among other things.

-Wow, your family is really everywhere, whispered Max.

Coming from the son of a diplomat, he found the comment amusing, but Max never really quite got how high standing his situation was.

-It must be awful, whispered Yuu, being forced to move back in some secret location, change job and leave their old lives behind.

-Not that much, defended Daisuke- I mean i thought it was all right while i was there.

-I thought you lived there all your life? Asked Makoto.

-Well, yes, my family is there since three generations, because of my great-great-grandfather’s power. That’s how Kino and I are related, i’m from the side of the family who got moved there, and he is from the side of the family who stayed, well in whatever place they were before i suppose?

-So you’re kind of unconcerned, you never got to leave your old life for this, remarked Sei, which caused, as always, Daisuke to pout, dejected.  

Hearing that, Shiori raised her hand and asked All might :

-Sir, What kind of ability will have the people there?

-This is an excellent question again, my girl! You might think that since you’re pro heroes you get to see strong quirks everyday so why do one need protection or to be studied when an other don’t?  There is a clear categorisation for that!

They waited for All might to continue, but apparently All might expected the same from them, so they stared at each other for a while before one decided to speak:

-I had a classmate at kindergarden who started secreting acid from his skin, and people from the government went to take him, but he was back a month later to the class. Why? Isn’t his quirk fall into the dangerous for other category?

-Exactly, my boy, Kenya. But all quirk can be dangerous for others, Thirteen made sure your learned that during your first year, right? As long as you can control it, you are not considered as dangerous. Here you’ll see kid with quirk they cannot stop or control, hence the term dangerous applies to them constantly.

-So, Satoru started, as he rose his hand- if, for example, one’s quirk was to eat off emotions of another...He would need his quirk in order to live, he wouldn’t be able to survive without it, but his power would be dangerous for those around. Would this kind of person be taken then?

All Might almost lost his smile for a moment, as he knew the reason why Satoru gave such an example, but as always he didn’t let the sadness take over and answered without faltering:

-This is indeed a good example; but again it depends what kind of effect eating emotion would do to other and themself. Is it dangerous for people he eats emotion from? Is it dangerous for him and his health? If not, he would not be taken. Beside you’re using an example of a villain foreigner, am i right? What i say to you only apply to japan, all the world do have similar system, but there are some changes inherent to each country.

-I see.

Satoru didn’t really like the answer, but that wasn’t something he could do much about right now. He still promised himself to do some researches on his own so he could have a better understanding of the situation. He wondered if, in the past, the black market he got himself wrapped ever targeted such place and closed his eyes to look into the memories he had gathered there. It didn’t take him even a second ; one of the villain he still had access on his brain knew the answer. Yes, they did wanted to target such places, but couldn’t, they weren’t strong enough to make such a dangerous attack without compromising their cover. It intrigued Satoru even more ; what kind of places was it to scare the people who managed to kidnap hundred of people without getting caught for more than twenty years…? And what kind of quirks they would see there? So he asked, and All might was fast to answer:

-We’re talking about quirk time related or dimension related.

-When i came to be, informed Kyouji, as he floated to All might, government official came to study my quirk too, to see if it was related to the afterlife and not just astral projection.

The teacher nodded in agreement:

-Power like yours which can extend our knowledge about life itself, twist dimensions, or which can see the future, are very valuable and precious. I once had a sidekick who was raised in this kind of facility because of his-

-NIGHTEYES IT IS NIGHTEYES RIGHT? Jumped Kino, star in his eyes as he heard of his idol.

-Ye-yeah exactly but…

-Is it THE facility he is from we’re going? Is he where he grew up? Are we going to see HIS CHILDHOOD HOUSE?

As All might was bombarded with fanboy questions, Ume started to giggle and exude a flowery scent. Since their teachers were busy -both, since Aizawa was snoring in the first passenger seat- Satoru turned to the only one left that could answer him:

-So how come you managed to get out of the facility Daisuke?

If the place was even as guarded as the villain he used the memory thought it would be, then it had to be as hard to get out than it was to get in. But Daisuke frowned:

-We’re not prisoners you know, we can go out whenever we wants. Well it’s a bit more complicated when you’re the one with the power that is rare, but the family can go wherever if they want to.

-So, you’re not the one with rare power? That’s a surprise, i thought that your clone ability was great, wondered Goro, as he took the place between Satoru and Mahô.

-Fluffy, mumbled the girl in her sleep as she choose to use him as a pillow rather than her best friend. Satoru would have called her traitor, if he wasn’t so happy to get so close to the other boy. He just hoped he wasn’t blushing too much to make his contentment obvious to everyone.

-Well my power is sure great, explained Daisuke. -But nothing compared to my Great-great-grandfather’s. And someone always seems to inherit it in my family, my grandfather, then my mother, then my brother. That’s why we’re still here.

-What’s like?

The boy scratched his nose, very proud, as he said:

-My little bro can create clones like me, but he can create clones of other people’s too. AND, most important of all, he can choose what their clones would be like. As long as he is awake his clones remain there, as powerful as real person!

He probably expected a better reaction from them because he added, after a moment of silence:

-Seriously? That’ super awesome, like...Hm...how to say...It’s like Kino’s power you know? he gets to choose at which point of one’s life the clone will be from! From which future it’s from!

-What?

-Yeah, you know like that one time we talked about what we would be like if we were villains? Well all my brother need to do to make you see what you really would be like as a villain, is a bit of your dna to eat!

-Yerk, commented Tsubaki, man of little words as always.

-That’s indeed a powerful quirk, but i think Kino’s better, why is he not in such place then? Asked Yuu.

Daisuke, who apparently was very proud of his family, didn’t really like the comment and defended his little bro’s honour with teeth and nails:

-’Cause Kino can’t know why or how the person he incarnate became like this. He got nightmares but it’s not very clear and it’s confusing! PLus he can only go ten years into the future, or in one’s past! Whereas my brother can make SEVERAL clones of someone at the SAME TIME, and each clone can explain how they became like this! Since they’re their own person. My bro can even tell if he took them from a future or a possibility that never happened but could have happened, sometimes. I think! Maybe?

-The last part isn’t very sure.

-Well he is like, only 12, so of course we’re still learning about him, and we can’t spend all our time making him use his quirk to see the limit; he has school and friends and life you know!

-He is allowed to have a normal life, then? Asked Goro with his blinding smile that made always Satoru’s twist.

-Well, that’s the point of the Yaoyorozu company being involved, he tried to say with his usual voice -except it was as weak as a whisper and he hated it-They have to respect human rights.

Fortunately Goro had great hearing skills and didn’t miss what Satoru said. Neither did Daisuke since he developped:

-Well, when you’re the one with the special power, you have a different schedule, sure. But you go to school like normal, it’s more as if, he had extra activity planned on week-end he had to attend. There government agents help him develop and control his power. But there’s always a guardian with him, most of the time it’s my mom or my dad, and a third party from a private company.  When my brother wants to go out the town he has to sign paper, and see someone who has a disguise quirk, so he can go without being recognized. Sometimes he is lucky and even have one of the heroes guarding the place coming with him!

-Oh, suddenly realized Makoto. -Wait didn’t you said that’s the kind of hero you wanted to be?

Daisuke laughed:

-Yeah! I think they are the best, they don’t do that for fame, they’re hidden heroes! And when i was at school, teachers always said that if a government agent overused their power or blackmailed our family, we could go and talk to them, they would protect us.

Maybe he was biased from the start, but Satoru still didn’t like the place. He would have hated to be sent there, and be at the mercy of strangers, again  being used and under the power of an organisation. The knowledge that his maternal grandparents’ agency was in charge did little to lessen his doubts. The fact that his maternal grandparents worked there comforted him a little though : he knew them and how hardworking they were. Beside they had the title of heroes -even if he didn’t think it was possible until today, so they had to be part of what Daisuke explained, those shadow heroes gave up on fame.

But Satoru didn’t have time to reflect too long upon him, only half an hour later, Koyuki made a surprised noise, and pressed her cheek to the bus window:

-Guys, guys! Look!

Even Takashi, Tsubaki and Kahei lifted up their eyes from their portative consoles, and Yosuke from his vomit-bag.

The road they were one was nothing interesting, so far. He liked the river, bordered by big white stones, that reminded him of the landscape from Miyazaki’s movies. But for now they were kind of lost, wandering in between two mountains -that Yosuke gazed upon with fear, as he knew they eventually would have to go back up there to leave. The large large path was so flat that Satoru wondered why there was no farm using the place to cultivate rice. Then, suddenly, he noticed what Koyuki had seen first, with her keen eyes.

A chasm. Almost invisible because of the pines and fir trees, but still there. And, for a moment, it seemed like there was something inside the chasm, but Satoru missed the chance to see. There was a path, not paved, that went there.

-Please tell me we’re not driving into this, mumbled Yosuke, already sick at the very idea.

But the bus didn’t enter it, instead it stopped, and Aizawa stood up:

-Everyone, take your bags, we have arrived.

Daisuke was so exatic he didn’t walk, but bounced himself out. Satoru took the time to wake up Mahô at least.

-You know, night is for sleeping, maybe you should do that.

-Meh, sleep is for weak, she answered with a tired smile that proved she considered being really, really weak right now.

Satoru didn’t want to argue right now, so he just said:

-Promise me you will talk about it to Kirishima, so he will make sure you have a less busy schedule.

-Can’t do much about it, olympics start next month, i have to train.

-Maybe but it’s still dangerous for you to be this tired all the time. There will be no olympic if you injure yourself.

-And that’s why we have Tsubaki and his grandmother’s super quirk, she smiled with the sign of victory.

Her phone rang the moment she finished her sentence. Satoru just had to close his eyes to know : It was a text message from Tsubaki saying “If you break your leg, i break your ears”.

-It’s okay Tsu’, laughed Mahô as she stepped outside the bus ; I don’t need my ears anyways!

Satoru sighed, but there wasn’t much he could do about it. So he followed his other classmates as they entered the path between bushes. The river bed was becoming larger and larger, he could hear it now, and he understood how he underestimated the size of the white rocks, it was huge, as huge as Ryuunosuke, the dragon-mutated-guy of class A !  And the said guy was already trying to climb on the top of one with Lazare.

-Do you think he hates seeing something taller than him? Asked Max.

-No he just plan to jump into the water from there, sighed Satoru.

The second after, Ryuunosuke not only dived into the river, but dragged Lazare with him. Which of course, didn’t end well, because Arya thought they got the permission to do it, pushed Yule in the river before following right after with a big splash. They all got wrapped into Aizawa’s scarf and dragged to the dust, as a punishment.

-Unbelievable, who gave me such kind of student, i can’t believe i didn’t expelled you all already...Grumbled Aizawa.

-You like us too much, it’s too late now, recalled him Satoru.

-I’m starting to reconsider it.

The chasm suddenly appeared before their feets, and finally Satoru saw what was inside : a City lied at the bottom, somewhere 50 meters below. Surrounded by these natural walls, it was almost invisible and the river ended up falling inside as a waterfall, forming a beautiful lake, covered every noise the city could make. No wonder they hid the place here, only a flying ennemy would notice such a place. And even then, they would have to know it was between those two mountains.

-This is awesome! Screamed Kohaku, as she jumped in and let herself glide into the chasm.

-I never took this route, confessed Daisuke, there’s an underground tunnel if you want to go back to civilisation.

-That, my boy, is a top secret route that only government official and residents can take, you shouldn’t talk about it, explained All might.  

-Oh, sorry!

-Do we have to climb all the way down there? asked Yule, she was already soaking wet and Satoru could feel that she didn’t want to make any effort in her state.

Teachers didn’t have to answer, as they saw a shadow take Kohaku in the middle of her fly. They didn’t have time to worry about their friend either, because the second after this, a hero appeared right before them, holding the little squirrel girls in her arms.

-Kouda told me you would be arriving soon, but please, refrain to do that without telling us. I thought it might be an attack.

-My apologies, our Risu tends to act without thinking, said All might. -Thank you for catching her without hurting her, Lady Vulture.

Kohaku looked away, finding the ground suddenly very very interesting, more interesting at least than the scolding. Vulture smiled and shook All might’s hand.

-No problem! It’s a pleasure to meet you all kids! Hi Daisuke, i saw you at the festival, you did great!

-Thank you!

-Are you all ready to go? For those who can fly their way to the ground, dive with me! For the others, there is a telepheric cabin a little farther to the east, Kouda, my colleague, will be waiting for you there!

That being said, she spread her wings and jumped with a joyful scream, Yule sighed, and followed too, with Kohaku, Arya, Kenya and even Yume used his power to create wings on his back. After a second of hesitation, sharing a glance with him, Mahô finally decided to go too, using her enchanted bag to summon her witch broom. Satoru didn’t mind, he was okay with the ground, even more if it gave him the opportunity to see his Mama and Papa’s old friend, Kouda.  

Kouda didn’t change much over the years, maybe he got a bit bulkier, but as they arrived to the cabin station, he seemed as calm and sweet as ever, busy talking to a bird. He greeted his ex-teachers and gave Satoru a pat on his head and a smile.

He had heard that the hero found a job in the mountain, but he thought -and his parents too- that he was just patrolling, helping rangers and stuff. He supposed that the shy man had signed a confidential contract that didn’t allow him to say more.The kid was still a bit disappointed in himself for not discovering it with his ability. He had thought he was closer than that with the adult. But, now that he thought about it, he never really bonded with the man, and didn’t see him that often. Satoru was still happy to see him though, and the man seemed at ease here.

-Okay kids, started Aizawa, as they all gathered into the cabin. -Remember to behave. Don’t fight, don’t jump into the lake -don’t push your friends or kids into the lake. Be an example.

-Keep in mind that the children you’ll be dealing with all have special quirks they might not control yet, stay on guard but be kind to them, added All might.

-If you have any trouble with any, talk to us about it, whispered Kouda.

As they talked about the securities consign, Satoru’s gaze wandered on the city below. It was a nice place, each house seemed to be unique in it owns way. Some looked like old japanese style, other were more modern, and there was a big facility that was probably the main research center, that looked really high-tech. He had no trouble imagining Daisuke living peacefully here. But it still made him a little bit claustrophobic : there was really no way to go out, without the government knowing.

Then Satoru caught a glimpse of a tiny figure. A girl, probably younger than him. While lot of kids were playing in the main place of the town, she stood was all alone by herself. She had a sky blue skin and her hair seemed as fluffy as clouds. He didn’t know why she, especially, dragged his attention. Maybe because she seemed lonely.

[jrokku-club]

Toshl - Yuki no hana (雪の華) + Nagori yuki (なごり雪)

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[jellyfishromance]

【live】 Neji. (ネジ｡)

On February 10th, Ryutaro session band Neji. held a live under the title 【渋谷、観劇の日、或いは弾き語る動物の2月第2金曜日】 (Shibuya, kangeki no hi, aruiwa hiki kataru dōbutsu no 2 gatsu dai 2 mokuyōbi) at the Chelsea Hotel in Shibuya (Tokyo).

Once again, the live was split into two parts. In both, Ryutaro appeared under his pseudonym ネジ村ネジ太朗 (Nejimura Nejitarou). Besides Ryutaro, also Kouji Ikuma/耕治生熊 (cune Vo&Gt) appeared on stage.

Check out the setlists below ↓

- Ryutaro Arimura (Nejitarou Nejimura) Setlist PART 1

なごり雪 (Nagori yuki) もしもピアノが弾けたなら (Moshimo piano ga hiketanara) 夢の途中 (Yume no tochuu) I love you 鶯 (Uguisu) たとえば僕が死んだら (Tatoeba boku ga shindara) 粉雪 (Konayuki) 時代 (Jidai) 楓 (Kaede)

- ENCORE - 悪女 (Akujo) クローバー（cuneカバー） - clover (cune cover) リフレイン（cuneカバー） - refrain (cune cover)

- Ryutaro Arimura (Nejitarou Nejimura) Setlist PART 2

僕たちの失敗 (Bokutachi no shippai) I love you なごり雪 (Nagori yuki) 想い出がいっぱい (Omoide ga ippai) 時代 (Jidai) 悪女 (Akujo) 楓 (Kaede) 粉雪 (Konayuki) 雪の華 (Yuki no hana)

- ENCORE - ひとり上手 (Hitori jouzu)  リフレイン（cuneカバー） - refrain (cune cover) クローバー（cuneカバー） - clover (cune cover)

Sources: 1 2 3 4 5

[kawaii-music-notes]

Ohara Sora : Toshiyuki Toyonaga

大原空 : 豊永利行

Arihara Morihito : Yuuki Ono

在原守人 : 小野友樹

Kagaruzaka Soshi : Shin Furukawa

神楽坂宗司 : 古川慎

Munakata Ren : Taishi Murata

宗像廉 : 村田太志

Nanase Nozomu : Chiharu Sawashiro

七瀬望 : 沢城千春

Lyrics:

Romaji: bonyari to ukabu matsuri no tomoshibi ga hitokage no mure wo yurashiteru sasabune ukabeta sukitootta mizube de awai hikari mau

furuyado wo kakomu kumotta yukemuri to yatai kara noboru ookina kumo yukata no suso agete warau kimi to tawamureta natsu no koe nabiiteku

ano toshi wa zutto futari datta kutsu himo mitai ni musubarete yuugure no kaze fuku koro ni omoimeguru

saita saita yozora ni moete nagori misete kiete yuku hana ni tooku tooku mabataku hitomi wasurenai yo oto ga togirete mo

wata ame kuwaeta marui yokogao ni tsumetai aki bin wo furesaseta odoroita hyoushi ni tebanashita fuusen sakamichi korogatte

itsuka no natsu mo onaji you na itazura kawashite hashai da ne uchiage no aizu kikoetara mado wo akete

saita saita nanairo no wa ga kodou ni kasanatte chiru hana ni tooku tooku tsubuyaku kotoba todokanai de yozora ni magireta

mabuta tojite mo utsuru hikari ni sorezore no omoide daite kimi mo dokoka de mite iru no kana oboeteru to ii na

saita saita yozora ni moete nagori misete kiete yuku hana ni tooku tooku mabataku hitomi wasurenai yo kumo ga nagarete mo

saita saita nanairo no wa ga kodou ni kasanatte chiru hana ni tooku tooku egaita hibi wo wasurenai yo oto ga togirete mo

English: Floating around absent mindedly, holding a festival light A group of figures sway back and forth A toy boat floats onto the transparent waterside The fleeting lights dance

The surrounding old inns become dim due to the fog The festival float ascends into a huge cloud You laugh playfully as you roll up your yukata sleeves Voices of summer flutter by

That year was always the two of us Tied together like a shoelace My thoughts return to that time when the evening wind blows

It bloomed, it bloomed, as the night sky burned I watch the remains of the flowers disappear Far away, far away, eyes blink Don’t forget even if the sound is interrupted

A soft round face like cotton candy A cold empty bottle presses against it In the moment of surprise the balloon is let go And rolls down the hill

Someday I hope for a similar summer Exchanging pranks and being so happy When I hear the launching signal, I’ll open the window

It bloomed, it bloomed, a ring of seven colours The flowers fall with the sound of the beats Far away, far away, words are muttered The night sky just won’t reach

Eyelids close as the light is reflected Embracing every single memory I wonder if you can also see it where you are It’s nice to remember

It bloomed, it bloomed, as the night sky burned I watch the remains of the flowers disappear Far away, far away, eyes blink Don’t forget even if it is cloudy

It bloomed, it bloomed, a ring of seven colours The flowers fall with the sound of the beats Far away, far away, depicting every day Don’t forget even if the sound is interrupted

[mangaredditdotcom]

Mahoroba No Hibi.

Alternative: まほろばの日々 (Japanese); 綺譚 (Chinese); Days in Arcadia (English); Hana no Ke; Kitan

Description : 1-2) Mahoroba no Hibi Taka is depressed over the loss of his cat, and his best friend Tetsu is at a loss as to what he can do to make things return to normal. Then he meets Hana, a ditzy but adorable "Denpa Onna"... 3) Mahoroba no Nagori 4) Kitan From Echochi Scans: He’s been meeting up with the boy annually for the last 7 years in an onsen his grandfather first brought him to. Will he finally confess the truth to the boy that he had been keeping secret of? 5-6) Hana no Ke #MangaReddit.com, #ReadFreeMangaOnline Read Free Manga Online at MangaReddit.com: https://mangareddit.com/p/mahoroba-no-hibi_1584424415.html

Read more.

[recentanimenews]

X JAPAN Vocalist Toshi Sings " A Cruel Angel's Thesis" in His 2nd Cover Song Album

X JAPAN's 56-year-old vocalist Toshi will release his second cover song album "IM A SINGER VOL.2" from Universal Music Japan on December 4, 2019. A preview video for one of the songs from the album, "A Cruel Angel's Thesis" (TV anime Neon Genesis Evengelion OP theme) is now streamed on the record company's official YouTube channel. The song was originally sung by Yoko Takahashi in 1995, and has been covered by many singers including herself. 

  Prior to the CD release of the 12-song album, Toshi's version of "A Cruel Angel's Thesis" will be available digitally from October 23.  

    CD jacket:

  Song list:

  "Nagori Yuki" (Shozo Ise/1974) 

"Bohemian Rhapsody" (QUEEN/1975)

"Kanpai" (Tsuyoshi Nagabuchi/1980)

"Memory" Written by Andrew Lloyd Webber, Trevor Nunn and T.S. Eliot　Japanese lyrics by Keita Asari (1981) 

"Manatsu no Yoru no Yume" (Yumi Matsutouya/1993) 

"OH MY LITTLE GIRL" (Yutaka Ozaki/1994)

"A Cruel Angel's Thesis" (Yoko Takahashi/1995)

"Yuki no Hana" (Mika Nakashima/2003)

"Story" (AI/2005)

"Konayuki" (Remioromen/2005) 

"CRYSTAL MEMORIES [Fantasy on Ice Ver.]"　(self cover/2017) 

"Masquerade [Fantasy on Ice Ver.]"　(self cover/2018)

      Source: Universal Music Japan official YouTube channel

  © 2019 UNIVERSAL MUSIC LLC

  By: news+feed@crunchyroll.com