#i am not an expert by any means

[where-our-stories-start]

this might be a weird question, but i just saw your queer eye post and something you said stood out to me: "Furthermore, telling someone to shower more isn't actually helpful, it just makes them feel shamed." - i was wondering if you had advice for me? my boyfriend is autistic and doesn't shower very often. like, maybe every 3-4 days. i also have autism and when his hair is oily it really is a sensory nightmare for me, and i'm also kind of sensitive to smell. i've never said "hey, please shower more" because i don't want to hurt his feelings, but i want him to just maybe shower every two days. is there a helpful way to do this? he isn't depressed, i think he just doesn't like bathing

So I am 100% not an expert on autism or sensory issues, but I have some experience with neurodiversity and mental health/processing in general, so here's my non-expert advice:

Tell your boyfriend basically exactly what you've just told me. Make it clear that this isn't about him doing something wrong, just about differing habits and needs. Frame it as an issue for the two of you to find a solution to together ("I'm struggling with something; can we chat about it?"). Explain your issue with oily hair, and ask him why his shower routine is the way it is. Based on his answer, see if you two can find a solution. Maybe it's as simple as him not remembering to shower more, in which case you can help by reminding him. If he does dislike showering to the point where doing it more often isn't a practical solution, try looking into things like dry shampoo, head wraps, etc.

The issue isn't in telling someone to shower more per se, the issue is in making someone feel shamed or gross or wrong for their habits. You're not telling your boyfriend he's dirty, you're just talking about what happens to his hair after a few days and your response to it. Just like Tan gives Joey ways to stay clean and fresh that fit within his lifestyle, your job is to find ways for you to interact with your boyfriend's hair that work for both your needs.

Good luck!

[myopicry]

something on the concept of passing I've been trying to put into words for a while (and I think I've finally gotten somewhere with it) --

passing is ultimately a fool's game because it only guarantees you'll be dependent on how others perceive you, forever.

which, in my opinion, sort of sucks! especially if you suffer from dysphoria and already have the lowest of low self-esteems, you essentially doom yourself to never getting the chance to really ever build up a healthy and stable sense of self at all. that absence of self-understanding and confidence just continues to provide a spot for the dysphoria to stay and rest. sure, you tell yourself, maybe with enough surgery and hormones and hug-boxing and external validation and curating a perfect image that finally gets you the response from others you want, you can be just satisfied enough to ignore that bitter presence, that angry combination of envy and self-loathing and anxiety, on the condition, of course, that the world responds to your projection in the "correct" way. but it is still there. it will be there when you realize placing your most fragile component in the hands of people who love an ideology and a stereotype more than you isn't a promise of anything tangibly better. and it will be there until you realize the only way to win the game is by letting go the notion of "winning" at all. until you finally prioritize seeing yourself through your own eyes, instead of just balancing your whole internal sense of self on the shifting opinion of the fickle, flawed world around you.

[slashify]

We all love tattoo artist Eddie, but consider tattoo artist Steve.

He has an American Robin perched on a trumpet on his bicep for Robin. He gave her a brightly colored ice cream cone on her shoulder in different shades of pink. She rambled about cultural tattoos and the history of tattoos in America when she wasn’t bitching at him (‘Ow! For the love of all that is holy, Dingus!’ ‘Do you need a break?’) the whole time he was doing it.

He finds one of the kids (Max) attempting a stick n poke and gathers them all around for a lecture on safety and cleanliness. He promises the kids he’ll tattoo them for free when they’re old enough.

He and Will have art sessions where they’ll pick a subject and draw it traditionally and then Steve gives him pointers on how he would make the design better for tattooing. Will ends up apprenticing with Steve when he turns 18.

Steve still wears blue jeans and polos. His work is good enough that his customers don’t give a shit how he dresses.

He’s compassionate about coverups. He knows what it’s like to have changed so much that who you once were doesn’t fit anymore.

He’s very versatile, switching between outlines, black and grey shading, subtle highlights, and bold coloring with ease. He can do cartoon work as well as he can do realistic plants, or big cats, or lettering (he checks the spelling five or more times. He’s never messed up, but it’s one of his biggest fears). He has a whole list of referrals from people who like how he does scales. He’s lost count of how many fish, dragons, and snakes he’s done. He’s comfortable with a lot of styles, but he doesn’t do portraits. When Will starts at the shop he excels at portraits. Steve’s happy he’s found his niche.

Steve’s at a tattoo expo to network and check out new techniques when he finds himself stopping to watch an artist doing a tattoo of a demon. The artist has long, dark hair pulled back in a ponytail, and a grin like sunshine, and manages to make something grotesque and beautiful at the same time. Steve checks out the guy’s portfolio and sees a lot of fantasy stuff, dragons and wizards and a familiar looking set of dice, and he knows he has to go grab Will from the food court.

[wellfine]

HII I love your art so much it's so expressive and it feels like theres so much movement in it! I was wondering if u had any tips or advice to help with that? I practice anatomy and expression so much but it seems like everything I draw on my own is so stiff!! Anyway I hope you have a great week :)) <3

Hi there! Firstly, thank you so much for the kind words, it means a lot that you would take the time to tell me!

Second- my advice is to take everything you've learned about anatomy and THROW IT OUT THE WINDOW!!!!!!!

... For now. Just into the front yard so you can keep an eye on it. But I have seen many artists concentrate chiefly on studying anatomy only to feel like their art ends up too stiff. My own experience has been to treat anatomy as a tool best used to correct an image in the later stages of construction rather than as your driving foundation.

If "correct" anatomy (however you choose to define that) is the priority of your undersketches, I find that you end up with a sort of Skeleton Song approach to drawing - y'know, the knee bone's connected to the thigh bone, etc etc. Whatever energy, emotion, or intent you wanted your drawing to convey is getting lost each time you split it into another anatomical segment. By over-focusing on individual parts, you lose sight of your image as a whole.

The key to conveying dynamic movement in motionless art is to ensure every element of your image agrees on and communicates the same action, the key to which is something called the line of action.

A line of action is simply that - an implied "line" with wich you lead the viewer's eye and communicate movement. Think of it as the core of your figure's action, simplified to its rawest form. By knowing this, you know what to emphasise and what to de-emphasise.

Well, art is a visual medium and I am better explaining with drawings than words or I'd never have picked up a pen in the first place, so:

Images can have multiple lines of action, lines of action can complement and contrast each other, and a line of action isn't always as obvious as something like running. Imagine you're tring to make your art more "aerodynamic" to the eye. Since I draw a lot of One Piece fanart, I assume you're also familiar with it, and you can probably imagine how Oda uses "lines of action" when composing panels of Luffy punching something, Zoro slicing something, Sanji kicking something- etc etc. He's really good at selling the "oomph" of action shots by reducing visual clutter so that the impact of the action is greater.

(The Monster Trio's abilities are all designed in such a way that allow for REALLY striking lines of action... you can tell Oda loves studying manga fight scenes and wanted to create a world where he could push these concepts to the limit, and it's no wonder One Piece caught the eye of animators even before it was serialised by Toei)

You're probably already noticing how line of action also feeds into composition and silhouette when it comes to conveying movement in an image. Basically put, once you've isolated whatever action it is that you want to convey, the more visual clutter you can streamline away from that action, the stronger an impact that will have on the viewer. A firm line of action, an uncomplicated silhouette for your figure, and a readable overall composition of your image/panel are all ways to minimise visual clutter.

You can also use this information to achieve the opposite effect! Sometimes the ideal action you want to convey is not fast, or powerful, or confident, and you can use the same principles.

In fact, you can apply line of action to images that don't have any "action" in them at all. You can make a drawing of someone simply standing there feel more lively by applying these same principles to their body language:

You can develop an eye for how to simplify movement down to its "lines of action" by studying real photos and other people's art. Try simplifying a figure to its silhouette, and then simplify that silhouette further to a stick figure. And honestly, a lot of this could be boiled down to "see your image as a whole and not just a collection of individual pieces". Set anatomy aside during the composition stage and bring it back in when you start building up the sketch.

Moving away from the line of action, my second piece of broad advice is simply to exaggerate more. Lots of artists subconsciously hold themselves back from pushing motion, expression, etc. out of concern that it will look "too much". Well, maybe it will- but you won't know that unless you try! You can always walk it back if you think you took it too far, but I think you'll be surprised by how far you can push your art before you hit that point.

My final piece of advice is to work on line confidence. Even if you follow the rest of this advice, if you have hesitant and scratchy lines, you're undermining the flow and punch of your art. The best way to improve line confidence is simply by practicing! Do a lot of quick, timed studies, and use a permanent medium like a ballpoint pen or marker. Focus on unbroken lines wherever possible even if it makes your studies look like garbo. I find traditional studies are best for improving line confidence, but if you'd really rather stick with digital then just don't let yourself use the eraser tool, and try using a chunky brush with limited pressure sensitivity.

And that's it! Don't stress about it too much though. Loosen up with your art and, like any other skill, you'll improve with practice, time, and analysing what you like about other people's art. Good luck!

[carlottastudios]

Every day I get closer to making an unhinged behemoth of a post listing all of the things about Kaeya and his possible connections to mythology & stuff that I notice but NOBODY ELSE SEEMS TO BRING UP IN THEIR THEORIES

(edit: OMG I reached the tag limit I'm so sorry)

[collieii]

i'm sure it's been said but i do love how trimax handles wolfwoods death. i've seen so many stories that have characters die and they just go away after. i'm really used to stories where the other characters aren't allowed to grieve, the story keeps going and it feels like the other characters aren't really affected or get over it really easily. but in trimax wolfwoods death is so important. we see other characters grieving him. vash protecting the orphanage, expanding his power when he really shouldn't, because it was wolfwood's home, even though wolfwood is already gone. he gets an actual burial. vash and livio eating their way through the grief, which is more comedic but still shows us how important he was to the two of them, sets up how in many ways they're fighting in his memory.

even after he's gone he's still present in the story in such a strong way. we can see how he's affected the other characters, even when they don't explicitly mention him it's obvious that they're thinking about him. what he did when he was alive, and his death itself, are so important to the story even after he's not there. not just in a really abstract "this is someone we lost" way (though there are a lot of times his death and sacrifice motivate vash and livio to fight harder!) he's present in the finale in a material way to livio, who uses his serums to help fight against elendira, which ofc also ties into the way wolfwoods choice to ally with vash and fight against knives gave livio strength to do the same. wolfwood showed him that there are things worth fighting for, things worth protecting. that your body is a weapon, but you can choose what to do with it, use it for something meaningful.

and the way vash kills legato in order to save livio? vash outright says that he did it to protect what wolfwood fought for, sacrificed his life for. it's tied to the ongoing arc between vash and wolfwood, their conflict over the necessity of killing others. wolfwood pushed vash into having an understanding of his views when he was alive, demonstrating the necessity of that violence. simultaneously, vash inspired wolfwood to follow his path, a kinder one. vash remembers what wolfwood said to him, and his death gives those words added poignancy. wolfwood well and truly sacrificed everything to protect what he loved and fight for what he believed in. how can vash let that go to waste? he sacrifices something just as meaningful to himself, and he pulls the trigger. it brings him closer to wolfwood in a way he never was before. he understands now, fundamentally, what motivates people, motivated wolfwood, to act as he did when he took lives. there are so many other ways wolfwood is present in the story after his death i can't talk about all of them but it makes me so crazy

[freckliedan]

i'm going to straight up start filtering urls of people who use ableist language because it's popular on tiktok. delulu isn't a funny or cute way of talking it's misuse of a word with a specific use. there's already so much stigma and oppression faced by people who experience delusions/psychosis/etc and the way people use the word delulu makes things worse.

have you guys not been seeing people who are directly harmed by this talk about it since the moment it started happening? do you not care at all about solidarity with disabled/mentally ill/mad people?

not using words is the easiest thing in the world. why is this still happening on my dash.

[lady-morrigen]

just as a general note, bc it’s been killing me lately -

SUBCONSCIOUS

- adjective: of or concerning the part of the mind of which one is not fully aware but which influences one's actions and feelings

UNCONSCIOUS

- adjective: not conscious

they are similar, to be certain. but i have always been under the impression that they are not to be used interchangeably as adjectives.

so when you write: She twirled her hair subconsciously - it’s clear to me that you mean the character is not fully aware of her actions, the instinct coming from the brain’s subconscious.

but when you write: She twirled her hair unconsciously - i’m picturing your character twirling her hair while passed out cold on the floor.

[petit-papillion]

I'm legitimately confused about the Carlos tires post. I don't have a dog the fight, I'm just trying to understand it from a technical protective. People in the tags are saying that the graph makes it so obvious that Carlos not gradually wearing in his tires at the beginning of the stint cost him at the end of the stint. All I see though is that the lap times for both Charles and Carlos get slightly higher as the stint progresses at a pretty similar rate. What am I missing? Does Carlos' line end because he pitted (I don't remember how that played out)? Even if that's the case, his lap times didn't seem much slower than Charles' at that time, so it seems like there's something I don't understand. Am I having a moment and missing something obvious? Thanks in advance for any insight you or any or your followers can provide!

Hi Dancing-on-inters!

Here is the graph in question (by umakshually) for reference:

You can see in Lap 2 that LEC is lapping slower (red line above the 1:21:250 mark), while SAI is pushing (white line just below 1:20 mark). Zach Brown was pointing out that the tyres need to be gently brought up to temperature or they will not last long, and that SAI was pushing hard in the last turn (T14) on Lap 2 to set up his overtake on LEC on Lap 3.

Brandon (@brakeboosted) posted a graph of Lap 3 Turn 14 and it shows LEC (red) using less throttle and racing at a slower speed than SAI (white):

Back to the first graph: Compare the white straight line (SAI) to the red line (LEC). The steeper white line shows how SAI dropped off a lot quicker than LEC. SAI: 0:01:00 over 13 laps, vs. LEC: 0:00:45 over 22 laps.

The hard push SAI did in those initial stages led to his tyres degrading faster, and him having to pit a lot sooner (after 15 laps, versus LEC after 24).

Note: only Alex Albon did a longer stint on Soft tyres (26 vs. Charles's 24), but with a lower fuel load as it was his middle stint.

📷umakshually / brakeboosted / pirellisport

[forestanomaly]

East slavic naming guide

From a ukrainian artist who grew up in russia-influenced culture and has russian friends. Probably can also be applied to other east slavic nationalities, but I can't talk for them, so I strongly advice to do additional research.

So, you desided to make a character that is russian, ukrainian, belorussian or perhaps rusyn. It is very nice, we'd love some representation! But how to name your new east slavic creature in a way that would sound right for their real counterparts? Let's go over some frequent mistakes I notice in names of slavic characters.

Structure of the name

Our names consist of name, patronymic (usually) and surname. There can be exeptions from the established rule, but usually name and surname is a must.

Name

Gender is stupid, but if you want to be aware of it, then please mind which gender the chosen name represents. There are names that can be considered unisex in their nickname form, like Alexander (m) and Alexandra (f) is commonly redused to Sasha (f/m/whatever), or Evgeniy (m) and Evgeniya (f) can be nicknamed Zhenya (f/m/whatever). Mind that nicknames are usually used by friends and family, and it is considered polite and respectful to refer to a person you don't really know/who is much older than you or is of a higher rank or position by their full name and patronymic/matronymic (ex. "...so my teacher, Alla Ivanovna..." "Andrey Romanovich, can I ask you something about the task you gave us earlier?") (more on that later) Full, unshortened version of the name is rarely used in friendly and family settings, especially if the name is long and common. No friend or family would call you Vladislav if they don't mean it in comedic way or using your Full Name (tm) when they're angry (you know what I mean, your parents do that too), on a day-by-day basis people who know you would usually just call you Vlad. I encourage you to look up common nicknames for names when you choose them and to think about how other characters would refer to your east slavic depending on their manneurisms and relationships. Some nicknames are more often used in sertain settings than others, for example, here's name Sergey. Common nickname is Serezha/Serega, but on the streets (tm) it can be shortened to Seryi, which literraly means Gray, so have fun with that.

Surname

Please please PUHLEASE WATCH THE ENDINGS OF THE SURNAMES Most of the words in east slavic languages are gendered, especially surnames and patronymic/matronymics, that change their endings depending on who they belong to! Ex: If a character is male, then his SurnameNamePatronymic would be Sobolev Alexander Vasilyevich. If a character is female, her SNP would be Soboleva Alexandra Vasilyevna. You see where I'm going, right? There are some surnames that don't change, like Onyshenko, or Yakovenko, for example, that stay the same, no matter who they belong to. Be aware of that when you choose a surname and check how it changes and if it does at all, please. We would appreciate it greatly.

Patronymic/matronymic

Most of the time you meet people with patronymics, aka derivative word from the name of their father. It is uncommon, but not unheard of, for people to have matronymics (same but with their mother's name) or have neither. They pretty much always change depending on the gender of a person, ex.: There is a dude named Bogdan. His son would have patronymic Bogdanovich, his daughter - Bogdanovna, and his nonbinary child would probably choose a plural form of the word - Bogdanovni, but there are no rules for that in languages I know, so I'd ask actual east slavic nonbinary people how they go about that. People usually actually use patronymics/matronymics combined with full names in official settings. NP/NM is usually used by students when they reffer to teachers, by subodrinates when they talk to their boss, by kids when they talk to their friend's parents and etc. It's basically ms./mrs./mr. of the east slavic languages. It is also common for older people to call each other only by patronymic/matronymic if they know each other well, like if they are neighbours, colleagues or friends. They also usually shorten the patronymics/matronymics when they do that, so Ivanovich becomes Ivanich and so on. People younger than, like, fourty, usually don't do that and just use names if they know each other well. It's always good to double-check the spelling and pronounciation of specific everything (name, surname, patronymic/matronymic), because boy do they hold linguistic surprises. Thank you for reading, have fun, do your research, don't be afraid to try new things and ask questions!

[marmot-bumblebee-231]

How exactly does Della control her robot leg? Cause she definitely has some control but like… the calf is hollow, even though she clearly has control of the foot to some extent.

Idk i have no knowledge of this subject, it just struck me while i was rewatching nothing can

[pianokantzart]

Consider the facts:

Luigi, in the Mario Movie, has expressed that he has “bad knees,” which explains why he’s not as physically adept as his brother and has trouble keeping up with him.

But in the Mario games Luigi often has a higher jump, and is even able to run in mid air for a short period of time. Odd that they would give the Mario Brother who has those sorts of abilities knee problems, right?

Yoshis also have a higher jump than Mario, and are able to run in mid air for a short period of time using an ability called “flutter jump” (though this ability goes by many names depending on the game.)

Yoshi is practically confirmed to be in the sequel, and it can be assumed from the post-credits sequence that he is going to be a lost, newly hatched child rather than an old friend that rescued Mario and Luigi as babies.

This version of Yoshi’s origin story bears a lot of similarity to the old Super Mario Brothers cartoon, in which Luigi becomes a mother figure to Yoshi after finding him abandoned at the bottom of a pit. 

What if in the next movie, Luigi is struggling to keep up with his brother due to his ongoing physical issues. Meanwhile, he adopts this strange little dino creature that he found lost in Brooklyn, taking him in and raising him until he can be safely released into the wild. As a result, The Yoshis consider Luigi part of the pack, and bestow upon him their jumping/hovering abilities through some form of mystical blessing or permanent powerup.

 Thoughts?

[collateral-joy]

What is Dick Rave?

An Introduction

Figure 1: a

I suppose that, if I'm going to be throwing this term around, then I should clarify what it means, and what it means to me.

Dick Rave refers to the duo of Rick Moranis and Dave Thomas. See, it very cleverly swaps the first letters of their first names to make a kind of nonsense phrase.

I enjoy the work of these two guys separately well enough, but it's their collaboration that really holds my attention.

Figure 2: Dual Hosting Action

Dick Rave is the two guys, their relationship, their work together, their combined comedic sensibility.

Dick Rave is a sliding scale of a thing - it is possible to evaluate something as being more or less Dick Rave depending on a number of factors, and what the Dick Rave dynamic actually looks like can shift in different contexts.

Figure 3: Who points at who?

Dick Rave dominates the conversation on SCTV Series 3. These guys just cannot stop working together.

Of course you got Bob & Doug in every episode, but you also got Woody & Bob, Karlov & Crock, Cronkite & Brinkley, Cronkite & Caller (Various), Cronkite & Karlov... you get the idea. Hell, they even play extras together.

Figure 4: They even play extras together

Believe it or not, I find it hard to talk about Dick Rave. Partially because I'm reticent to discuss the affairs of strangers, partially because I've been so marinated in it that it's difficult to move my thoughts into the wordspace.

Some things are better communicated in image anyways.

Figure 5: Do you remember the moment you fell in love?

Let's not beat around the bush any longer; let's talk about type. I'll keep this short, I promise.

Which traits do you find attractive in a person? Do those traits tend to clump together? Do those clumps begin to form strange shapes with fuzzy yet identifiable outlines? Some of those shapes look pretty far apart, don't they?

Well smash two of 'em together. And now you understand.

I won't bore you with the laundry list here, and if you've found yourself at this post, you can probably fill it out on your own. Point is, Dick Rave, to me, represents the meeting of two well-defined aspects of my type that I would normally consider incompatible.

But no, it turns out! They can be great friends! And a delightful comedy duo, to boot!

How can I deny that?

[shalom-iamcominghome]

I assumed bugs aren't kosher? Since shellfish aren't kosher, and shellfish are like.. ocean bugs. In my logic I see insects as land shellfish.

Totally! Though there are some kosher locusts, that doesn't mean all bugs are kosher. That's exactly why people who observe kashrut laws check their produce for bugs because none are kosher!

[butts-bouncing-on-the-beltway]

I feel like the post I just reblogged pointing out the all-or-nothing in how many people interact with their deconstruction of systems of oppression is resonating for me right now with so many different moments in my life where someone decides that because some part of myself has access to some of the levers of control/influence/etc that come with the relationship to power, and decides what that must mean about all the other parts of me that might be explicitly refused access to those same levers.

It has happened in so many spaces/aspects of my life, and it can be so hard to feel safe and seen and trusting of others when that's my chronic relationship to being perceived - half truths and obfuscation.

It doesn't really change regardless of who's doing the assuming either. Like, where they land in relation to systems of power may influence which direction they lean in their assumptions about me, but even that is often inconsistent. Both sides of the equation (those who share my marginalizations and those who exist in spaces of closer proximity to power) will still do it nonetheless.

When I was doing my liminal social identities work in undergrad, this was actually a big part of the conceptualization we explored of traumtic alienation of self as individual from self as collective, and what it can do to people to exist in this liminal relationship with your environment and the people in it. As I'm starting to gather my thoughts about my stress modeling, this conceptualization is bubbling back to the surface. I'm finding myself meandering through it on both a path specifically my own, and in an effort to better understand what other paths may be available to people during their version of the process/experience.

Selfhood is so fragile, and so in need of balance between self-construction and co-construction for us humans, and that gives us so many beautiful, even spiritual, experiences of meaning making and generativity of self. It also createa many pivot points where we may find room in our path for vulnerability or blurring of self. As much as these pivot points can be distressing, I think they also sometimes become our foundations of change/personal evolution, when we find that through the distress of existing in shift, something meaningful is occurring or observable in our experience of self-in-transition.

I think something I've valued especially about my own relationship with self is its transience. It doesn't always end up somewhere I would be happy to sustain, but it always allows me a degree of comfort in complexity that I think has made my body-mind a safer place for me overall.

[singingczechhistory]

All right everybody, we'll start by the oldest Czech song: Hospodine, pomiluj ny. (And if you don't understand it, don't worry, I had to google translation to modern Czech to be able to understand what they are singing about).

While you might have heard about Přemyslovci, at the begining they weren't the only influential dynasty. It is said that Hospodine pomiluj ny was composed by svatý Vojtěch (Adalbert of Prague, svatý = saint), a member of another important dynasty - Slavníkovci. Most of the members of this dynasty were killed in 995. Svatý Vojtěch survived because he wasn't in Bohemia, he never returned and was killed in 997 by pagan Prussians. We don't know for sure why and who killed Slavníkovci, it might have been ordered by Přemyslovci or another dynasty Vršovci - Přemyslovci later tried to kill them three times, but some members survived and we are not exactly sure what happened to them.

What we know for sure is that Hospodine, pomiluj ny was sang when Spytihněv II. (from Přemyslovci dynasty) was elected to be the Duke of Bohemia in 1055. His younger brother Vratislav II. became the first King of Bohemia in 1086, although his sons didn't inherit the title. The second King of Bohemia was Vladislav I., again, the title was not hereditary.

The title became hereditary during the reign of Přemysl Otakar I. in 1212, after the Golden Bull of Sicily was granted to Bohemia by Frederick II. The Golden Bull recognized both Přemysl Otakar I. (third King of Bohemia) and his heirs as Kings of Bohemia.

Lyrics:

Original:

Hospodine, pomiluj ny!

Jezukriste, pomiluj ny!

Ty, spase všeho mira,

spasiž ny i uslyšiž,

Hospodine, hlasy našě!

Daj nám všěm, Hospodine,

žizn a mír v zemi!

Krleš! Krleš! Krleš!

Modern Czech:

Hospodine, smiluj se nad námi!

Ježíši Kriste, smiluj se nad námi,

Ty, spasiteli všeho světa,

spas nás a vyslyš,

Hospodine, hlasy naše.

Dej nám všem, Hospodine,

hojnost a pokoj na zemi.

Kyrie eleison! Kyrie eleison! Kyrie eleison!

(Krleš is wrong pronunciation of Kyrie eleison).

English:

Lord, have mercy on us!

Jesus Christ, have mercy on us!

You, Saviour of all the world,

save us and hear,

Lord, our voices.

Give us all, Lord,

plenty and peace on earth.

Kyrie eleison! Kyrie eleison! Kyrie eleison!