#marukus

[fafameow]

marx and co (aka jester trio)

[kazeofthemagun]

Gaze into your muse's eyes

[tagged: yöïnked from @shiroi---kumo ]

[tagging: y'all]

[Kiddo Kaze, otherwise known as "Maruku". He's practicing the murder glare. We all gotta start somewhere, right?]

[jpopstreaming]

🆕 「 tikyuu ga maruku naku te hontou ni yokaxtu ta yo na」 by ぱやちの Available for streaming worldwide!🌐 Added to our weekly playlist 🎧 https://spoti.fi/3lgjH73

[valuvrarte]

Adult Ren (Akira) be looking like Maruki. In a good way

That's good! Thank you ^-^

I do think Maruku and Akira/Ren resemble eachother a lot, with all the parallels between them.

I've always thought Maruki was Akira if he didn't let go of Akechi and decided to stay in his confort zone instead of fighting for his justice. So i guess he had a good impact to him :))

(Well, despite you know, all the stuff that happened)

[hollylu-ships-it]

Commissioned by Maruku

Thank you for this order, was so much fun creating!

[chanoyu-to-wa]

The Chanoyu Hyaku-shu [茶湯百首], Part III:  Poem 57.

〽 Natsume ni ha futa han-getsu ni te wo kakete          chashaku wo maruku oku to koso shire

    [棗には蓋半月に手を掛けて          茶杓を丸く置くとこそ知れ].

    “In the case of the natsume, the hand touches the lid [from above] like the half-moon; [and] the chashaku is placed [on the lid] with a rounded motion.”

    The natsume was created by Jōō during his middle period, perhaps with the intention of softening the sharp lines of Shukō’s shin-nakatsugi [眞中次]¹ -- as this would be a tea container that would be primarily used in the wabi setting.  Because of its rounded shape, Jōō decided that the associated actions should be rounded as well.  So, when the host is moving to remove the lid from the natsume, the hand should take hold of the lid from above, with the fingers and palm arching over the lid like the half moon².

    And when resting the chashaku on the lid of the natsume, the host should begin by touching the side of the handle nearest to the cup against the far corner of the lid, after which the handle is lowered with a circular motion until it rests horizontally on the lid³.

    It is said that including details such as these in one’s temae will enhance the level of finesse observed in the host’s performance by his guests.

        The version of the poem that is found in the block printed edition of the Rikyū hyaku shu (published in Hō-reki 2 [寶曆 二年], 1752) contradicts the text that is found in all of the other collections:

    〽 natsume wo ba futa ha yoko-yori kakete-tore,           chashaku ha sugu ni oku-mono zo kashi

    [なつめをば蓋は横よりかけてとれ、          ちや杓はすぐにおくものぞかし].

        “If it is a natsume, [then] the lid is taken up by holding it from the side; and the chashaku is certainly something that should be placed across [the lid] directly.”

    Sugu ni [直ぐに], which means “straight” or “directly,” implies that the chashaku is lowered onto the lid while being held perfectly horizontally.  It comes into contact with the lid all at once, rather than touching the far side first and then being lowered onto the lid (as in the other version of the poem).

    This explanation of the mechanics is exactly what is said about the way to deal with the nakatsugi in poem 65, hence the two poems have clearly been confused at some point in time⁴.  Indeed, the meanings of these two poems appear to have been deliberately switched (by the editor who prepared the text of Rikyū’s manuscript for publication⁵) in order to reflect a teaching ascribed to Hosokawa Sansai, as in the Hosokawa chanoyu no sho [細川茶湯之書]⁶ -- perhaps on the thinking that, as one of Rikyū’s personal disciples⁷, the version of the teaching contained therein would have been more accurate than what is found in the poems and elsewhere (which were all second-hand at best).  Unfortunately, if this work actually was written by Sansai, it would appear that he confused the teachings associated with the natsume with those that were properly connected to the shin-nakatsugi, and this error was subsequently perpetuated and popularized through the block-printed edition.  It is for this reason that said version of the poem is highlighted with purple (which indicates a significant deviation from the more widely accepted readings of the poem).

_________________________

¹Jōō’s large natsume holds essentially the same amount of tea as Shukō‘s shin-nakatsugi, and the two containers are of roughly the same size, and it seems that it was this version of the natsume that was created first.

    Jōō’s small natsume was created specifically as a container for koicha for use in the wabi setting*, and appeared at the time when the number of guests was being reduced to two or three†.

    The large natsume shown above was made for Jōō, and according to his specifications by the lacquer craftsmen working under the Matsu-ya family‡.  This was one of the utensils that Jōō gave to the young Rikyū when he took possession of Rikyū’s collection of high-quality imported utensils (following the bankruptcy of Rikyū’s family when he was in his early 20s)**. ___________ *As an alternative to the classical ko-tsubo chaire [小壺茶入], which had been used for the same sort of reason in the early days of chanoyu.

    Specifically, the ko-tsubo was used when serving tea to a nobleman (so that even if he was attended by other people, the tea was served only to him -- in imitation of the original practice of offering tea to the Buddha).  In both of these cases, a ko-tsubo was used because, since only one bowl of tea would be made, using a larger container would mean that more matcha would go to waste (since once used in a temae, any left-over matcha could not be used to serve koicha on a subsequent occasion).

†The medium-sized natsume was created by Rikyū, and based on the dimensions of the Kamakura nasu [鎌倉茄子], the chaire that was used for gokushin tea.

‡Highlighting the close connection between this family and Jōō.  The earliest known manuscript of the Hundred Poems is the one preserved in the Matsu-ya family archives.

**Though highly decorated, this natsume could have been used to serve both koicha as well as usucha -- since the rule in those days was that the host should use his best utensils when offering koicha to his guests.  The work lavished on this natsume (the tortoise-shell crests were built up from a number of coats of lacquer before the final layer was coated with gold powder) indicates that it would have taken several years to make, and so been quite costly.

    Jōō appears to have decided to include this natsume in the “consolation prize” that he gave to Rikyū because his personal tastes had moved away from including such things in his own tori-awase.  He felt it was better suited to the tastes of a young man.

    While Jōō took charge of virtually all of Rikyū’s fine utensils (it is possible that Rikyū’s treasured Tsuru-no-hashi [鶴ノ波子] bronze hanaire was the one piece that Rikyū could not bear to part with), he, understanding that Rikyū had already dedicated many years to the serious study of chanoyu, could not bear to leave the young man with nothing, hence the collection of utensils that included not only this natsume, but also the (cracked and repaired) Shukō chawan as the “large chawan” (Rikyū had previously received a honey-colored Seto “small chawan” from Kitamuki Dōchin), and the shin-teoke [眞手桶] that had been used by Yoshimasa during his last months of life.

    When Jōō visited Rikyū’s home to accept the young man’s thanks, Rikyū served him tea using all of these utensils.  But since none of them was worthy of being displayed, Rikyū created the hakobi-temae as the way to use them -- receiving Jōō in an empty room, where he brought out the utensils at the beginning of the temae, and took them all away again at the end.

²If we think of the stone lantern, a “half moon” opening is a carved circle, half of which is cut out, while the other half is not.  The semi-circle between the fingers and palm and the lid can be likened to this cutout.

    This way of holding the lid imitates the way that the lid was removed from the ko-tsubo chaire:  (originally) the host took hold of the little knob-like handle of the lid with his hand, and then lifted the lid upward.  (The large knob-like handle can be clearly seen in this photo of the Honnōji-bunrin [本能寺文琳], the chaire that Oda Nobunaga was using when the Honnō-ji was attacked by Akechi Mitsuhide.)

    Later this action was modified to taking hold of the front and rear edges of the lid (rather than the knob), but otherwise the removing of it was done in the same way.

³Again, this action derives from the way the chashaku was rested on a ko-tsubo.  Because the lid of the ko-tsubo were usually small (less than 1-sun in diameter), coupled with the fact that a large knob stood up in the middle of the lid, it was difficult to lay the chashaku flat across such a lid -- since it could easily fall off.  Therefore, the back side of the cup was leaned against the knob, and then the handle was lowered to the  mat.  This is the same circular motion used when lowering the handle of the chashaku down onto the lid of the natsume.

⁴Though the mistake cannot be blamed on Rikyū himself, since he states the correct rule in a number of his own writings.

⁵Rikyū’s original 1580 manuscript (if it still existed*) would likely have deteriorated to the point where at least parts were no longer legible by 1752 (when the block-printed edition was being prepared), requiring the editor to seek to restore the document by consulting other available sources, which might account for the way that the teaching ascribed to Hosokawa Sansai made its way into the poems. ___________ *It is equally possible that the editors of the 1752 edition were not working from the original manuscript at all, but from a copy that had been made decades before; and it might have been that copyist who was responsible for the changes made to these two poems.

⁶The Hosokawa chanoyu no sho [細川茶湯之書] (dated Kan-ei 18 [寬永], 1641, which would have been 5 years before his death) was published in Kan-bun 8 [寬文八年], 1668, as a rufu-bon [流布本] -- in other words, as a block-printed edition produced for popular consumption.  As a work that was published in order to advance a particular view among the tea-practicing public, the question of motive -- why so many of the teachings found in this book (the manuscript of which is otherwise unknown) must always be kept in mind.  Many of the difficulties in modern-day chanoyu can be traced to this document (and others of its ilk that appeared around the same time*). ___________ *This also seems to have been the time when many of the spurious sections were surreptitiously making their way into the wooden chest in the Shū-un-an.

⁷Rikyū’s close relationship was with Sansai’s father Hosokawa Yūsai.  The inclusion of Sansai’s name on the lists of Rikyū’s major disciples seems to have been more of a courtesy to the father than a statement that can be used to verify the accuracy of Sansai’s assertions (which were all written down within the last years of his life, when he was the only living person who could make the claim of having studied directly with Rikyū).

    Whether the numerous errors found in Sansai’s writings document an actual ignorance or confusion of the classical teachings on his part, or whether they were more a calculated way of casting doubt upon the veracity of the teachings put forward by his contemporaries (this was the beginning of the time when the daimyō were beginning to publicly rebel against the domination of chanoyu by the machi-shū, as represented by the Sen family and their adherents), is not clear.

==============================================

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[karolldr1]

Its time

its finally time

its finally time to release the true power

ITS TIME TO SAY HELLO

TO

HATSUNE MARUKU

[1-mini-1]

Curiou Cat Q+A Compilation

So since Curious Cat is officially dead (rip), I decided to put some of the Q+A's I answered in like 2019 here. Most of them are Mafumafu-related song analyses and some of my basic opinions on Vocaloid and utaite, so if you wanna read some yap, knock yourself out. Also, I like yapping. So feel free to submit more asks LOL

What are your thoughts on 'last stop' by mafu (lyrically n musically) ?

Sometimes I feel like Shuuten (Last Stop) has lyrics that are really dark compared to Mafumafu's other songs, but then I listen to them and realize that they're not really haha. I think, to me at least, that they come off darker, because of the song's execution and composition. I think Mafumafu mentioned that when he was writing this song, he was basically having an existentialism crisis but then realized that, "oh, well, in the end we all die anyways…". So yes it's really dark, but then in end it's kind of comforting? I mean I don't think anything's harder than this life, honestly haha. And I think another thing Mafumafu said is that he realized it doesn't matter who we are, we all get off at the same last stop. I think the song follows this thought process, as it goes from rolling in angst, to reveling in angst, to accepting that angst.

The one thing that did stand out to me in the lyrics is that he referenced "Swaying from Season to Season". In my head, I divide Mafumafu's songs into different categories. So we have songs that are more rock and dark (like Shuuten), songs that are related to Yume Hanabi, and then… I guess I just stick Swaying from Season to Season with Ouka ni Tsukuyo to Sodeshigure lol. Anyways, my point is, he doesn't mix the lyrics he uses with songs in these separate categories too often, but for some reason he referenced Swaying from Season to Season in Shuuten. Why he did that? I really don't know lol. It might just be another contrast thing, since that song is everything Shuuten isn't.

Musically, Shuuten is fantastic. The whole song seems to be built on contrasts. I love how the verses are sung low and fast and are paired with an uncomplicated instrumental that has no bass guitar. I think this makes it sound like mumbling and causes the chorus to be that much more startling. When bass is introduced, the instrumental gets more complicated and Mafumafu starts screaming (lol). Usually in music, high notes and melodies are associated with fast tempos, but I like how Mafumafu did the opposite in Shuuten by having the lyrics slow down when he reaches the chorus. Not only is there a build up when the chorus is reached, but there's one continuous build up throughout the whole song until it reaches the last chorus but then falls again. I guess you could say that the chorus is our… Last Stop *ba dum tsh*

What are your thoughts on Sekai Shikku ni Shounen Shoujo?

Ahhhh I really like this song. Yes, while it is full of existentialism like mafu's other songs, it still makes me feel happy. For me, I really think about it as a song that ties all of us fans together. We're all sick of the world, and nameless boys and girls who haven't really found our place in the world. I also like how the lyrics mention the Summer Triangle. When I think of the summer triangle, I think of the Japanese holiday Tanabata. In the Tanabata story, Orihime and Hikoboshi (represented by the stars Vega and Altair, which are two corners of the Summer Triangle) can only meet once a year. I think it's really similar to how fans and After the Rain don't meet very often and basically only do through their live concerts. So it's bittersweet but something every one looks forward to every year.

Since people are asking about your thoughts on certain songs, I was wondering what your thoughts are on Mafumafu's Nuko series?

I probably don't have as much to say about this series as I do about others lol. I think they're really cute and fun songs. My favorite song in the series is Neko ga Maruku Natta (actually, is this song even in the series haha). It's a lot calmer compared to the other songs but surprisingly deep. I love it's message about how we should try to do our best with the life we're given and make the world rounder by trying to understand each other. This may be different than what Mafumafu means, but I'm literally trying to do that by studying and translating Japanese lol. Also, it has all of Mafu's friends as cats in the MV???? And that's super adorable???

What are your thoughts on Antivirus from Izanaware Traveler?

I mentioned this in my translation, but I feel like Antivirus has a similar meaning to Merry Bad End and Hello Dystopia. I don't want to assume anything, but to me at least it seems like the lyrics talk about toxic fans.

I feel like AtR had a really rough year last year. I mean, they've written a couple other songs before last year that were kinda calling out how their fans conduct themselves online, but I think last year had about 4 songs that were like that…

Um, so, I guess rather than going through Antivirus and highlighting what destructive behavior fans could be doing, I rather talk about what good things fans can do. I think it's important to not just be a fan, but also a supporter of your favorite artists. It's good to send them good messages, fanart, etc. In fact, I'm sure they love it so much! I wanna just shower everyone in good vibes and affection gah. On the other hand though, it's not ok to treat them like they're an anime character. They are very real people. This has kind of been on my mind since I started translating and interacting more with the international utaite fandom, but I think we're just as accountable, if not more, for what we post online about utaite. I feel like the English fandom is kind of like the wild west and people can get away with saying a lot of things because most utaites don't speak English. However, this also means that they can't address problems that may arise in the fandom. I've been really surprised about some of the things I've seen posted, and if the same things were posted in Japanese, I know that they would affect utaites and their fans. More than anything though, I get really sad about it because I respect these musicians so much because they've played such a positive influence in my life. It's also good to be mindful of what content we post because perpetuating misleading or toxic ideas doesn't set a good example to new international utaite fans. I want a lot of artists to get popular and perform internationally (and in the states, where I'm from), but when that time comes, I want to welcome them as a proud international utaite fan and not someone that is embarrassed about what their peers post online.

Sorry, this got really heavy and long :< On a lighter note, I thought Mafumafu's choice of using the word "Antivirus" was really funny because I work in cyber security and the song was using the definition as more as medical term. But then again, maybe it was intentional, considering that the virus AtR has had to deal with is online.

Who is your favorite utaite and why? (Or I guess who are your favorites, if it's too hard to choose one!)

EASY. My favorite utaite is Soraru and everyone that knows me knows that LOL. My friends ask me "How's Soraru?" instead of asking how I am. It's been super fun seeing how much he's improved over the years and how hard he works. I'm also just very used to his voice so I guess out of all utaites I prefer his.

I think I got attached to him pretty fast forever ago because we had similar interests? Like idk, a lot of the games he played and songs he recorded were my favorites too. I didn't understand Japanese when I first became his fan, but after learning Japanese I've come to really appreciate his personality. I've had tooooooo many times in my life where I would be struggling with an issue or feeling down, and somehow Soraru would say something that would help me out. And he's just so nice and takes care of his friends and is really thoughtful and considerate towards his fans but still blunt and true to himself.

I mentioned this in a previous ask, but yeah I learned Japanese because of Soraru. And Japanese has had such a huge influence on my life, that I can't imagine my life without it. I've made so many good friends, and ended up focusing my career and schooling on Japanese. I literally have no idea where I would be if I didn't learn Japanese because of him. He ruined my life because I was supposed to be a STEM girlie XD but I love him for it :D

What are your favorite vocaloid songs and who are your favorite vocaloid producers (and why)?

To make it easier for me to answer, I'm going to focus on your second question first lol. My favorite producer's are Deco*27 and MikitoP.

When I was in 7th grade, I was convinced that I would never need to fall in love if Deco*27 kept writing music. Love seems like a really basic feeling, but Deco*27 never fails to capture both the good and bad sides of it. It's been fun seeing how his songs have progressed from cute/normal/sad love songs, to twisted ones. I like how his songs are both pop but rock at the same time? And while his music has definitely changed a lot from when he first started, he somehow still manages to use the same distinguishing synths lol. Also, his lyrics are just straight up amazing. They have so many puns and double meanings. He references and recycles the same words a lot, so it's fun listening to recent songs and then hearing him reference a song he wrote 10 years ago. Also, in terms of actual Vocaloid usage, I like how his songs still sound like they use Vocaloid (like he doesn't try to make them sound human) but are still really easy to listen to. My favorite songs by him include Chocolate Beats, Mukashi Mukashi no Kyou no Boku, Dokusenyoku, Starlight Girl… there are too many lol

MikitoP is my other favorite because I feel like his music is really similar to classical Japanese poetry. Instead of telling a story, he captures a single moment and uses that scene to convey a certain emotion. His use of seasonal words really help in painting the scene and making the songs more Japanese-y too. In his songs that do tell a story, they're never super specific and so it's fun to speculate what's going on. So lyrically wise, they're amazing enough, but then he somehow manages to create the perfect instrumentals and melodies to go along with everything. Also, I feel like a lot of his songs are summer themed and summer's my favorite season :D Idk how he makes his music so chill, but then manages write freaking bangers too. My favorite songs by him include Yuugure Twitter, Yuudachi no Ribbon, Shutter Chance, Natsu no Hanken, Ballerina Girl, and Boku wa Hatsune Miku to Kiss wo Shita.

What's your favorite song written by Soraru and what's your favorite Soraru song regardless of the writer?

My favorite song written by Soraru is poco from After Rain Quest and my favorite Soraru song in general is... oof that's a really tough question XD I'm pretty sure I've heard like 500 or something songs by him. Yeah, I don't think I can answer haha. Sorry! There's just too many and I love them all

Do you have any advice for someone who also wants to start posting covers online? Also, what's your favorite Vocaloid/Utaite song to sing?

I might not be the best person to ask about this, considering I've only posted one video, but Soraru said something before in an interview that helped push me to upload something. He said that it's really hard and scary in the beginning to post things because you're a beginner and obviously not perfect or the best, so what he did was find one thing that he really liked about his cover that no other cover had, and used that as motivation to upload and contribute to the community. It could be something really small, like just one note or how you pronounce something, but take that and embrace it so you don't get scared of putting yourself out there.

However, even though no one's perfect in the beginning, I think that's one of the things that's the most fun about utaites. I love going back through utaite mylists and seeing how much they're improved over the years. It makes me excited to see how much I'll improve in the future and uploading stuff will give me an easy way to track my progress.

To answer your other question, I really like singing everything by MikitoP and Deco*27 hahaha. But aside from them, I really like singing songs by Ishifuro like Yuugure Sensei :D

[kovopedia]

Magical Vacation trivia - Twigadamus

I've brought this up to a few people before, but I might as well leave it here so the word can be spread ;)

Twigadamus's Japanese name is プーレグ Pūregu, which comes from グレープ Gurēpu (grape). While this may just seem like another food-based name at first, one particular line of dialogue reveals something rather interesting.

When talking to Corduroy, an NPC standing outside Ambergris Prep on Cassia, she says that Rogan Josh, Twigadamus, Biscotti, and Biek Fowler all graduated from the institution.

In Japanese, however, the people she lists are Jin Reo (Kale), Yuga Tāba (Rogan Josh), Pūregu Lakeside, Gran Dragée (Biscotti), Bie Maruku (Biek Fowler), and Blueberry Lakeside.

The English version of Magical Starsign doesn't want you to know that Twigadamus is actually related to Blueberry from Magical Vacation.

[oxikell]

Maruku and Toshio being cutties together

[askkaimei]

Maruku naru

[eclipsednewmoon]

this guy specializes a unique hypnosis to help others sleep if they are having a really bad day. He often sleeps way too much, even during the night. There are some rumors that Noddy is related to Maruku. He is often playing with Shrill.

[mybeingthere]

Kumanara Niningka LewisAUSTRALIAN. 

PITJANTJATJARA, 1945 - 2020

Niningka was born in the bush in 1945 at a place north of Areyonga. Her parents had previously come to live at Ernabella but were on holiday on foot, as people would do every year still at that time. As a baby she came to Ernabella and grew up here, accompanying her family on annual holidays to many places such as Angus Downs, Curtin Springs and Imanpa. After school she worked at the Ernabella Mission craft room, where Winifred Hilliard taught her how to spin sheep’s wool and weave rugs. She moved to Amata as a young woman and worked in the clinic before settling in Kalka where she married and had one son. She moved to nearby Kalka where she developed her skills in batik, and went on to be one of the supervisors for the Kalka women’s center. It was around the same time, in 1997, that Niningka was introduced to coiled basketry.

Niningka is also an expert woodcarver, who made punu carvings for Maruku Arts at Uluru. She often decorates her baskets with these small figurative carvings, or other applied decorations like emu feathers, ininti seeds, and overstitched or embroidered designs, as well as brightly colored wool/raffia patterns woven into her baskets. Her talents as a sculptor are also apparent in the range of forms she creates from baskets, hats, sandals, cups, saucepans, birds and even small motor cars. Niningka made the first life-sized grass figure for the Tjanpi Manguri Weaving exhibition in 2000 that anticipated the Tjanpi Desert Weavers' move into figurative sculpture-making. This saw them win the NATSIAAs with their tjanpi Toyota sculpture.

https://www.nomadart.com.au/?p=10993

[kurumiiko]

dear latte: do you koyoi tsuki ga kirei desu ne Shall we DJ odorimasho hatoba no neko no me mo maruku hikaru mikazuki wa waratteru no izayoi wa tameratte shingetsu wa machi tsuzukeru

tsuki ni moeru ima nara dare mo mitenai yo himitsu no paatii kimi to gin no enban mawasō

tsuki ga uinku shiteru Midnight DJ mimamotteru sabishige nettaigyo ga oyoide ikuno tsukiakari abinagara kurukuru miraa booru kimi wa yozora wo miageta

tsuki ni moeru ima nara dare mo mitenai no kono mama kimi to futari gin no enban mawasou tsuki ni Fall in love ano hi mitsuketa takaramono naisho no himitsu kichi de toki no enban mawasou

michiteiku oogetsu nanokame ni wa Half moon michiteiku totsu getsu ginka mitai Harvest kaketeiku totsu getsu nakanaka rea Moonrise kaketeiku oogetsu oyasuminasai New moon

tsuki wa fushigi uragawa dou natte iru no? getsumen ryokou kibun gin no enban mawasou tsuki wo Turn it up! mawaritsuzukeru takaramono getsumen chūgaeri de toki no enban mawasō　

tsuki ni soeru odango tabetakatta kara kono mama kimi to futari gin no enban mawasō tsuki ni Fall in love ano hi mitsuketa takaramono naisho no himitsu kichi de toki no enban mawasou kimi to futari gin no enban mawasō

Moonlight Moonlight Fall in love

it literally only took me 2 lines to notice that this was the kurumiiko song™️ anyways yes i do 💪💪💪

[gxtzeizm]

top 5 keropok lets goooo

okay nice laa top 5 keropok. so let's go!!!!

keropok lekor

kerepek pisang

rempeyek

kerepek bawang

maruku

put any top 5 in my ask <33

[trueromajilyrics]

Ringing evil phone - EVIL NUM+ (Ensemble Stars!!)

★ True Romaji Lyrics ★

Ringingu iivuru fon

Haroo

Himitsu no daiyaru wo tamerau yubi ga ittari-kitari Risei no boodaarain ayaui boodaarain Fuan yori kitai ga uwa-mawaru no mo mou sugu da ne Fumidasu boodaarain tsunagaru sekai-sen

Juwaki goshi no iki wo nomu kuuki Omowazu emi ga koboreru Koboreru Furueru koe de kiridasezu ni iru no? Chiguhagu na yuuki tataete Fuuzu kooringu, puriizu? Hanashi wo kikou ka Saa Ringingu iivuru fon

Dare ni mo ienai negai wo kokoro ni kakushi motta Aa nante oishi-sou na tamashii nan darou Kooringu-Kooringu Irai wa dekiru dake seikaku ni･･･ Kanaete hoshiin desho? Taika wa sono tsudo fea ni damashi tari nanka shinai Kakugo ga dekitara kikasete yo Keiyaku IESU no VOISU

Kami-danomi kurai ni shi tokeba maruku-osamaru no ni Nite-hinaru shiikuretto rain unmei shiikuretto rai Maga-sashita tte kinku ne, jiko-seki-nin tte memo shi toite Eranda shiikuretto rain youkoso un-no-tsuki

Hon no sukoshi uchitoketa koe ga Abunakkashi-kute kawaii Kawaii Girigiri de mada ii ko butte naide Waru-dakumi tanoshi mou ka Fuuzu fooruto izu itto? Koko kara hondai Saa Ringingu iivuru fon

Akirame kirenai negai wo kokoro ni kakushi motte Aa nante sabishi-sou na tamashii nan darou Kooringu-Kooringu Makasete, nozomidoori ni zenbu Kanaete ageru kara Kono mama kuchi yakusoku de koushou seiritsu ni shiyou Sono kuchibiru kara kikasete yo

Ringingu iivuru fon... Ringingu iivuru fon... Keiyaku IESU no VOISU, keiyaku IESU no VOISU Ringingu iivuru fon... Ringingu iivuru fon...

Nee, donna ii wake demo Atsumete mitomereba ii sa Nee, sonna gamandzuyoku Kokoro mo Karada mo

Dekitenai kizuiteru desho?

Ringingu iivuru fon

Dare ni mo ienai negai wo kokoro ni kakushi motta Aa nante oishi-sou na tamashii nan darou (Saa) Kooringu-Kooringu Makasete, nozomidoori ni zenbu Kanaete ageru kara Kono mama kuchi yakusoku de Koushou seiritsu ni shiyou Sono kuchibiru kara kikasete yo Keiyaku IESU no VOISU

Ringingu iivuru fon

★ Song link || Base romaji || Resource 1 || Resource 2 ★