#schneider pram

[shirolg]

Pram Schneider from A returner's magic should be special :3

[amalgamasreal]

I'm just going to post this canon panel of the male character Pram from the manhwa here for people checking out "A Returner's Magic Should be Special" with zero context and see what happens.

[blanksum]

Obsessed with the parallels here

[notafraidofredyellowandblue]

Article Rammstein giving visually impaired fans a special experience

Article from 3voor12vpro.nl Rammstein show in Nijmegen 2024-06-18/19

Googly translated

--

Special tour by guitarist Paul Landers on the stage of the German metal band

june 24, 2024, text: robin hogenboom. photos: jens koch & lonneke prins.

When you think of Rammstein, you think of theatrical shows full of flames and fireworks. But what if you cannot enjoy it optimally due to a visual impairment? The German metal band organizes a guided stage tour for those people, where these fans can feel before the show what the rest of the audience will see later. 3voor12 Gelderland is lucky and can join the tour of June 18 in Nijmegen.

Of course, musically it's all rock solid. Yet the more than 100,000 music lovers who travel to Nijmegen on June 18 and 19 also expect a show that has been taken care of down to the last detail. Cooking pots, flamethrowers, rubber boats and a gigantic penis that squirts foam: it is part of Rammstein's standard repertoire. But what if you have a visual impairment? How do you make a show accessible to people who will experience little or nothing of all those theatrical excesses?

That thought also struck guitarist Paul Landers. “At one point I thought that blind fans couldn't see the stage and so maybe it would be good if they could feel the stage. That is how the first stage tours in 2022 came about.” Since then, fans have been able to register for the tours with a simple email – and a medical certificate. “On average, 4 to 6 people register for the tour, but due to increased safety measures, only 2 groups can participate at a time. Of course, every participant also has a supervisor.”

And safety, that is of course a thing. Paul: “The tour takes place once all preparations and rehearsals have been completed. That is why we take very small groups behind the scenes and extra security is present to guarantee the safety of the visitors.” And it comes as no surprise that parts of the stage also remain closed. Paul: “There are areas that are too unsafe for visitors, for example because pyrotechnics are ready there. These pieces are not part of the tour.”

The tour

When we report to the agreed location, we meet Twan Driessen (21) from Nijmegen, who will participate in the tour with his father as a guide. Although he will experience something that many Rammstein fans would sign up for, he only became a fan of the German band relatively recently. “I'm normally not a metal fan, but 'Deutschland' made me become a fan of Rammstein. That song really stuck.” The song also had an impact on his father: “he really ended up in the Rammstein corner!”

We walk past the dressing rooms and end up behind the characteristic stage. There we meet Paul Landers, who quickly takes Twan through some highlights. Paul places Twan's hands on a gigantic steel tube that holds the stage upright. The colossus, 60 meters wide and 35 meters high, weighs about 1,350 tons and is transported through Europe by 90 trucks, says Paul. “And we have two. The other is already in Dublin.”

Schedule

And then we enter the actual stage. Just below Christoph Schneider's drum kit, Twan is allowed to experience some attributes that are already ready for the show. For example, he receives an explanation about a flamethrower and the cooking pot from 'Mein Teil', but also the pram that will be rolled onto the stage for 'Puppe'. Although, roles? Paul: “The ceiling under the stage is very low, so the wheels don't fit under it yet. They are added at the last minute.”

The more you think about it, the more special it actually becomes. About an hour and a half before the start of the show, which is known for how tightly organized it is, Paul takes the time to explain everything about the show to Twan. And the pleasure with which he provides the tour is admirable. Only the supervision of a few crew members reveals that the organization is more involved than the guitarist lets us experience.

Paul dismisses the fact that it has an impact on his own planning: “it must be well timed between the arrival of the audience and the start of the show. I have to be there on time, but it's all worth it to me. I really enjoy doing the tours for the visually impaired.” What do you find most special about the tours? “Every tour is different. Sometimes people are moved to tears. People who have poor or no vision often have a sensitive and reserved character. I love it when I can make those people happy!”

The stage

Finally, the hydraulic lift that leads to the actual stage lowers. As the field slowly fills up, Twan gets the opportunity to feel the floor of the stage. And the type of flooring comes in very handy today. Paul: “This material is normally used on oil platforms, so that you do not slip when it is wet. It's sharp and hard, so you'll need thick shoes to stand on it for the entire show. And if you trip and fall on your knee, it will hurt you for a while!”

After a photo moment with Paul we are escorted back to the field. Twan: “When I was selected for that blind tour, I already had the feeling that something special could happen. And then the guitarist comes to do the tour! It's almost surreal that you can just chat with someone so big and famous. That someone from the band takes you along and takes the time for you. I think that is really special and exceeds my expectations!”

The show

Then of course it's time for the show. Although the weather is anything but good, the atmosphere is exceptionally good. Of course, the show is phenomenal again, just like two years ago . The differences with that show can be counted on one hand. 'Armee der Tristen', 'Zick Zack', 'Zeig Dich' and 'Heirate Mich' have made way for 'Ramm4', 'Keine Lust', 'Asche zu Asche' and 'Wiener Blut' respectively, with the latter in particular having a considerable intense addition to an already impressive show. The men play very tight and don't really loosen the reins anywhere. You would almost forget that the band is celebrating their thirtieth anniversary this year.

Twan: “I thought they played well live, full of energy. The singing was also good and it was really heavy at times. 'Puppe' and 'Adieu' at the end were impressive!” But: did the tour have any influence on Twan's concert experience? “I liked getting an insight into what that stage looks like, with the flamethrowers and the cooking pot. When you feel the stage and how big it all is, that is impressive and that also gives a better idea of ​​what you get on such an evening.”

The last word goes to Twan: “compliments to Paul Landers and the management of Rammstein. They did a really good job: the service, the reception, everything. Well organised!”

We would like to thank Greenhouse Talent, the management of Rammstein and in particular Paul Landers and Twan Driessen for their cooperation in this article!

[screamingintothevoidofspace]

I just made this account so that I could say that Pram Schneider knows what he is doing in those slutty little shorts

[crypt1niite]

(rereading returners magic)

its sorta weird how quickly desir becomes important to everyone?? like? the manwha doesn’t give an obvious tell of how long its been, so from my pov its been like- a week a best and desir is the centre of pram ‘n romanticas worlds and adjest is 100% hyper focused on beating him and the teachers are supper concerned abt him and its like- alot??? people should have lives, y’kno? ones that don’t centre around the fuckin protagonist, damn

[s4by]

⚔The Swordsman 💢

Pram schneider, The Best Swordsman

[froqpi-art]

old armsbs doodles! sad that the new kids didnt get the training arc they deserved lol (╥_╥)

[ofbatsandwhitenights]

This is Pram Schneider, from "A returner's magic should be special". Up until the last translated chapter (75) he has refered to himself and been refered to as a man. And on chapter 75, as you can see on the second image, we got a "beach episode". Should I assume he is trans? Anyone who read the novel can confirm?

[bidokja]

desir "the smart kid, not understanding why he's losing to me" arman VS pram "me, who's been eating the pieces when he's not looking" schneider

[fanningitup]

Chapters: 1/1 Fandom: 귀환자의 마법은 특별해야 합니다 | A Returner's Magic Should Be Special Rating: Teen And Up Audiences Warnings: Creator Chose Not To Use Archive Warnings Relationships: Desir Arman/Zod Exarion Characters: Desir Arman, Zod Exarion, Romantica Eru, Pram Schneider Additional Tags: Alternate Universe - Post-Canon, Alternate Universe - Canon Divergence, Alternate Universe - Jumanji Fusion, Getting Together, Light Angst, Crossworks Exchange 2020 Summary:

It happens in an instant. One minute, Desir is outside greeting Zod. The next, an eerie green light floods the upper floor of the Starling Party's guild building, almost smothering the two muffled shouts that accompany it.

Apparently, even after slaying a dragon and clearing a Shadow Labyrinth and improving relations between the Western Kingdoms and the Hebrion Empire, having a normal graduation day is still too much to ask for.

[mypronounsarentmyproblem]

pram schneider? trans

adjest kingscrown? trans

romantica eru? trans

desir arman? trans

[mykhiotime-blog]

7 December

Drawing Triennial 2019 launch at Tegnerforbundet, Oslo. I will be collaborating with Marthe Ramm Fortun with the following preliminary proposal:

The last two years we have been on parental leave to stay with our daughter, who had a premature birth and needed our presence. During this period we didn´t stop making art, we rather acknowledged our situation, including it in our work or making works as we were pushing the pram through the city of Oslo. This cross contamination between art and everyday life, work and family, is still taking place both within playing and professional situations. For example, the drawings we make at home are often a form of open collaboration, rather than finished works issued from one’s individual expressivity. Our daughter draws something, she then asks to add a specific animal or object or person, she intervenes subsequently with coloured lines over or around the figure we outlined. We are about to go to Paris, where we will share an apartment and a studio for three months. The kitchen walls and forniture will be covered with large sheets of paper, used as support for a three´months long collaborative drawing environment. At the end of our residency in Paris, the sheets of paper will be removed and transported to Oslo. For the Tegnetriennalen we are planning to recontruct the kitchen forniture and show the resulting environment.

The Drawing Triennial 2019 will be curated by Helga-Marie Nordby who wrote the following introductory text:

Thematical approach the Drawing Triennial 2019 – Human Touch

The way drawing has been understood has varied throughout history, and it’s hard to define. Nevertheless, besides speech, drawing has always been the most important form of expression for human beings. Even 30,000 years ago people used drawing as a medium, as we can see from the images in Chauvet Cave in Southern France. Cave paintings and petroglyphs of people, animals, objects and geometrical and abstract forms testify to the enduring inclination we humans have to express ourselves visually. First, we talk and draw, later we develop the abilities to read and write. Children become familiar with things in the world by drawing them. Drawing is experienced early in life as completely natural, accessible and immediate. But most of us stop drawing as a means of exploring the world when we’re about 11 or 12 years old. Nevertheless, drawing proves to be important for many people processing challenging and traumatic experiences, or when trying to understand and express themselves in situations where words are inadequate. By drawing, we can see both inwards and outwards, and by drawing, we can also formulate what we see – not merely as imitation or depiction, but as visual ideas, as reflection, as searching, as questions.

For me as curator, the video work Arket er strekens verden / The Paper is the Line’s World(2009), by the Norwegian artist Ane Hjort Guttu, was an important entry point for working with the triennial. In this video we encounter the art student Ina Åsheim who creates abstract expressionist drawings. She is asked to describe her drawing process in words. In a searching and detailed way, she describes her own presence and concentration in the drawing. The film gives us insight into a physical and conceptual process, the relations between the individual / the artist, the world and the paper. The Paper is the Line’s Worldexplores how the mechanisms in Ina’s drawing process can also be operative outside the paper, in the ‘real world’, and how a drawing can function as an image of unrealized possibilities.The South African artist William Kentridge also talks about the unlimited potential of drawing. His performative lecture series ‘Six Drawing Lessons’, which I experienced live in Berlin two years ago, has also been an inspiration in my work. ‘Drawing has the potential to educate us about the most complex issues of our time.’ In the Cuban artist Ana Mendieta’s (1948–1985) video-documented performance Blood Sign / Body Tracks from 1974, we seeAna Mendieta’sthe artist, with a simple but determined movement, draw directly on a wall with her armsthat have been dipped in blood – for me a fundamental expression for what it is to behuman. These three works can be understood as my curatorial entryway into the Drawing Triennial 2019.

Drawing as an art form is readily at hand; it is an expression of our curiosity, our need to express ourselves. In the triennial, I focus on drawing as an exploration and processing of what it means to be human. The exhibition will include works by artists who use lines as tools for inquiry, who use drawing as a method for getting closer to who we are as human beings (both ourselves and others). These are artistic practices that show something at stake, set our thoughts in motion, say something about the human condition. The need we have to reach out to another body, another person, and the need to withdraw into ourselves. A line can be vulnerable but also show strength. The medium of drawing encompasses the entire spectrum. The Drawing Triennial 2019 will be about the human being, drawing as the trace of an individual, a physical and mental imprint. The exhibition also makes connections to prehistoric art, to drawing as a form of communication that precedes writing systems and words.

‘Before and After the Line’ (‘Før og etter streken’) is the title of the triennial’s discursive programme, which is curated in collaboration with Kunstnernes Hus. With this programme, we want to facilitate greater reflection around drawing as a universally human form of expression and tool for understanding the world and ourselves. The programme – with artist talks, lectures, workshops, open drawing classes for children and adults, film screenings, performances and guided tours – will create an expanded, activating and reflective frame around the main exhibition.

Confirmed artists:

Filippa Barkman (1982, SE) Per Inge Bjørlo (1952, NO) Eirik Blekesaune (1980, NO) Louise Bourgeois (1911-2010, FR) Jennie Hagevik Bringaker (1978, NO) Peder Kirkevaag Bugge (1971, NO) Ann Iren Buan (1984, NO) Liv Dessen (1935, NO) Marthe Ramm Fortun (1978, NO) & Andrea Galiazzo (1983, IT) Ane Hjort Guttu (1971, NO) Silje Hammer (1980, NO) Nina Heum (1965, NO) William Kentridge (1955, RSA) Ingeborg Annie Lindahl (1981, NO) Per Maning (1943, NO) Elisabeth Mathisen (1961, NO) Pierre Lionel Matte (1961, NO) Ana Mendieta (1948-1985, CU) Gunnveig Nerol (1958, NO) Randi Nygård (1977, NO) Cecilia Jiménez Ojeda (1982, SE) Shwan El Qaradiki (1977, IQ) Anngjerd Rustand (1982, NO) Anne-Marie Schneider (1962, FR) Bente Stokke (1952, NO) Per Teljer (1970, SE) Monica Winther (1976, NO) Vera Wyller (1953, RS) Ina Åsheim (1975, NO)

[theelliottsmiths]

I really hate the ponytail and j feel weird about that because make it thicker and curly and that's my haircut but it's. Not a good look for him. He looks... Like a charver. I expect hooped earrings

Till is having a lot of fun misleading the audience in MHB

I'd rather he didn't make himself throw up a little bit every time before the funky bass kicks in. I know some will argue that hes just holding The water in his mouth but the thing is that he's not. Does it... Help his voice? Is he okay he just spits so much.

Till is delightfully chumby in this though. Large boy. Good for hugging. 8/10 because the tiny ponytail lets him down.

I know the various heart flare designs have failed before and God imagine the embarrassment of that? Especially since he turns with a flourish.

I hear Puppe start, i make a Hhhhh sound. The anticipation. I wonder if this is one of the songs he talked about assuming Till wouldnt like

The headcam was a brilliant idea right? It's nice seeing schneider out from his place behind the drums being a weirdo in full view as god intended

Like, the pram? Great, love it, appreciate the bigger prop given the stage thing, but the head cam let's us actually see the boys which is harder with such a big venue. Wish it was used for longer but at the same time it makes more sense for it not to I guess

The side steps? Excellent. Very them, very reminiscent of the Haifisch Thing in reverse

Richards growl. That is all.

I'm endlessly glad he seems to be using playback for the Puppe chorus. Voice wrecker. Too much emotion. Would ruin the rest of the long long show

It's probably not actually but my puppe loving fan brain things the black confetti is kind of ingenious. Baby ashes.

I just. I really love the intro. I know a lot of people think it's too subdued but introducing them one at a time is an excellent idea and it's one of my favourite songs. The vibrato is delicious.

Till looks very silly though. Do not appreciate the shiny makeup. Same for Paul. Do not see why they thought it was a good idea.

I do love that they do not at all look like they're in the same band. Till looks like he's a python consuming the baby from ASOUE. Schneider and Richard match kind of but Schneider does look like an extra from the YMCA video. Oli is just in full body lingerie. Paul looks like a steampunk spaceman.

I wish Schneider, Richard and Till would just accept that they want to wear dresses on stage and go for it. The swishy coats at just dresses but worse.

And see look, Links 234 is libeling up the energy so what is the WIL problem?

The thing about the big stage that I don't like is it's too big. They look small and not very connected, you know? In their own little bubbles and dwarfed by anything else. It doesn't suit them. I mean it's great they got to this and I know Schneider and I assume others are very happy with it but me? Not so much

[notafraidofredyellowandblue]

Puppe - San Antonio 2022-09-17

from yt video by Tarnished Mei

Also...ode to that big screen which results in pretty good images (even though OP is not on front row)

but first...Schneider and Flake getting in character for their appearance on Till's headcam

Olli on the headcam (love the lights on his earplugs...very eerie..)

Till on the big screen

...and Olli again (i mean: wow!)

Pas de Deux by Till and Paul in front of the pram, look how elegantly Paul's arm swings along

...on the second row, Flake makes it a Pas de Troix, they should get him a keytar so he can join the others on frontstage

I didn't realise Richard sings backing vocals on the Puppe chorus (or maybe i already said that before...was still a bit amazed by it 😊)

shout-out to Puppe itself

and Richard caught dancing on screen

almost hidden by everything else, Schneider having eyecontact on one of the guitar-only parts

💚😊

[froqpi-art]

when there is no fandom so u gotta make ur own content.