For nearly a week now, many of them have been reeling, wondering what will happen in Washington and what it will mean for the “revolution” Sanders pushed. On Monday, he urged his supporters to become more involved politically, not less.
They were taken inside in groups, led up an escalator and steered past the cafe, where they waited in another line that led to a beige curtain blocking the view of store patrons. After a chance for a photo and a few words with Sanders behind the curtain, some emerged in tears.
Goldstein, who described the senator as “insanely gracious,” said she was doing her best not to cry before leaving the store.
Others expressed their emotions in different ways. “I feel crazy, like I just took a hit of drugs or something!” yelled one perhaps 30-something woman, who declined to be interviewed as she headed down the escalator.
Some were wearing light-blue “Bernie” T-shirts from his upstart presidential campaign. One woman sported a button reading, “Talk Bernie To Me.” A college student was clad in a “Bernie onesie” decorated with dozens of images of the senator’s head.
All, it seemed, were still trying to make sense of a general election somehow lost by Democrat Hillary Clinton — one that many of them said they thought Sanders could have won if only he had been the party’s nominee.
“I think it was a terrible mistake,” said Josh Youngerman, 25, a political activist and actor from Brooklyn, who argued that Sanders would have been the stronger candidate against Trump.
With his message of economic populism, Sanders connected better than Clinton in some of the Rust Belt states that she lost, including Michigan and Wisconsin, he said.
Youngerman said he had volunteered for Sanders’s campaign in five states and logged more than 400 hours working phone banks for him — yet never met the senator before Monday night.
“It helps. It helps, for sure,” he said, quickly changing his tone. “But still, it’s pretty devastating. We have a fascist for a president.”
“It is really emotional,” Kayla Ichikawa of Queens said after she and her husband had their picture taken with Sanders behind the curtain.
Before Sanders’s primary bid, Ichikawa, 24, said she felt jaded by politics. Sanders gave her hope.
Summary: It’s Shawn’s first time performing at a show without you for a while since you had to leave tour and come back home; he calls you a wreck.
It’s been weird being anywhere without Shawn since you and him had become inseparable on tour these past few weeks. Unfortunately, duties called and you told him you needed to go back home, Shawn obviously detested that thought but you told him it was inevitable and was bound to happen sometime.
Your parents thought it would be a brilliant idea to leave town, asking you to look after the two dogs you had before they left and gather mail and yourprofessors requested that you attend at least two days this semester. You of course, tried to get them to find someone else, but no one was found and you tried to argue with your professors, but they threatened you with F’s even though your sent all your work in on time to them via email.
So, you had to leave. That didn’t mean much to you since you knew he would call or FaceTime you whenever he had the chance, but you knew the Mendes family would be expecting to see you at their home.
Today, you arrived with no one knowing that you were leaving the tour and when Karen and Aaliyah saw you, they were over the moon.
Aaliyah loved having you at her home - it meant girl talk and help with homework that didn’t make it feel like homework.
You two sat sprawled out on the couch in the living room, you trying to help Aaliyah with a math problem.
“But, then what does x stand for?” Aaliyah asks you, genuinely confused.
It had been a while since you studied this stuff, your memory was a little hazy and when you tried to explain it to her, it came out in a jumbled mess that made no sense.
“Good question,” you mumble, confused yourself.
“Girls, dinner is ready! Would you mind setting the table please?” Manny comes out of the kitchen with a towel tossed over his right shoulder and smiles lovingly at the both of you.
You both groan in happiness, your brains needing a break from this torture.
Aaliyah helps you set the table and when you two are finished, Manny and Karen come out of the kitchen with steaming hot plates of food, waiting to be eaten.
Everyone begins to scarf down, engaging in the fun banter that usually occurs at any time in the Mendes household.
“Well, thank you so much for dinner, Karen and Manny. But, I actually think I ought to be going and check on the dogs.” You say, wiping your mouth on a napkin.
“Wait, Y/N, please don’t go yet.” Aaliyah says, pouting her lip.
“Sorry Liyah, but I have to go see if the dogs ruined anything.” You lightly laugh, Manny letting out a chuckle.
“Please Y/N! They can last an hour and a half more by themselves.” She pouts even more while grabbing a hold of your arm, trying to keep you where you are. Aaliyah looks towards her mother to have her back her up, which Karen does.
“Yes, Y/N, please stay. We still have dessert that needs to be eaten!” Karen gets up and goes back into the kitchen, and how could you say no to that?
Of course, if it were up to Karen and Aaliyah, you would be spending the night and Manny would ask them to leave the “poor girl to go home and spend some time with her family”, but he knew your family wasn’t home so he didn’t say any of that tonight.
“Fine, you persuaded me with dessert.” You puff out and sit back down, Manny leaning forward.
“You don’t want to miss this, Y/N, Karen baked an apple crumble.” Manny smiles.
Oh god, apple crumble - you could feel the crust melting in your mouth right now.
However, that was interrupted by the tone of your phone.
You pull it out of your pocket, Shawn’s name and contact picture popping up on the screen.
“It’s Shawn.” You tell his father and sister, seeing them smile. “I’ll be right back.” You stand from the table and walk into the living room, accepting the call.
“Hi baby.” You say happily, feeling like it’s been forever since you’ve heard from him.
“I can’t do this.” His voice comes out shaky and nervous and it makes your heart speed up.
“Can’t do what, Shawn?” You ask, needing more clarification.
“Can’t perform tonight without you, it’s just not going to happen.” He sounds generally frazzled and that frightens you, not knowing what to do.
“Shawn, your fans are counting on you to perform tonight - you have to go on.”
“I know, I just…I know that when I look to my left, you’re not going to be standing there and if I’m being honest; that freaks me out because you calm the nerves that I always have before I go on and while I’m playing. You’re not here tonight, so I just can’t.”
You need to get him to calm down, he sounds as if he has just run a marathon.
“Shawn,” you say calmly. “Listen to me, to the sound of my voice.”
You hear him let out a small sigh, knowing he’s pressing the side of his face into the phone while he closes his eyes.
“You’re going to do great, you know how talented you are and how much fun you and the fans will have tonight singing together. You just have to calm down, alright?”
Shawn’s heavy breathing starts to slowly soften and you know that whatever the hell you’re doing, it’s working.
“God, I need you. I need you so much, you’ve been gone a day and I miss you like you went off to war. You have no idea how much it sucks doing things when Andrew is your date.” He says and you laugh.
“I heard that, Mendes!” You hear Andrew call from a distance, making the two of you laugh.
“It’s okay, Shawn, tour will be over soon and we will be reunited, I promise.”
“I know, shit, I Just can’t wait to be home again. I miss you and my mom and my dad, even Aaliyah.” He jokes.
“Hey, Aaliyah!” You raise your voice, catching her attention at the table. “Shawn misses you.”
“Tell Shawn I don’t miss him!” She jokes, shoving some apple crumble in her mouth.
“Rude,” Shawn laughs.
You hear a faint voice talking to him in the background and hear Shawn going “yeah, okay.”
“I have to get on stage babe, but thank you so much for calming me down. I don’t know what I would do without you.” He says, a lot smoother than earlier.
“I think you’d be okay.” You smile softly. “Have a great show, I love you.”
“Have an awesome show, Shawn!” Manny, Karen and Aaliyah all call from the living room.
“Tell them that I love them. And for you Y/N, I love you so much. Talk to you soon.”
“Okay, bye, babe.”
You hang up and join the Mendes’s at the table, getting yourself some apple crumble and just like Karen wanted - you end up sleeping over in Aaliyah’s room, talking about boys and all kinds of things before she tells you how perfect you are for Shawn. You both slip into sleep shortly after.
Like most equestrian sports, rodeo has always been mostly white. Black cowboys competed in rodeos from the 1940s, but tales of corrupt scoring and judges literally turning their backs on black contestants proliferated for decades thereafter, stalling the growth of the sport among black riders. Black cowboys who entered rodeos “would be discriminated against in ways that were supposed to be subtle”, says Carolyn Carter, the general manager of the Bill Pickett rodeo. In 1968, the legendary bull rider Myrtis Dightman was advised to “turn white” if he wanted to claim the top prizes.
Since then, the Professional Rodeo Cowboys Association (PRCA) hall of famer Fred Whitfield has won multiple world titles and become the first African American all-around champion, amassing millions in prize money, while Bill Pickett’s six-city tour has become a mainstay on the rodeo scene, a feeder for black riders into traditional events where almost all the contestants are still white.
There was $46m in prize money handed out last year in the PRCA circuit, the most ever. While several black cowboys have competed in the world’s biggest rodeo, the National Rodeo Finals in Las Vegas, no African American woman has yet qualified.
Though a few pro cowgirls, including Kanesha Jackson, are inching closer to that milestone, there is still a perception problem outside the rodeo community, says Pennie, 44. She runs a not-for-profit youth organization in Washington DC that’s become increasingly focused on educating children about horses. “In my community, so many people don’t believe that women ride. Not just women, but black women.”
But across the board, the needle is moving. Ronni Frank, a third-generation cowgirl and Bill Pickett coordinator, gives Hollywood some credit for that. “Society has improved since 30 years ago, when there wasn’t the acknowledgment of the African American presence [in rodeo],” she says. Jamie Foxx’s turn in Django Unchained and Denzel Washington’s starring role in this year’s remake of The Magnificent Seven have marked a shift that makes her job a little easier, she says. “Did I think we’d see Denzel on the front of a cowboy movie poster 30 years ago? Absolutely not.”
This year marks progress for the Cowgirls of Color. Last year, a lame horse meant they missed the Bill Pickett rodeo entirely. But despite a disappointment at their first event this year, the ambition of the team isn’t lost on their audience. “I found out that I inspired this little girl and she’s riding now,” says KB. “Imagine how many other little girls we can do this for.”
Side-by-side comparison of the “S.T.A.L.K.E.R. Call of Pripyat” locations and the actual Chernobyl Exclusion Zone.
This video is simply amazing… it just makes you wonder how much time, effort and heart must be put into making a great video game to a point where it becomes almost a virtual tour of an actual, real-life location; and that game-making is just as much a form of art as any other.
“I’m still not convinced this is my job. I’ve still got contingency
plans at the back of my head, before every tour, about becoming a
teacher or a farmer. I definitely have some sort of arrested development
in terms of my psychology in terms of my career, where I still sort of
feel like this is going to stop tomorrow.”
[Semper Femina] emerged after a time in which Marling felt that she had become increasingly “masculine” – determinedly touring alone, lugging her own gear, stepping away from ideas of feminine dress. While this stretch was not long-lived, she believes it gave her “an ability to look at women in a different way and consider how I’d been looked at.” She is resistant to being pigeonholed. “I think, when I was a teenager, in my head you were either this delicate tragedy or you were a muse,” she says. “And they’re both such horrifyingly subjugated roles.”
Uruha’s interview for ROCK AND READ #067 [part one]
RR: What are your impressions of the world tour, which took place from April to June of this year?
Uruha: Although this tour have become our third overseas, this time we went there with the aim radically different from previous ones. If in the past we went to show ourselves, now we have had a clear intention to bring the album DOGMA and make a live on its basis. If to discourse about DOGMA, we were interested to what extent amplitudinous can become this creation. We began to talk about the possibility of a trip abroad. And somehow it has turned out a challenge to ourselves. If fans, knowing the creativity of our group, don’t come to lives with our new songs, it will mean that we don’t move forward, don’t develop.
RR: Your world tour began with Central and South America.
Uruha: The inhabitants of this part of the world are still hot (laughs). No one knows how to arrange such a greate reception at the airport, as they do. Needless to say, that we were warmly greeted and in other countries, but not so widescale. However, that relates directly to the concerts, people in all countries had blast equally crazy. One feels that they come to enjoy what is happening on a stage with every cell of their hearts. And when this impulse comes to us, it gives us the strength to break out of our capability and to play according to this. This time we again made sure that only our energy is not enough to create such a great show.
RR: All artists, who were abroad, say the same. If to think with this point of view, then, as compared to a foreign audience, Japanese behave in a more “grown-up”. Therefore, during performances abroad Japanese bands always face with a fairly stringent conditions.
Uruha: Yes. When we played live in Toyosu Pit immediately after return from the world tour, we were insanely surprised. “How quiet is here!”, we thought then (laughs). This doesn’t mean that Japanese fans are not hot. But Japanese lives are somewhat similar to a movie theater. While the smoke fills the stage, everyone listens attentively to the entry. Abroad, no one pays much attention to it. All the time shouts “The GazettE!” resound, and the hall is full of the stamping of feet. In South America this ambience reminded us even a little fan’s behavior at football matches. Something like “Ole Ole!” (laughs). Intro before the performance just starts to sound, and foreign fans already shout down the melody, and it’s kind of like calling us to go up on the stage. And this, in turn, acts on us like a magnet.
RR: All this proves once again that live - is something that the audience and the artist create together… Well, after Central and South America the first time you went to North America.
Uruha: It is believed that the situation in the US is more complicated. Even if you are quite popular in Japan and has achieved some success here, the public don’t accept it so simple there. We constantly heard about it, and therefore we included the North America in the tour as a challenge to ourselves. In addition, they constantly said that even if to act in the States - on a small area. A bit harsh, isn’t it? Also there were conversations that in order to your name has become recognizable in the United States, you need to become close to the local organizer and play there at some fest. The fact is that if you don’t have some own know-how, and you just come to play the public wouldn’t accept you, and everything will be in vain. As a result, it’s easier to leave it.
RR: I heard that in the United States beginning musicians perform the opening act for more famous colleagues for the years, and only then their career gradually begins grow.
Uruha: I agree. On this tour we played in concert halls with a capacity of 1000-2000 people. We asked ourselves: and whether we will be able to fill them? From the outset, our stuff said, that even 500 people will be a problem, but 2000 at once… We worried whether it would be all right. And abroad, you can change a large concert hall on the smaller size,if suddenly tickets sold poorly (what is impossible in Japan). However, the local organizer has assured us that everything will be fine, and he booked a large club. Once we arrived at the airport, we realized that we didn’t meet fans crowd. How, then, we will collect so many people? And when we did it, were pleasantly surprised.
RR: It’s a good news.How did you like the concert in the United States?
Uruha: We had a lot of fun! The audience kept chanting “The GazettE!” all the time, and it was very hot throughout all the live. We absolutely hadn’t a sense that we play here for the first time. The fact is that America - a great place for entertaining. For example, the make-up rooms are always spacious, and some clubs even have basketball courts on the territory, trainers and machines for popcorn. Insanely fun. I’ve been playing games up to the appearance on the stage. So, during all the day of american live you just have a good time (laughs). The rooms also have LCD displays with excellent sound. First live was in Dallas Bomb Factory. It is a huge place with a concrete floor. It is not a suitable option for a performance, right? But there was a surprisingly high-quality acoustics. Although the sound was trembling, but it was tough enough. All this together has made a good impression.
RR: I believe that, having gone to America and having gone this hard way, you got a significant experience.
Uruha: It’s true. Whatever to take - climate, tradition or fun - there is a lot of difference from Japan. And not only a musician, anyone, getting this ambience, will understand what I mean. Personally, I liked Dallas.
RR: It’s great, when, and the ambience is good, and the live is exciting. This time you brought a lot of equipment?
Uruha: We reduced the amount of equipment to the necessary minimum. We used the offices of various companies; have leased them, applying digital processors as a guitar amplifier, which are also responsible for all of our effects. Respectively, to create a guitar sound it was enough to take only the processors and a laptop computer for their settings. But in order for the sound, which we originally wanted to achieve on the tour, the old version could be not enough. Therefore, there were difficulties, which took a lot of time to solve them. However, after we solved all system issues during live tours within the country.
RR: You already the third time travel abroad on tour. Giving a concert abroad - is this for you a ordinary thing or yet there is something special?
Uruha: Not very special. For me, such a trip more akin to a certain practice austerities (*a spiritual practice, assuming austerity and self-restraint). When you spend a world tour, you really plunge into the different sorts of an ambience, faced with various difficulties. Just the flights can be maddening! But such experiences temper you and your psyche. And also expands the horizons of your vision of what a concert can be. You seemed to absorb something what you never would meet in your home country. And, even though I now depart from the topic of conversation, but personally I’d love to go abroad more often.
RR: But if you did all your best in the world tour, would you have strength to play lives in Japan?
Uruha: Travels are a little exhausting physically. In South America, there was no air conditioning, and the live turned in a solid hell. Stage equipment was also different from japanese. If we play on a Japanese stage, we have a special system of bottom blowing air. And there it was installed, but such poor quality, that I wanted to ask: “It blows?” (laughs). And I also was injured during a Brazilian live. Among the various stage equipment there is, for example, a small podium (on which the musicians usually stand on during performances). And I asked such one. But the one that was given to me, was not completely fixed. Not knowing this, during of execution AGONY on encore, playing on the guitar, I jumped on it. As a rule, I never jumps on these things, but this time the energy from the audience was so mad, that I succumbed to it. So at that moment the stand overturned, and I hit my shin on the near corner. At that moment I didn’t feel great pain. I was more ashamed (laughs). But when I returned to the dressing room after the live, the leg became unbearable ache. The outfit at the site of impact, as it turned out, was torn, and the right leg was all in blood. The wound was deep enough. We even had to ask for help from a doctor of the club. He made me to drink two large tablets. Oh, those Brazilian drug (laughs). They are so potent, that when you drink them, you still feel sick for a while. Even you can’t drink beer (laughs).
RR: Foreign drugs have a very strong effect!
Uruha: Yes, they have. I have, by the way, the scar still. And also it was very hard in Taiwan and China, where there is high humidity. In Central and South America, as well as in the North, the air is dry, so it’s much easier tolerated. Well, except directly air at a concert, of course (laughs). And only in Taiwan we’ve got a classical concert hall for the performance. Audience seats seemed like went up, and the view from the stage was wonderful, that, in turn, a little unusual. Well, a real concert hall. Before, all the time we played in live houses, and here a completely different ambience. But we have been able to profit from it and play a great live. Also in Taiwan was a lot of cosplayers. And it was not even the GazettE cosplayers, but something seemed to be more on Lolita and anime characters. There were even cosplayers of other bands. In general, there was everything you want (laughs).
translation from japanese to russian by zhukovskayaliza.vk for vk_paradox
translation from russian to english by me
as always thx for reading and sorry for mistakes ^^
it’s a me, jesy (resident p!atd trash if you couldn’t tell from my tags) and this is my terrible but wonderful trainwreck, selina. I actually haven’t rped in months so I’m a bit nervous to get back into the groove of things in case stuff has changed but here’s a lil bit about my bby girl:
I just felt like drawing these two in WOY mode again :’D
some of you keep asking for a minicomic of an episode with RGB and Hero in it like The Fever but I don’t have the time or strength to do one really- needless to say it would be entirely different from TPoH canon and these two would end up being tooth rottingly adorable and Hero would become RGB’s new touring and motivation manager the end
19-year old Namie Amuro opening her Tokyo Dome tour date in 1997, the youngest artist ever to perform at the famous stadium. It was one of eight stops on her 1997 dome tour where she played for over 300,000 people, a feat she would duplicate 15 years later on her 20th Anniversary Dome Tour, becoming the domestic female artist with the most dates played at Tokyo Dome.
The heir to the throne must go on a quest to find themselves and see the country they will rule. But, it seems every generation it becomes more of a tour and less a journey.
Summary: Princess Clara Vas-Og is the heir to the throne of Leightmag. The night before her 18th birthday and, therefore, her ‘Coming of Age Journey,’ aka ‘Where All the Local Nobles Kiss Her Ass,’ she decides to don a disguise and see what’s really going on. What she finds changes her forever.
Parts 1 - 4 are HERE. I’m linking, not reblogging, because it’s getting DAMN LONG and I don’t want to smash peoples’ dashes.
Part 5: So Much to Learn
Sewing is hard.
Well, real sewing, anyway. I’d been schooled in the fine art of embroidery since I could walk, but I’d only ever worked with the finest silks, with fresh, fragrant cotton and muslin…and the occasional satin skirt, if I wanted a challenge.
My governess would hand me a pattern, a neat square of cloth, an embroidery frame, and a careful selection of colored thread. Everything would be planned out, set, and my results (even the obvious failures) praised and passed around, no matter how much material I wasted. Sometimes, until I got too big, I’d sit on the arm of Father’s chair by the fire and stitch while he read.
My older brother Mark had never understood why I liked it so much.
How can you just sit there for hours? he’d ask, every time he saw me at it.
I’d roll my eyes and ignore him unless he tried to snatch my work away. Then I’d throw a bolt of cloth (cloth expensive enough to feed half the caravan for weeks) at his head.
You wouldn’t understand, I’d say.
He never did, either. He never got a chance.
I looked down at the jumble of rough cotton (that was, apparently, going to be a dress if I didn’t screw it up) in my lap, shoving down the grief welling up inside.
Ona tapped my shoulder, frowning.
“Wake up, Little Bear,” she said, not unkindly. “We’ve still got three more to finish today.
I nodded, and forced my hands to stop shaking. I couldn’t afford a mistake. I picked up the needle, much sharper and heavier than I was used to, and started in on the hem.
My hands hadn’t stayed smooth for long. The caravan was most emphatically not the palace. There simply wasn’t time to linger over stitches, to achieve perfection after long hours of focus. The daily quota of dresses, coats, breeches, and shirts had to be met, or our rations got cut.
My rations especially. In the hierarchy of seamstresses I was most definitely on the bottom. Practical sewing, tailoring, and mending was far different than the gentle, absorbing art that I was used to making whenever I felt the need. We worked with burlap, cheap cotton, thick, scratchy wool, and even leather for rare orders for light armor. It was rough, exhausting work. I went to bed every night with bandaged fingers and aching hands. Often I’d have a headache, a nice bonus earned from messing up an order and having to fix it all by oily lamplight long after everyone else had gone to bed. Squinting in near darkness did that, I discovered.
Real sewing was work.
And yet…I still loved it.
The needle was demanding. You bled if you lost your focus. You ruined valuable materials, wasted cloth and thread if you didn’t plan ahead. Everything else fell away. Soon, I recovered the steady peace that my embroidery frame gave me, the calm that had grounded the whirl of my thoughts even after Mark had died. And the end result could be just as beautiful as one of my tapestries.
Ona and Dona’s mother Val let me keep the first dress I made on my own. It was pale blue and sleeveless, meant to be worn with a belt, and over an undertunic, leggings, and a light corset; something that Cook might have worn back home. The dye was uneven, and the material was rough. My governess would have likely locked me in my room if she’d caught me in it. It was, in a word, common.
Stepping out in it on an errand to the market of Lagoville was one of the proudest moments of my life. I didn’t even mind that I was now in debt to Val for the undergarments.
Until you can make your own, she’d said, with a wink.
I’d nearly bounced out of the wagon after her daughters, then.
She thinks I can do it!
I didn’t get many chances to wear it, though…My trousers and tunic were actually quite practical for my work. And it meant that the dress stayed neat and clean…And the perfect way to practice my stitches.
I missed my embroidery too, you see, practical or not. And with no patterns to be had, no fine silk and tiny needles, I had to get…creative. I worked with undyed thread; the only sort that I could afford. The needle was still far clumsier than I was used to. And, again, there were no patterns…So I sketched out my own, using a fingertip and charcoal from the nighttime fires. And hid it as best as I could from Val and her daughters.
It was mine, and mine alone, a link to the best parts of my home.
As for the work, I improved rapidly after my first dress. I got good enough to sit up with Ona and Dona and work on some of the better quality orders. Nothing too fancy, but I was still laboring under the expectation of neat, tight stitches, and solid construction that would wear well. Such things were…valuable. Much more than I’d ever suspected, when it was all silk and gems and perfume as far as I could see.
I finished the hem quickly, and passed it to Ona for inspection.
“Not bad,” she said, with a quick smile. “Keep.”
I grinned, and passed it to Dona, who immediately attacked the sleeves. I’d just picked up a second skirt when the wagon jerked to a halt, sending the three of us tumbling.
“Sheeeeettttt!” Dona squeaked, just barely saving a bolt of muslin from falling out.
I swore as the canopy support cracked and the heavy canvass dropped on top of us.
“Bear!” Ona cried, somewhere off to my left, under the canopy. “Watch your language!”
I would have laughed if my heart hadn’t been trying to climb out my throat. My governess would most definitely have not approved of the changes to my vocabulary…
Then a horn sounded several wagons ahead of us, and all hell broke loose.
South Korea-born male group “iKON” was to start the arena tour to become the third time in the Osaka Castle Hall. The group this day, show off the 58th Annual Best Newcomer Award songs of Japan Record Award “DUMB & DUMBER” such as 22 songs. For the first time to become the dome performances alone, Kyocera Dome on May 20 in Osaka, was also announced to be held at the MetLife dome (Saitama) on June 17. During the talk, the hit animated film “your name is.” Also topic Oyobi, members show off the impersonation of the character. I was delighted about 16,000 fans.
scoups: the one who furiously takes roll to make sure everyone is present and accounted for and of course that usually never happens the first time so the group is always late bc he’s gotta go hunt down the missing person
jeonghan: makes sure everyone crosses the street carefully and hogs the window seats on the bus and sleeps
joshua: lends the person next to him an earbud on the bus and shares his snacks at lunch, buys a giant map and navigates the group through the museum
jun: is initially excited to go on the field trip but then gets tired easily :(((((((( after lunch though he bounces off the walls and runs around the museum
hoshi: loiters at the gift shop and does face swap with the exhibits
wonwoo: appreciates the art but sometimes stands too close
woozi: halfway through he gets too tired and makes mingyu piggyback him around the museum, probably has to pay for lunch
dokyeom: somehow accidentally becomes a tour guide even though he knows absolutely nothing about the museum, has to leave in the middle of explaining nonsense about a painting when scoups tells him its time to go home
mingyu: takes selcas with the art and puts them on his story : “ is that the art or is it me :-) “
the8: hangs out with wonwoo because he’s interested in seeing the art, rolls his eyes when wonwoo gets scolded by security guards for standing too close
seungkwan: the one who got lost or is late to roll call,,, now he has to stay right next to scoups where he can keep an eye on him
vernon: overpacks and has to drag around his heavy backpack all day : “what do you mean we wouldn’t need 10 ice packs and this giant flashlight”
dino: feels so so about the museum part of the trip even though he liked spending time with the members but is excited to go to the gift shop and buy stuffed dinosaurs