colorful人生

That preview *_*. We'll have to wait on more songs, but this def. sounds Satoru driven, compositionally.

My jam in high school, lol. Take me back....

A K-pop song w/ Japanese City Pop influence. That's quite the trip, but I dig it.

After spending 200 hours or so last year beating BOTW I got burnt out (just like FFXV). Now that the Linkle mod has come out I couldn't resist playing it again. I haven't tried Master mode or Champions' Ballad yet, so it's the perfect time to start a new file. I also have the Trails in the Sky trilogy to play (I played a small section on PSP for the 1st game years ago). I'm taking my time w/ both since it'll take a looong time to complete both of them at my pace.

New drummer's twitter: https://twitter.com/poidol_takuto Anybody know if he was in any previous bands?

BP!!! *shakes fist* Well it was to be expected anyway.

I've only had to partially face the brunt of this myself, but I'm really sympathetic towards the friends/family-friends that have to deal being compared to others in the Asian-American "circle". It's unsurprising when you lose touch w/ all these people, when everyone around them's fixation is how much you're making and asking why he or she has a gf/bf/spouse that's not their own race. I want to reach out sometimes, but I got enough on my plate atm and I wouldn't even know how to contact them. Y'all need to stop driving your own kids away, they're FULLY GROWN ADULTS.

That whole song was on point, and I loved that chorus. When you can sound like a whistling kettle for 20 seconds and work it in your song, tastefully, is an achievement.

''' LOVE EVERYTHING ABOUT THIS ''' (I love the MV aesthetic too !!!)

Aw yiss, this already sounds good w/ Satoru and Takeki.

I finally had to make this, since I'm completely immersed in new releases atm. I'm more familiarized w/ contemporary Smooth Jazz artists than I am with Jazz ones, but I've been picking up new releases this year that have been fantastic. Here are some favorites from this year (included in my 2018 list I'll put out mid-year): Submotion Orchestra - Kites This is absolutely AOTY for me. It's so dynamic in every way and is, sonically, an absolute treat. GoGo Penguin - A Humdrum Star Incorporates elements of electronica, trip hop, and classical jazz to pull together a lovely, atmospheric album. Park Jiha - Communion The fusion of contemporary jazz and Korean traditional instruments is really otherworldly. In some ways it could be considered an acquired taste. Dr. Lonnie Smith - All In My Mind You can't forget the fantastic Dr. Lonnie Smith. This live album is an adventure between smooth and sensual to driving and dynamic. - Also, somewhat unrelated (I have to post this performance whenever I can b/c Cory Henry and Jacob Collier in the same room):

Weeks 3 & 4. I'm not embedding videos anymore, it makes everything slow down to a crawl. BOUZUMANS ikd-sj ゆるふわリムーブ Pastel Make Noise chick in wisteria (wait till about 2 min. in, it gets pretty good) awoon kobore aint POP ART TOWN プルモライト - Ribet towns aaps goomiey パンのみみ TENDRE tradlad the shes gone moon drop THE MUSMUS Amelie

Memes, Illuminati, Mickey Mouse, gas mask? That's a pretty dank meme.

I'm not sure if anyone has linked to iPod of Mine's channel yet, so here it is: https://www.youtube.com/channel/UCvPREVXf0QDjVIZDhmT0TtA Twitter: https://twitter.com/iPod_of_Mine He or she curates huge lists of indie bands & other nippon tunes, so check that out. Here's a really underrated artist w/ decent production value. More on the electronic/poppy side. I was off in the mountains over the past weekend so I couldn't put together a list, but tomorrow I'll have 20 artists to spam on here.

LOVE LOCK has been releasing 3 month consecutive singles starting with 「夢・希望・ロケット」. The second installment is titled "NEW WORLD" with its release TBD.

Bought a 10 pack of Mintia mints since they've worked better than any gum or mint I've had, ever. Also, bought a tube of Apagard Premio toothpaste and it's worked a million times better than Sensodyne w/ whitening properties (Whitening toothpastes usually degrade the enamel) Japan knows how to do hygiene products, that's for damn sure.

𝔽𝕚𝕣𝕤𝕥, 𝕀 𝕞𝕦𝕤𝕥 𝕒𝕡𝕠𝕝𝕠𝕘𝕚𝕫𝕖 𝕗𝕠𝕣 𝕞𝕒𝕜𝕚𝕟𝕘 𝕪𝕠𝕦 𝕣𝕖𝕒𝕕 𝕥𝕙𝕖 𝕗𝕠𝕝𝕝𝕠𝕨𝕚𝕟𝕘 𝕖𝕩𝕔𝕖𝕣𝕡𝕥 – 𝕕𝕠 𝕤𝕜𝕚𝕡 𝕠𝕧𝕖𝕣 𝕞𝕠𝕤𝕥 𝕠𝕗 𝕚𝕥 – 𝕓𝕦𝕥 𝕚𝕥, 𝕒𝕟𝕕 𝕚𝕥𝕤 𝕝𝕚𝕜𝕖, 𝕒𝕣𝕖 𝕥𝕙𝕖 𝕤𝕦𝕓𝕛𝕖𝕔𝕥 𝕠𝕗 𝕥𝕙𝕚𝕤 𝕖𝕤𝕤𝕒𝕪: 𝟙𝟘𝟘 𝕠𝕟 𝕞𝕪 𝕨𝕣𝕚𝕤𝕥, 𝟠𝟘 𝕠𝕟 𝕞𝕪 𝕨𝕣𝕚𝕤𝕥, 𝟙𝟘𝟘 𝕠𝕟 𝕞𝕪 𝕨𝕣𝕚𝕤𝕥, 𝟠𝟘 𝕠𝕟 𝕞𝕪 𝕨𝕣𝕚𝕤𝕥, 𝟙𝟘𝟘 𝕠𝕟 𝕞𝕪 𝕨𝕣𝕚𝕤𝕥, 𝟠𝟘 𝕠𝕟 𝕞𝕪 𝕨𝕣𝕚𝕤𝕥, 𝟙𝟘𝟘 𝕠𝕟 𝕞𝕪 𝕨𝕣𝕚𝕤𝕥, 𝟠𝟘 𝕠𝕟 𝕞𝕪 𝕨𝕣𝕚𝕤𝕥, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝟠𝟘 𝕠𝕟 𝕞𝕪 𝕨𝕣𝕚𝕤𝕥, 𝟙𝟘𝟘 𝕠𝕟 𝕞𝕪 𝕨𝕣𝕚𝕤𝕥, 𝟠𝟘 𝕠𝕟 𝕞𝕪 𝕨𝕣𝕚𝕤𝕥, 𝟙𝟘𝟘 𝕠𝕟 𝕞𝕪 𝕨𝕣𝕚𝕤𝕥, 𝟠𝟘 𝕠𝕟 𝕞𝕪 𝕨𝕣𝕚𝕤𝕥, 𝟙𝟘𝟘 𝕠𝕟 𝕞𝕪 𝕨𝕣𝕚𝕤𝕥, 𝟠𝟘 𝕠𝕟 𝕞𝕪 𝕨𝕣𝕚𝕤𝕥, 𝟙𝟘𝟘 𝕠𝕟 𝕞𝕪 𝕨𝕣𝕚𝕤𝕥, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖, 𝔻 ℝ𝕠𝕤𝕖. 𝕋𝕙𝕚𝕤 𝕔𝕦𝕣𝕚𝕠𝕦𝕤 𝕓𝕚𝕥 𝕠𝕗 𝕧𝕖𝕣𝕟𝕒𝕔𝕦𝕝𝕒𝕣 𝕚𝕤 𝕥𝕙𝕖 𝕗𝕚𝕣𝕤𝕥 𝕧𝕖𝕣𝕤𝕖 𝕠𝕗 𝕥𝕙𝕖 𝕤𝕠𝕟𝕘 “𝔻 ℝ𝕠𝕤𝕖,” 𝕨𝕙𝕚𝕔𝕙 𝕨𝕒𝕤 𝕨𝕣𝕚𝕥𝕥𝕖𝕟 𝕓𝕪 𝕥𝕙𝕖 𝕣𝕒𝕡𝕡𝕖𝕣 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡. ℕ𝕠𝕨, 𝕥𝕙𝕖𝕤𝕖 𝕝𝕪𝕣𝕚𝕔𝕤 𝕞𝕒𝕪 𝕒𝕡𝕡𝕖𝕒𝕣 𝕥𝕠 𝕓𝕖 𝕛𝕦𝕤𝕥 𝕒𝕟 𝕠𝕕𝕕 𝕛𝕦𝕞𝕓𝕝𝕖 𝕠𝕗 𝟛 𝕡𝕙𝕣𝕒𝕤𝕖𝕤, 𝕣𝕖𝕡𝕖𝕒𝕥𝕖𝕕 𝕕𝕠𝕫𝕖𝕟𝕤 𝕠𝕗 𝕥𝕚𝕞𝕖𝕤. 𝔹𝕦𝕥 𝕥𝕙𝕖𝕪 𝕙𝕒𝕡𝕡𝕖𝕟 𝕥𝕠 𝕓𝕖 𝕒 𝕧𝕖𝕣𝕪 𝕡𝕠𝕡𝕦𝕝𝕒𝕣 𝕛𝕦𝕞𝕓𝕝𝕖 𝕠𝕗 𝟛 𝕡𝕙𝕣𝕒𝕤𝕖𝕤. 𝕀𝕟 𝕝𝕖𝕤𝕤 𝕥𝕙𝕒𝕟 𝕒 𝕪𝕖𝕒𝕣, 𝕒𝕝𝕞𝕠𝕤𝕥 𝟝𝟘 𝕞𝕚𝕝𝕝𝕚𝕠𝕟 𝕡𝕖𝕠𝕡𝕝𝕖 𝕙𝕒𝕧𝕖 𝕝𝕚𝕤𝕥𝕖𝕟𝕖𝕕 𝕥𝕠 “𝔻 ℝ𝕠𝕤𝕖” 𝕠𝕟 𝕊𝕡𝕠𝕥𝕚𝕗𝕪, 𝕒𝕟𝕕 𝕥𝕙𝕖 𝕠𝕗𝕗𝕚𝕔𝕚𝕒𝕝 𝕞𝕦𝕤𝕚𝕔 𝕧𝕚𝕕𝕖𝕠 𝕚𝕤 𝕕𝕒𝕟𝕘𝕖𝕣𝕠𝕦𝕤𝕝𝕪 𝕔𝕝𝕠𝕤𝕖 𝕥𝕠 𝟙𝟘𝟘 𝕞𝕚𝕝𝕝𝕚𝕠𝕟 𝕧𝕚𝕖𝕨𝕤 𝕠𝕟 𝕐𝕠𝕦𝕥𝕦𝕓𝕖. 𝔸𝕟𝕕 “𝔻 ℝ𝕠𝕤𝕖” 𝕚𝕤𝕟’𝕥 𝕖𝕧𝕖𝕟 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡’𝕤 𝕞𝕠𝕤𝕥 𝕡𝕠𝕡𝕦𝕝𝕒𝕣 𝕤𝕠𝕟𝕘. 𝕀𝕟 𝕗𝕒𝕔𝕥, “𝔻 ℝ𝕠𝕤𝕖” 𝕚𝕤 𝕠𝕟𝕝𝕪 𝕥𝕙𝕖 𝕗𝕠𝕦𝕣𝕥𝕙 𝕠𝕣 𝕗𝕚𝕗𝕥𝕙 𝕞𝕠𝕤𝕥 𝕡𝕠𝕡𝕦𝕝𝕒𝕣 𝕥𝕣𝕒𝕔𝕜 𝕠𝕟 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡’𝕤 𝕤𝕖𝕝𝕗-𝕥𝕚𝕥𝕝𝕖𝕕 𝕕𝕖𝕓𝕦𝕥 𝕒𝕝𝕓𝕦𝕞. 𝔽𝕠𝕣 𝕤𝕠𝕞𝕖 𝕞𝕠𝕣𝕖 𝕡𝕖𝕣𝕤𝕡𝕖𝕔𝕥𝕚𝕧𝕖, 𝕀 𝕣𝕖𝕔𝕖𝕟𝕥𝕝𝕪 𝕒𝕥𝕥𝕖𝕟𝕕𝕖𝕕 𝕒 𝕓𝕒𝕥 𝕞𝕚𝕥𝕫𝕧𝕒𝕙. 𝔸𝕥 𝕥𝕙𝕖 𝕒𝕗𝕥𝕖𝕣 𝕡𝕒𝕣𝕥𝕪, 𝕥𝕨𝕖𝕖𝕟𝕤 𝕘𝕝𝕖𝕖𝕗𝕦𝕝𝕝𝕪 𝕕𝕒𝕟𝕔𝕖𝕕 𝕒𝕟𝕕 𝕤𝕦𝕟𝕘 𝕒𝕝𝕠𝕟𝕘 𝕥𝕠 𝕥𝕙𝕖 𝕦𝕤𝕦𝕒𝕝 𝕡𝕠𝕡 𝕙𝕚𝕥𝕤 𝕓𝕪 𝕁𝕦𝕤𝕥𝕚𝕟 𝔹𝕚𝕖𝕓𝕖𝕣 𝕒𝕟𝕕 𝕋𝕒𝕪𝕝𝕠𝕣 𝕊𝕨𝕚𝕗𝕥. 𝔹𝕦𝕥 𝕨𝕙𝕒𝕥 𝕖𝕩𝕔𝕚𝕥𝕖𝕕 𝕥𝕙𝕖𝕞 𝕞𝕠𝕣𝕖 𝕥𝕙𝕒𝕟 𝕒𝕟𝕪𝕥𝕙𝕚𝕟𝕘 𝕨𝕒𝕤 𝕥𝕙𝕖 𝕤𝕠𝕟𝕘 “𝔾𝕦𝕔𝕔𝕚 𝔾𝕒𝕟𝕘” 𝕓𝕪 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡. 𝕀𝕞𝕒𝕘𝕖𝕤 𝕠𝕗 𝕨𝕙𝕒𝕥 𝕙𝕒𝕤 𝕓𝕖𝕖𝕟 𝕕𝕦𝕓𝕓𝕖𝕕 𝕥𝕙𝕖 “𝕥𝕣𝕒𝕡 𝕝𝕚𝕗𝕖,” 𝕚.𝕖. 𝕤𝕖𝕝𝕝𝕚𝕟𝕘 𝕕𝕣𝕦𝕘𝕤, 𝕔𝕒𝕣𝕣𝕪𝕚𝕟𝕘 𝕘𝕦𝕟𝕤, 𝕗𝕦𝕔𝕜𝕚𝕟𝕘 𝕙𝕠𝕖𝕤 𝕖𝕥𝕔. 𝕨𝕖𝕣𝕖 𝕚𝕟𝕤𝕥𝕒𝕟𝕥𝕝𝕪 𝕒𝕕𝕠𝕡𝕥𝕖𝕕 𝕓𝕪 𝕕𝕠𝕫𝕖𝕟𝕤 𝕠𝕗 𝟙𝟚-𝕪𝕖𝕒𝕣-𝕠𝕝𝕕 𝕁𝕖𝕨𝕚𝕤𝕙 𝕜𝕚𝕕𝕤. 𝕀𝕟 𝕡𝕒𝕣𝕥𝕚𝕔𝕦𝕝𝕒𝕣, 𝕀 𝕨𝕒𝕤 𝕤𝕦𝕣𝕡𝕣𝕚𝕤𝕖𝕕 𝕥𝕠 𝕤𝕖𝕖 𝕥𝕙𝕖𝕤𝕖 𝕔𝕙𝕚𝕝𝕕𝕣𝕖𝕟 𝕡𝕣𝕖𝕥𝕖𝕟𝕕 𝕥𝕠 𝕣𝕚𝕡 𝕝𝕚𝕟𝕖𝕤 𝕠𝕗𝕗 𝕠𝕗 𝕥𝕙𝕖𝕚𝕣 𝕚𝕟𝕕𝕖𝕩 𝕗𝕚𝕟𝕘𝕖𝕣𝕤 𝕚𝕟 𝕣𝕖𝕤𝕡𝕠𝕟𝕤𝕖 𝕥𝕠 𝕥𝕙𝕖 𝕝𝕪𝕣𝕚𝕔 “𝕞𝕪 𝕓𝕚𝕥𝕔𝕙 𝕝𝕠𝕧𝕖 𝕕𝕠 𝕔𝕠𝕔𝕒𝕚𝕟𝕖.” 𝕋𝕙𝕦𝕤, 𝕚𝕥 𝕨𝕠𝕦𝕝𝕕 𝕤𝕖𝕖𝕞 𝕥𝕙𝕒𝕥 𝕥𝕙𝕖 𝕡𝕠𝕡𝕦𝕝𝕒𝕣𝕚𝕥𝕪 𝕠𝕗 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕚𝕤 𝕒𝕞𝕒𝕫𝕚𝕟𝕘𝕝𝕪 𝕨𝕚𝕕𝕖𝕤𝕡𝕣𝕖𝕒𝕕, 𝕣𝕖𝕒𝕔𝕙𝕚𝕟𝕘 𝕖𝕧𝕖𝕟 𝕥𝕙𝕖 𝕞𝕠𝕤𝕥 𝕦𝕟𝕖𝕩𝕡𝕖𝕔𝕥𝕖𝕕 𝕒𝕦𝕕𝕚𝕖𝕟𝕔𝕖𝕤. 𝕊𝕠 𝕙𝕠𝕨 𝕠𝕟 𝔼𝕒𝕣𝕥𝕙 𝕕𝕚𝕕 𝕒𝕝𝕝 𝕠𝕗 𝕥𝕙𝕚𝕤 𝕠𝕔𝕔𝕦𝕣? 𝕎𝕙𝕒𝕥 𝕝𝕖𝕕 𝕥𝕠 𝕥𝕙𝕖 𝕣𝕚𝕤𝕖 𝕠𝕗 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡? 𝕎𝕖𝕝𝕝, 𝕦𝕟𝕝𝕚𝕜𝕖 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡’𝕤 𝕞𝕦𝕤𝕚𝕔 𝕚𝕥𝕤𝕖𝕝𝕗, 𝕥𝕙𝕖 𝕒𝕟𝕤𝕨𝕖𝕣 𝕚𝕤 𝕔𝕠𝕞𝕡𝕝𝕖𝕩. 𝔸𝕞𝕠𝕟𝕘 𝕠𝕥𝕙𝕖𝕣 𝕗𝕒𝕔𝕥𝕠𝕣𝕤, 𝕣𝕖𝕓𝕖𝕝𝕝𝕚𝕠𝕟, 𝕞𝕚𝕟𝕕𝕝𝕖𝕤𝕤𝕟𝕖𝕤𝕤, 𝕒𝕟𝕕 𝕣𝕒𝕔𝕖 𝕒𝕝𝕝 𝕡𝕝𝕒𝕪 𝕚𝕟𝕥𝕠 𝕥𝕙𝕖 𝕖𝕢𝕦𝕒𝕥𝕚𝕠𝕟, 𝕔𝕣𝕖𝕒𝕥𝕚𝕟𝕘 𝕒 𝕨𝕖𝕓 𝕠𝕗 𝕣𝕖𝕡𝕣𝕖𝕤𝕖𝕟𝕥𝕒𝕥𝕚𝕠𝕟𝕤 𝕒𝕟𝕕 𝕔𝕠𝕟𝕗𝕠𝕣𝕞𝕚𝕥𝕪. 𝔹𝕖𝕗𝕠𝕣𝕖 𝕨𝕖 𝕔𝕒𝕟 𝕓𝕖𝕘𝕚𝕟 𝕥𝕠 𝕚𝕟𝕧𝕖𝕤𝕥𝕚𝕘𝕒𝕥𝕖 𝕨𝕙𝕒𝕥’𝕤 𝕓𝕖𝕙𝕚𝕟𝕕 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡, 𝕙𝕖𝕣𝕖’𝕤 𝕤𝕠𝕞𝕖 𝕓𝕒𝕔𝕜𝕘𝕣𝕠𝕦𝕟𝕕: 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡, 𝕨𝕙𝕠’𝕤 𝕣𝕖𝕒𝕝 𝕟𝕒𝕞𝕖 𝕚𝕤 𝔾𝕒𝕫𝕫𝕪 𝔾𝕒𝕣𝕔𝕚𝕒, 𝕚𝕤 𝕒 𝟙𝟟-𝕪𝕖𝕒𝕣-𝕠𝕝𝕕 𝕗𝕣𝕠𝕞 𝕄𝕚𝕒𝕞𝕚. ℍ𝕖 𝕨𝕒𝕤 𝕖𝕩𝕡𝕖𝕝𝕝𝕖𝕕 𝕗𝕣𝕠𝕞 𝕙𝕚𝕘𝕙 𝕤𝕔𝕙𝕠𝕠𝕝 𝕗𝕠𝕣 𝕗𝕚𝕘𝕙𝕥𝕚𝕟𝕘, 𝕒𝕟𝕕 𝕥𝕦𝕣𝕟𝕖𝕕 𝕥𝕠 𝕣𝕒𝕡𝕡𝕚𝕟𝕘. 𝕌𝕡𝕝𝕠𝕒𝕕𝕚𝕟𝕘 𝕙𝕚𝕤 𝕤𝕠𝕟𝕘𝕤 𝕥𝕠 𝕥𝕙𝕖 𝕞𝕦𝕤𝕚𝕔 𝕡𝕝𝕒𝕥𝕗𝕠𝕣𝕞 𝕊𝕠𝕦𝕟𝕕ℂ𝕝𝕠𝕦𝕕, 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕓𝕖𝕔𝕒𝕞𝕖 𝕒𝕟 𝕦𝕟𝕕𝕖𝕣𝕘𝕣𝕠𝕦𝕟𝕕 𝕤𝕖𝕟𝕤𝕒𝕥𝕚𝕠𝕟 𝕒𝕤 𝕙𝕚𝕤 𝕥𝕣𝕒𝕔𝕜𝕤 𝕘𝕠𝕥 𝕞𝕚𝕝𝕝𝕚𝕠𝕟𝕤 𝕠𝕗 𝕝𝕚𝕤𝕥𝕖𝕟𝕤. 𝔼𝕧𝕖𝕟𝕥𝕦𝕒𝕝𝕝𝕪 𝕚𝕟 𝕥𝕙𝕖 𝕤𝕦𝕞𝕞𝕖𝕣 𝕠𝕗 𝟚𝟘𝟙𝟟, 𝕙𝕖 𝕤𝕚𝕘𝕟𝕖𝕕 𝕒 𝕣𝕖𝕔𝕠𝕣𝕕 𝕕𝕖𝕒𝕝 𝕨𝕚𝕥𝕙 𝕎𝕒𝕣𝕟𝕖𝕣 𝔹𝕣𝕠𝕤. ℝ𝕖𝕔𝕠𝕣𝕕𝕤 𝕒𝕟𝕕 𝕋𝕙𝕒 𝕃𝕚𝕘𝕙𝕥𝕤 𝔾𝕝𝕠𝕓𝕒𝕝, 𝕒𝕝𝕝 𝕠𝕗 𝕥𝕙𝕚𝕤 𝕓𝕖𝕗𝕠𝕣𝕖 𝕙𝕚𝕤 𝟙𝟟𝕥𝕙 𝕓𝕚𝕣𝕥𝕙𝕕𝕒𝕪. ℍ𝕚𝕤 𝕞𝕠𝕤𝕥 𝕡𝕠𝕡𝕦𝕝𝕒𝕣 𝕤𝕠𝕟𝕘 “𝔾𝕦𝕔𝕔𝕚 𝔾𝕒𝕟𝕘” 𝕨𝕒𝕤 𝕣𝕒𝕟𝕜𝕖𝕕 𝟛𝕣𝕕 𝕠𝕟 𝕥𝕙𝕖 𝔹𝕚𝕝𝕝𝕓𝕠𝕒𝕣𝕕 ℍ𝕠𝕥 𝟙𝟘𝟘 𝕔𝕙𝕒𝕣𝕥 𝕒𝕥 𝕚𝕥𝕤 𝕡𝕖𝕒𝕜 𝕒𝕟𝕕 𝕔𝕦𝕣𝕣𝕖𝕟𝕥𝕝𝕪, 𝕚𝕟 𝔻𝕖𝕔𝕖𝕞𝕓𝕖𝕣 𝟚𝟘𝟙𝟟, 𝕙𝕒𝕤 𝕠𝕧𝕖𝕣 𝟙𝟡𝟠 𝕞𝕚𝕝𝕝𝕚𝕠𝕟 𝕝𝕚𝕤𝕥𝕖𝕟𝕤 𝕠𝕟 𝕊𝕡𝕠𝕥𝕚𝕗𝕪 𝕒𝕟𝕕 𝕛𝕦𝕤𝕥 𝕤𝕙𝕪 𝕠𝕗 𝟚𝟞𝟡 𝕞𝕚𝕝𝕝𝕚𝕠𝕟 𝕧𝕚𝕖𝕨𝕤 𝕠𝕗 𝕚𝕥𝕤 𝕠𝕗𝕗𝕚𝕔𝕚𝕒𝕝 𝕞𝕦𝕤𝕚𝕔 𝕧𝕚𝕕𝕖𝕠 𝕠𝕟 𝕐𝕠𝕦𝕥𝕦𝕓𝕖. 𝕎𝕖 𝕒𝕝𝕤𝕠 𝕟𝕖𝕖𝕕 𝕥𝕠 𝕒𝕘𝕣𝕖𝕖 𝕥𝕙𝕒𝕥 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡’𝕤 𝕞𝕦𝕤𝕚𝕔 – 𝕥𝕠 𝕡𝕦𝕥 𝕚𝕥 𝕓𝕝𝕦𝕟𝕥𝕝𝕪 – 𝕚𝕤 𝕦𝕟𝕚𝕟𝕧𝕖𝕟𝕥𝕚𝕧𝕖 𝕒𝕟𝕕 𝕕𝕠𝕖𝕤𝕟’𝕥 𝕒𝕞𝕠𝕦𝕟𝕥 𝕥𝕠 𝕞𝕦𝕔𝕙 (𝕥𝕙𝕚𝕤 𝕞𝕒𝕪 𝕓𝕖 𝕥𝕒𝕜𝕖𝕟 𝕒𝕤 𝕤𝕦𝕓𝕛𝕖𝕔𝕥𝕚𝕧𝕖, 𝕤𝕠 𝕀’𝕝𝕝 𝕥𝕣𝕪 𝕥𝕠 𝕠𝕓𝕛𝕖𝕔𝕥𝕚𝕧𝕖𝕝𝕪 𝕡𝕣𝕠𝕧𝕖 𝕥𝕙𝕚𝕤). ℕ𝕠𝕥 𝕠𝕟𝕝𝕪 𝕒𝕣𝕖 𝕙𝕚𝕤 𝕤𝕠𝕟𝕘𝕤 𝕤𝕙𝕠𝕣𝕥 (𝕥𝕙𝕖 𝕥𝕣𝕒𝕔𝕜𝕤 𝕚𝕟 𝕙𝕚𝕤 𝕗𝕚𝕣𝕤𝕥 𝕒𝕝𝕓𝕦𝕞 𝕒𝕧𝕖𝕣𝕒𝕘𝕖 𝕒𝕣𝕠𝕦𝕟𝕕 𝟚:𝟘𝟘 𝕞𝕚𝕟𝕦𝕥𝕖𝕤 𝕚𝕟 𝕝𝕖𝕟𝕘𝕥𝕙), 𝕓𝕦𝕥 𝕥𝕙𝕖𝕪 𝕒𝕣𝕖 𝕖𝕩𝕥𝕣𝕖𝕞𝕖𝕝𝕪 𝕣𝕖𝕡𝕖𝕥𝕚𝕥𝕚𝕧𝕖 𝕒𝕤 𝕨𝕖𝕝𝕝. 𝔸 𝕢𝕦𝕚𝕔𝕜 𝕒𝕟𝕒𝕝𝕪𝕤𝕚𝕤 (𝕦𝕤𝕚𝕟𝕘 𝕒𝕟 𝕠𝕟𝕝𝕚𝕟𝕖 𝕦𝕟𝕚𝕢𝕦𝕖 𝕨𝕠𝕣𝕕 𝕔𝕠𝕦𝕟𝕥 𝕔𝕒𝕝𝕔𝕦𝕝𝕒𝕥𝕠𝕣) 𝕤𝕙𝕠𝕨𝕤 𝕥𝕙𝕒𝕥 “𝔻 ℝ𝕠𝕤𝕖” 𝕙𝕒𝕤 𝕛𝕦𝕤𝕥 𝟞𝟘 𝕦𝕟𝕚𝕢𝕦𝕖 𝕨𝕠𝕣𝕕𝕤 𝕠𝕦𝕥 𝕠𝕗 𝕒 𝕥𝕠𝕥𝕒𝕝 𝕠𝕗 𝟛𝟝𝟛, 𝕨𝕙𝕚𝕝𝕖 “𝔾𝕦𝕔𝕔𝕚 𝔾𝕒𝕟𝕘” 𝕤𝕚𝕞𝕚𝕝𝕒𝕣𝕝𝕪 𝕙𝕒𝕤 𝟙𝟘𝟞 𝕦𝕟𝕚𝕢𝕦𝕖 𝕨𝕠𝕣𝕕𝕤 𝕠𝕦𝕥 𝕠𝕗 𝟛𝟞𝟙. 𝕋𝕙𝕚𝕤 𝕔𝕠𝕞𝕖𝕤 𝕠𝕦𝕥 𝕥𝕠 𝕓𝕖 𝟙𝟟% 𝕒𝕟𝕕 𝟚𝟡% 𝕦𝕟𝕚𝕢𝕦𝕖 𝕧𝕖𝕣𝕓𝕚𝕒𝕘𝕖 𝕣𝕖𝕤𝕡𝕖𝕔𝕥𝕚𝕧𝕖𝕝𝕪. 𝕀𝕟 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡’𝕤 𝕗𝕚𝕣𝕤𝕥 𝕒𝕝𝕓𝕦𝕞 𝕒𝕤 𝕒 𝕨𝕙𝕠𝕝𝕖, 𝕚𝕟 𝕥𝕙𝕖 𝕒𝕧𝕖𝕣𝕒𝕘𝕖 𝕤𝕠𝕟𝕘 𝕥𝕙𝕖𝕣𝕖 𝕒𝕣𝕖 𝟞𝟙 𝕦𝕟𝕚𝕢𝕦𝕖 𝕨𝕠𝕣𝕕𝕤 𝕠𝕦𝕥 𝕠𝕗 𝟜𝟛𝟙 𝕥𝕠𝕥𝕒𝕝 𝕨𝕠𝕣𝕕𝕤, 𝕒𝕞𝕠𝕦𝕟𝕥𝕚𝕟𝕘 𝕥𝕠 𝟙𝟜% 𝕦𝕟𝕚𝕢𝕦𝕖𝕟𝕖𝕤𝕤. ℂ𝕠𝕞𝕡𝕒𝕣𝕖 𝕥𝕙𝕚𝕤 𝕥𝕠 𝕚𝕔𝕠𝕟𝕚𝕔 𝕣𝕒𝕡 𝕤𝕠𝕟𝕘𝕤 𝕝𝕚𝕜𝕖 “𝕀𝕗 𝕀 ℝ𝕦𝕝𝕖𝕕 𝕥𝕙𝕖 𝕎𝕠𝕣𝕝𝕕” 𝕓𝕪 ℕ𝕒𝕤 𝕨𝕙𝕚𝕔𝕙 𝕙𝕒𝕤 𝟜𝟛% 𝕦𝕟𝕚𝕢𝕦𝕖 𝕨𝕠𝕣𝕕𝕤, 𝕠𝕣 “𝕁𝕦𝕚𝕔𝕪” 𝕓𝕪 𝔹𝕚𝕘𝕘𝕚𝕖 𝕊𝕞𝕒𝕝𝕝𝕤 𝕒𝕥 𝟜𝟠% 𝕦𝕟𝕚𝕢𝕦𝕖. 𝔸𝕝𝕝 𝕠𝕗 𝕥𝕙𝕖𝕤𝕖 𝕟𝕦𝕞𝕓𝕖𝕣𝕤 𝕘𝕠 𝕥𝕠 𝕕𝕖𝕞𝕠𝕟𝕤𝕥𝕣𝕒𝕥𝕖 𝕥𝕙𝕒𝕥 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕚𝕤 𝕟𝕠𝕥 𝕚𝕟𝕧𝕖𝕟𝕥𝕚𝕧𝕖 𝕓𝕪 𝕒𝕟𝕪 𝕞𝕖𝕒𝕤𝕦𝕣𝕖. 𝔸𝕟𝕕 𝕚𝕥’𝕤 𝕟𝕠𝕥 𝕛𝕦𝕤𝕥 𝕙𝕚𝕤 𝕝𝕪𝕣𝕚𝕔𝕤: 𝕥𝕙𝕖 𝕓𝕖𝕒𝕥𝕤 𝕙𝕖 𝕣𝕒𝕡𝕤 𝕠𝕧𝕖𝕣 𝕒𝕣𝕖 𝕛𝕦𝕤𝕥 𝕪𝕠𝕦𝕣 𝕣𝕦𝕟-𝕠𝕗-𝕥𝕙𝕖-𝕞𝕚𝕝𝕝 𝕥𝕣𝕒𝕡 𝕓𝕖𝕒𝕥; 𝕥𝕙𝕖𝕣𝕖 𝕚𝕤 𝕟𝕠 𝕚𝕟𝕟𝕠𝕧𝕒𝕥𝕚𝕠𝕟. 𝔽𝕦𝕣𝕥𝕙𝕖𝕣𝕞𝕠𝕣𝕖, 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡’𝕤 𝕤𝕥𝕪𝕝𝕖 𝕚𝕤 𝕔𝕠𝕡𝕪𝕔𝕒𝕥. ℝ𝕒𝕡𝕡𝕖𝕣𝕤 𝕝𝕚𝕜𝕖 𝕃𝕚𝕝 𝕌𝕫𝕚 𝕍𝕖𝕣𝕥 𝕒𝕟𝕕 ℙ𝕝𝕒𝕪𝕓𝕠𝕚 ℂ𝕒𝕣𝕥𝕚 𝕒𝕝𝕣𝕖𝕒𝕕𝕪 𝕙𝕒𝕕 𝕡𝕚𝕠𝕟𝕖𝕖𝕣𝕖𝕕 𝕥𝕙𝕖 𝕤𝕚𝕞𝕡𝕝𝕚𝕤𝕥𝕚𝕔 𝕒𝕟𝕕 𝕣𝕖𝕡𝕖𝕥𝕚𝕥𝕚𝕧𝕖 𝕤𝕥𝕪𝕝𝕖 𝕥𝕙𝕒𝕥 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕙𝕒𝕤 𝕓𝕒𝕟𝕕𝕨𝕒𝕘𝕠𝕟𝕖𝕕, 𝕨𝕚𝕥𝕙 𝕥𝕙𝕖 𝕠𝕟𝕝𝕪 𝕔𝕙𝕒𝕟𝕘𝕖 𝕓𝕖𝕚𝕟𝕘 𝕥𝕙𝕒𝕥 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕙𝕒𝕤 𝕥𝕒𝕜𝕖𝕟 𝕥𝕙𝕖 𝕥𝕣𝕒𝕡 𝕘𝕖𝕟𝕣𝕖 𝕥𝕠 𝕒 𝕨𝕙𝕠𝕝𝕖 𝕟𝕖𝕨 𝕝𝕖𝕧𝕖𝕝 𝕠𝕗 𝕞𝕚𝕟𝕕𝕝𝕖𝕤𝕤𝕟𝕖𝕤𝕤. 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕒𝕞𝕠𝕦𝕟𝕥𝕤 𝕥𝕠 𝕒 “𝕏𝕒𝕟𝕟𝕖𝕕-𝕠𝕦𝕥 𝕥𝕖𝕖𝕟𝕒𝕘𝕖𝕣 𝕨𝕙𝕠 𝕕𝕠𝕖𝕤𝕟’𝕥 𝕥𝕖𝕝𝕝 𝕦𝕤 𝕒𝕟𝕪𝕥𝕙𝕚𝕟𝕘 𝕚𝕟𝕥𝕖𝕣𝕖𝕤𝕥𝕚𝕟𝕘 𝕒𝕓𝕠𝕦𝕥 𝕙𝕚𝕞𝕤𝕖𝕝𝕗 𝕠𝕣 𝕙𝕚𝕤 𝕨𝕠𝕣𝕝𝕕 (𝕂𝕦𝕡𝕡𝕖𝕣𝕞𝕒𝕟𝕟).” 𝔸𝕤𝕤𝕦𝕞𝕚𝕟𝕘 𝕥𝕙𝕒𝕥 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡’𝕤 𝕞𝕦𝕤𝕚𝕔 𝕚𝕤 𝕟𝕠𝕥 𝕚𝕥𝕤𝕖𝕝𝕗 𝕘𝕣𝕠𝕦𝕟𝕕𝕓𝕣𝕖𝕒𝕜𝕚𝕟𝕘, 𝕚𝕟𝕥𝕖𝕣𝕖𝕤𝕥𝕚𝕟𝕘, 𝕖𝕥𝕔. 𝕚𝕥 𝕤𝕥𝕚𝕝𝕝 𝕓𝕖𝕘𝕤 𝕥𝕙𝕖 𝕢𝕦𝕖𝕤𝕥𝕚𝕠𝕟 𝕒𝕤 𝕥𝕠 𝕨𝕙𝕪 𝕤𝕠 𝕞𝕒𝕟𝕪 𝕞𝕚𝕝𝕝𝕚𝕠𝕟𝕤 𝕠𝕗 𝕡𝕖𝕠𝕡𝕝𝕖 𝕝𝕚𝕤𝕥𝕖𝕟 𝕥𝕠 𝕚𝕥. 𝕋𝕙𝕖 𝕤𝕙𝕠𝕣𝕥 𝕒𝕟𝕤𝕨𝕖𝕣 𝕚𝕤 𝕥𝕙𝕒𝕥 𝕡𝕖𝕠𝕡𝕝𝕖 𝕝𝕚𝕤𝕥𝕖𝕟 𝕓𝕖𝕔𝕒𝕦𝕤𝕖 𝕚𝕥’𝕤 𝕔𝕠𝕠𝕝, 𝕓𝕖𝕔𝕒𝕦𝕤𝕖 𝕚𝕥’𝕤 𝕙𝕚𝕡; 𝕞𝕠𝕣𝕖 𝕚𝕞𝕡𝕠𝕣𝕥𝕒𝕟𝕥𝕝𝕪, 𝕡𝕖𝕠𝕡𝕝𝕖 𝕝𝕚𝕤𝕥𝕖𝕟 𝕓𝕖𝕔𝕒𝕦𝕤𝕖 𝕚𝕥’𝕤 𝕣𝕖𝕓𝕖𝕝𝕝𝕚𝕠𝕦𝕤. 𝕎𝕚𝕥𝕙 𝕥𝕙𝕚𝕤 𝕚𝕟 𝕞𝕚𝕟𝕕, 𝕠𝕧𝕖𝕣 𝟚𝟘 𝕪𝕖𝕒𝕣𝕤 𝕒𝕘𝕠, 𝕒 𝕔𝕦𝕝𝕥𝕦𝕣𝕒𝕝 𝕔𝕣𝕚𝕥𝕚𝕔 𝕟𝕒𝕞𝕖𝕕 𝕋𝕙𝕠𝕞𝕒𝕤 𝔽𝕣𝕒𝕟𝕜 𝕡𝕣𝕖𝕕𝕚𝕔𝕥𝕖𝕕 𝕥𝕙𝕖 𝕣𝕚𝕤𝕖 𝕠𝕗 𝕤𝕠𝕞𝕖𝕠𝕟𝕖 𝕝𝕚𝕜𝕖 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡. 𝕀𝕟 𝕒𝕟 𝕖𝕤𝕤𝕒𝕪 𝕥𝕚𝕥𝕝𝕖𝕕 “𝔻𝕒𝕣𝕜 𝔸𝕘𝕖,” 𝔽𝕣𝕒𝕟𝕜 𝕙𝕚𝕘𝕙𝕝𝕚𝕘𝕙𝕥𝕤 𝕙𝕠𝕨 𝕥𝕙𝕖 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕚𝕟𝕕𝕦𝕤𝕥𝕣𝕪 𝕤𝕖𝕖𝕜𝕤 𝕠𝕦𝕥 𝕥𝕙𝕖 “𝕒𝕧𝕒𝕟𝕥-𝕘𝕒𝕣𝕕𝕖” 𝕒𝕟𝕕 𝕕𝕚𝕘𝕤 𝕒𝕣𝕠𝕦𝕟𝕕 𝕗𝕠𝕣 𝕦𝕟𝕕𝕖𝕣𝕘𝕣𝕠𝕦𝕟𝕕 𝕥𝕒𝕝𝕖𝕟𝕥 𝕚𝕟 𝕠𝕣𝕕𝕖𝕣 𝕥𝕠 𝕔𝕠𝕟𝕥𝕚𝕟𝕦𝕒𝕝𝕝𝕪 𝕗𝕚𝕟𝕕 𝕟𝕖𝕨 𝕡𝕣𝕠𝕕𝕦𝕔𝕥𝕤 𝕒𝕟𝕕 𝕒𝕣𝕥𝕚𝕤𝕥𝕤 𝕥𝕠 𝕓𝕣𝕚𝕟𝕘 𝕚𝕟𝕥𝕠 𝕥𝕙𝕖 𝕞𝕒𝕚𝕟𝕤𝕥𝕣𝕖𝕒𝕞 𝕗𝕠𝕝𝕕. 𝕋𝕙𝕚𝕤 𝕒𝕔𝕥𝕚𝕠𝕟 𝕘𝕚𝕧𝕖𝕤 𝕥𝕙𝕖 𝕔𝕠𝕟𝕤𝕦𝕞𝕖𝕣 𝕥𝕙𝕖 𝕚𝕞𝕡𝕣𝕖𝕤𝕤𝕚𝕠𝕟 𝕥𝕙𝕒𝕥 𝕥𝕙𝕖𝕪 𝕒𝕣𝕖 𝕓𝕦𝕪𝕚𝕟𝕘 𝕤𝕠𝕞𝕖𝕥𝕙𝕚𝕟𝕘 𝕠𝕣𝕘𝕒𝕟𝕚𝕔 𝕒𝕟𝕕 𝕗𝕣𝕖𝕤𝕙, 𝕟𝕠𝕥 𝕤𝕠𝕞𝕖 𝕗𝕒𝕔𝕥𝕠𝕣𝕪-𝕞𝕒𝕕𝕖 𝕚𝕟𝕕𝕦𝕤𝕥𝕣𝕚𝕒𝕝 𝕘𝕚𝕫𝕞𝕠. 𝔽𝕣𝕒𝕟𝕜 𝕕𝕖𝕥𝕒𝕚𝕝𝕤 𝕥𝕙𝕚𝕤 𝕡𝕣𝕠𝕔𝕖𝕤𝕤 𝕗𝕦𝕣𝕥𝕙𝕖𝕣 𝕚𝕟 𝕙𝕚𝕤 𝕓𝕠𝕠𝕜 𝕋𝕙𝕖 ℂ𝕠𝕟𝕢𝕦𝕖𝕤𝕥 𝕠𝕗 ℂ𝕠𝕠𝕝, 𝕔𝕒𝕝𝕝𝕚𝕟𝕘 𝕚𝕥 𝕒 𝕔𝕪𝕔𝕝𝕖 𝕠𝕗 “𝕙𝕚𝕡 𝕔𝕠𝕟𝕤𝕦𝕞𝕖𝕣𝕚𝕤𝕞” 𝕥𝕙𝕒𝕥 𝕥𝕙𝕖 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕚𝕟𝕕𝕦𝕤𝕥𝕣𝕪 𝕦𝕤𝕖𝕤. 𝕀𝕟 𝕡𝕒𝕣𝕥𝕚𝕔𝕦𝕝𝕒𝕣 𝕙𝕖 𝕙𝕚𝕘𝕙𝕝𝕚𝕘𝕙𝕥𝕤 𝕙𝕠𝕨 𝕥𝕙𝕖 𝕙𝕚𝕡 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕠𝕗 𝕥𝕙𝕖 𝕪𝕠𝕦𝕟𝕘 𝕚𝕤 𝕥𝕦𝕣𝕟𝕖𝕕 𝕒𝕣𝕠𝕦𝕟𝕕 𝕒𝕟𝕕 𝕦𝕤𝕖𝕕 𝕚𝕟 𝕔𝕠𝕣𝕡𝕠𝕣𝕒𝕥𝕖 𝕒𝕕𝕧𝕖𝕣𝕥𝕚𝕤𝕚𝕟𝕘. 𝔸𝕝𝕞𝕠𝕤𝕥 𝕥𝕠 𝕒 𝕡𝕠𝕚𝕟𝕥 𝕥𝕙𝕚𝕤 𝕕𝕖𝕤𝕔𝕣𝕚𝕓𝕖𝕤 𝕥𝕙𝕖 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕡𝕙𝕖𝕟𝕠𝕞𝕖𝕟𝕠𝕟: 𝕙𝕖 𝕤𝕥𝕒𝕣𝕥𝕖𝕕 𝕠𝕦𝕥 𝕒𝕤 𝕒𝕟 𝕦𝕟𝕕𝕖𝕣𝕘𝕣𝕠𝕦𝕟𝕕 𝕊𝕠𝕦𝕟𝕕ℂ𝕝𝕠𝕦𝕕 𝕣𝕒𝕡𝕡𝕖𝕣, 𝕒𝕟𝕕 𝕒𝕗𝕥𝕖𝕣 𝕘𝕒𝕚𝕟𝕚𝕟𝕘 𝕒𝕥𝕥𝕖𝕟𝕥𝕚𝕠𝕟 𝕤𝕚𝕘𝕟𝕖𝕕 𝕨𝕚𝕥𝕙 𝕎𝕒𝕣𝕟𝕖𝕣 𝔹𝕣𝕠𝕤. ℝ𝕖𝕔𝕠𝕣𝕕𝕤 – 𝕒 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕚𝕟𝕕𝕦𝕤𝕥𝕣𝕪 𝕞𝕒𝕚𝕟𝕤𝕥𝕒𝕪. 𝕋𝕙𝕦𝕤, 𝕥𝕙𝕖 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕚𝕟𝕕𝕦𝕤𝕥𝕣𝕪 𝕒𝕕𝕧𝕖𝕣𝕥𝕚𝕤𝕖𝕤 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕒𝕤 𝕙𝕚𝕡, 𝕔𝕠𝕠𝕝, 𝕒𝕟𝕕 𝕣𝕖𝕓𝕖𝕝𝕝𝕚𝕠𝕦𝕤. 𝔽𝕣𝕒𝕟𝕜 𝕘𝕠𝕖𝕤 𝕠𝕟 𝕥𝕠 𝕒𝕟𝕤𝕨𝕖𝕣 𝕨𝕙𝕪 𝕡𝕖𝕠𝕡𝕝𝕖 𝕨𝕒𝕟𝕥 𝕥𝕙𝕖 𝕒𝕧𝕒𝕟𝕥-𝕘𝕒𝕣𝕕𝕖 𝕚𝕟 𝕥𝕙𝕖 𝕗𝕚𝕣𝕤𝕥 𝕡𝕝𝕒𝕔𝕖, 𝕒𝕟𝕕 𝕔𝕠𝕟𝕤𝕖𝕢𝕦𝕖𝕟𝕥𝕝𝕪 𝕙𝕠𝕨 𝕥𝕙𝕖 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕚𝕟𝕕𝕦𝕤𝕥𝕣𝕪 𝕥𝕒𝕜𝕖𝕤 𝕒𝕕𝕧𝕒𝕟𝕥𝕒𝕘𝕖 𝕠𝕗 𝕥𝕙𝕚𝕤. ℍ𝕖 𝕡𝕠𝕚𝕟𝕥𝕤 𝕠𝕦𝕥 𝕥𝕙𝕒𝕥 𝕖𝕧𝕖𝕣 𝕤𝕚𝕟𝕔𝕖 𝕥𝕙𝕖 𝟙𝟡𝟝𝟘’𝕤, 𝔸𝕞𝕖𝕣𝕚𝕔𝕒 𝕙𝕒𝕤 𝕕𝕖𝕧𝕖𝕝𝕠𝕡𝕖𝕕 𝕒 𝕔𝕠𝕦𝕟𝕥𝕖𝕣𝕔𝕦𝕝𝕥𝕦𝕣𝕒𝕝 𝕒𝕟𝕕 𝕣𝕖𝕓𝕖𝕝𝕝𝕚𝕠𝕦𝕤 𝕚𝕕𝕖𝕒𝕝. 𝕀𝕟 𝕠𝕥𝕙𝕖𝕣 𝕨𝕠𝕣𝕕𝕤, 𝕡𝕖𝕠𝕡𝕝𝕖 𝕙𝕒𝕧𝕖 𝕒𝕟 𝕦𝕣𝕘𝕖 𝕥𝕠 𝕣𝕖𝕤𝕚𝕤𝕥 𝕔𝕠𝕟𝕗𝕠𝕣𝕞𝕚𝕥𝕪, 𝕒 𝕕𝕖𝕤𝕚𝕣𝕖 𝕥𝕠 𝕢𝕦𝕖𝕤𝕥𝕚𝕠𝕟 𝕒𝕟𝕕 𝕓𝕣𝕖𝕒𝕜 𝕣𝕦𝕝𝕖𝕤. 𝕋𝕙𝕖𝕪 𝕗𝕖𝕖𝕝 𝕥𝕙𝕖 𝕟𝕖𝕖𝕕 𝕥𝕠 𝕡𝕦𝕤𝕙 𝕒𝕨𝕒𝕪 𝕥𝕙𝕖 “𝕤𝕠𝕔𝕚𝕒𝕝 𝕡𝕣𝕖𝕤𝕔𝕣𝕚𝕡𝕥𝕚𝕠𝕟𝕤” 𝕥𝕙𝕒𝕥 𝕤𝕠𝕔𝕚𝕖𝕥𝕪 𝕡𝕦𝕥𝕤 𝕠𝕟 𝕥𝕙𝕖𝕞. 𝔸𝕟𝕕 𝕠𝕗 𝕔𝕠𝕦𝕣𝕤𝕖, 𝕥𝕙𝕖 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕚𝕟𝕕𝕦𝕤𝕥𝕣𝕪 𝕙𝕒𝕡𝕡𝕚𝕝𝕪 𝕒𝕕𝕠𝕡𝕥𝕤 𝕥𝕙𝕚𝕤 𝕗𝕖𝕖𝕝𝕚𝕟𝕘 𝕚𝕟 𝕥𝕙𝕖𝕚𝕣 𝕡𝕣𝕠𝕞𝕠𝕥𝕚𝕠𝕟 𝕠𝕗 𝕡𝕣𝕠𝕕𝕦𝕔𝕥𝕤. 𝕋𝕦𝕣𝕟 𝕠𝕟 𝕥𝕙𝕖 𝕋𝕍 𝕒𝕟𝕕 𝕒𝕟 𝕒𝕕 𝕨𝕚𝕝𝕝 𝕔𝕠𝕟𝕧𝕚𝕟𝕔𝕖 𝕪𝕠𝕦 𝕙𝕠𝕨 𝕔𝕠𝕠𝕝 𝕪𝕠𝕦’𝕝𝕝 𝕓𝕖 𝕚𝕗 𝕪𝕠𝕦 𝕓𝕦𝕪 𝕥𝕙𝕒𝕥 𝕟𝕖𝕨 𝕔𝕒𝕣, 𝕙𝕠𝕨 𝕠𝕣𝕚𝕘𝕚𝕟𝕒𝕝 𝕪𝕠𝕦’𝕝𝕝 𝕓𝕖 𝕚𝕗 𝕪𝕠𝕦 𝕕𝕣𝕚𝕟𝕜 𝕥𝕙𝕒𝕥 𝕤𝕠𝕕𝕒. 𝕀𝕥 𝕚𝕤 𝕥𝕙𝕚𝕤 𝕦𝕣𝕘𝕖 𝕥𝕠 𝕣𝕖𝕓𝕖𝕝 𝕥𝕙𝕒𝕥 𝕕𝕖𝕤𝕔𝕣𝕚𝕓𝕖𝕤 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡’𝕤 𝕒𝕡𝕡𝕖𝕒𝕝. 𝕋𝕙𝕖 𝕞𝕦𝕤𝕚𝕔 𝕧𝕚𝕕𝕖𝕠 𝕠𝕗 “𝔾𝕦𝕔𝕔𝕚 𝔾𝕒𝕟𝕘” 𝕘𝕚𝕧𝕖𝕤 𝕦𝕤 𝕒 𝕘𝕠𝕠𝕕 𝕨𝕚𝕟𝕕𝕠𝕨 𝕚𝕟𝕥𝕠 𝕙𝕠𝕨 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡’𝕤 𝕣𝕖𝕓𝕖𝕝𝕝𝕚𝕠𝕦𝕤 𝕚𝕞𝕒𝕘𝕖𝕤 𝕒𝕣𝕖 𝕔𝕠𝕟𝕤𝕦𝕞𝕖𝕕 𝕓𝕪 𝕧𝕚𝕖𝕨𝕖𝕣𝕤 (𝕟𝕠𝕥 𝕥𝕙𝕖 𝕞𝕦𝕤𝕚𝕔). 𝔽𝕚𝕣𝕤𝕥, 𝕀 𝕙𝕒𝕧𝕖 𝕥𝕠 𝕡𝕠𝕚𝕟𝕥 𝕠𝕦𝕥 𝕥𝕙𝕒𝕥 𝕀’𝕧𝕖 𝕨𝕒𝕥𝕔𝕙𝕖𝕕 𝕥𝕙𝕖 𝕧𝕚𝕕𝕖𝕠 𝕒 𝕙𝕒𝕟𝕕𝕗𝕦𝕝 𝕠𝕗 𝕥𝕚𝕞𝕖𝕤 𝕥𝕠 𝕨𝕣𝕚𝕥𝕖 𝕥𝕙𝕚𝕤 𝕖𝕤𝕤𝕒𝕪, 𝕒𝕟𝕕 𝕖𝕒𝕔𝕙 𝕥𝕚𝕞𝕖 𝕀 𝕨𝕒𝕥𝕔𝕙, 𝕥𝕙𝕖 𝕞𝕦𝕤𝕚𝕔 𝕘𝕣𝕠𝕨𝕤 𝕠𝕟 𝕞𝕖; 𝕚𝕥 𝕣𝕖𝕒𝕝𝕝𝕪 𝕕𝕠𝕖𝕤 𝕤𝕖𝕖𝕞 𝕙𝕚𝕡 𝕒𝕟𝕕 𝕔𝕠𝕠𝕝, 𝕒𝕟𝕕 𝕥𝕙𝕖 𝕞𝕦𝕤𝕚𝕔 𝕚𝕤 𝕤𝕠 𝕤𝕚𝕞𝕡𝕝𝕚𝕤𝕥𝕚𝕔 𝕒𝕟𝕕 𝕔𝕒𝕥𝕔𝕙𝕪 𝕥𝕙𝕒𝕥 𝕚𝕥 𝕔𝕣𝕖𝕖𝕡𝕤 𝕚𝕟𝕥𝕠 𝕞𝕪 𝕞𝕚𝕟𝕕, 𝕔𝕠𝕒𝕩𝕚𝕟𝕘 𝕞𝕖 𝕥𝕠 𝕝𝕚𝕜𝕖 𝕚𝕥 – 𝕥𝕠 𝕒𝕔𝕔𝕖𝕡𝕥 𝕚𝕥 𝕒𝕟𝕕 𝕔𝕠𝕟𝕧𝕖𝕣𝕥 𝕥𝕠 𝕚𝕥. 𝔸𝕟𝕪𝕨𝕒𝕪𝕤, 𝕥𝕙𝕖 𝕧𝕚𝕕𝕖𝕠 𝕠𝕡𝕖𝕟𝕤 𝕨𝕚𝕥𝕙 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕒𝕣𝕣𝕚𝕧𝕚𝕟𝕘 𝕒𝕥 “𝔾𝕦𝕔𝕔𝕚 𝔾𝕒𝕟𝕘 ℍ𝕚𝕘𝕙” 𝕚𝕟 𝕒 𝕤𝕡𝕠𝕣𝕥𝕤 𝕔𝕒𝕣. 𝕋𝕙𝕚𝕤 𝕙𝕒𝕤 𝕒 𝕕𝕠𝕦𝕓𝕝𝕖 𝕞𝕖𝕒𝕟𝕚𝕟𝕘 𝕓𝕖𝕔𝕒𝕦𝕤𝕖 𝕙𝕖’𝕤 𝕒𝕣𝕣𝕚𝕧𝕚𝕟𝕘 𝕒𝕥 𝕒 𝕙𝕚𝕘𝕙 𝕤𝕔𝕙𝕠𝕠𝕝, 𝕓𝕦𝕥 𝕙𝕖’𝕤 𝕒𝕝𝕤𝕠 𝕤𝕞𝕠𝕜𝕚𝕟𝕘 𝕒 𝕓𝕝𝕦𝕟𝕥, 𝕤𝕠 𝕙𝕖 𝕙𝕚𝕞𝕤𝕖𝕝𝕗 𝕚𝕤 𝕙𝕚𝕘𝕙. 𝕋𝕙𝕖𝕣𝕖 𝕒𝕣𝕖 𝕚𝕞𝕒𝕘𝕖𝕤 𝕠𝕗 𝕓𝕖𝕒𝕦𝕥𝕚𝕗𝕦𝕝 𝕨𝕠𝕞𝕖𝕟 𝕒𝕟𝕕 𝕞𝕠𝕣𝕖 𝕗𝕒𝕟𝕔𝕪 ℝ𝕒𝕟𝕘𝕖 ℝ𝕠𝕧𝕖𝕣𝕤 𝕒𝕟𝕕 ℙ𝕠𝕣𝕤𝕔𝕙𝕖𝕤. 𝕀𝕥 𝕥𝕙𝕖𝕟 𝕤𝕙𝕠𝕨𝕤 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕨𝕒𝕝𝕜𝕚𝕟𝕘 𝕡𝕒𝕤𝕥 𝕝𝕠𝕔𝕜𝕖𝕣𝕤, 𝕒𝕔𝕔𝕠𝕞𝕡𝕒𝕟𝕚𝕖𝕕 𝕓𝕪 𝕒 𝕥𝕚𝕘𝕖𝕣 (𝕚𝕟𝕤𝕥𝕒𝕟𝕥𝕝𝕪 𝕦𝕡𝕡𝕚𝕟𝕘 𝕥𝕙𝕖 𝕔𝕠𝕠𝕝𝕟𝕖𝕤𝕤 𝕗𝕒𝕔𝕥𝕠𝕣), 𝕙𝕠𝕝𝕕𝕚𝕟𝕘 𝕙𝕦𝕘𝕖 𝕓𝕒𝕘𝕤 𝕠𝕗 𝕨𝕖𝕖𝕕. 𝕋𝕙𝕖𝕣𝕖 𝕒𝕣𝕖 𝕒𝕝𝕤𝕠 𝕤𝕔𝕖𝕟𝕖𝕤 𝕠𝕗 𝕙𝕚𝕤 𝕔𝕝𝕒𝕤𝕤𝕞𝕒𝕥𝕖𝕤 𝕕𝕒𝕟𝕔𝕚𝕟𝕘, 𝕙𝕒𝕧𝕚𝕟𝕘 𝕗𝕦𝕟 𝕒𝕟𝕕 𝕕𝕣𝕚𝕟𝕜𝕚𝕟𝕘 “𝕝𝕖𝕒𝕟” (𝕒 𝕕𝕣𝕚𝕟𝕜 𝕞𝕒𝕕𝕖 𝕨𝕚𝕥𝕙 𝕔𝕠𝕕𝕖𝕚𝕟𝕖). 𝔸𝕟 𝕠𝕝𝕕𝕖𝕣 𝕨𝕙𝕚𝕥𝕖 𝕨𝕠𝕞𝕒𝕟 – 𝕠𝕓𝕧𝕚𝕠𝕦𝕤𝕝𝕪 𝕠𝕦𝕥 𝕠𝕗 𝕡𝕝𝕒𝕔𝕖 – 𝕓𝕣𝕚𝕟𝕘𝕤 𝕠𝕦𝕥 𝕥𝕙𝕖 𝕝𝕖𝕒𝕟, 𝕒𝕟𝕕 𝕖𝕧𝕖𝕟 𝕥𝕒𝕜𝕖𝕤 𝕤𝕠𝕞𝕖 𝕥𝕚𝕞𝕖 𝕥𝕠 𝕔𝕙𝕦𝕘 𝕕𝕠𝕨𝕟 𝕒 𝕔𝕦𝕡 𝕙𝕖𝕣𝕤𝕖𝕝𝕗. 𝕊𝕙𝕖 𝕚𝕤 𝕞𝕒𝕕𝕖 𝕥𝕠 𝕝𝕠𝕠𝕜 𝕝𝕚𝕜𝕖 𝕒 𝕘𝕣𝕒𝕟𝕕𝕞𝕠𝕥𝕙𝕖𝕣, 𝕒𝕟𝕕 𝕥𝕙𝕖 𝕒𝕤𝕤𝕠𝕔𝕚𝕒𝕥𝕚𝕠𝕟 𝕠𝕗 𝕒 𝕘𝕣𝕒𝕟𝕕𝕞𝕒 𝕓𝕣𝕚𝕟𝕘𝕚𝕟𝕘 𝕠𝕦𝕥 𝕔𝕠𝕠𝕜𝕚𝕖𝕤 𝕚𝕤 𝕡𝕝𝕒𝕪𝕖𝕕 𝕦𝕡𝕠𝕟: 𝕚𝕟𝕤𝕥𝕖𝕒𝕕 𝕠𝕗 𝕒 𝕥𝕣𝕒𝕪 𝕠𝕗 𝕔𝕠𝕠𝕜𝕚𝕖𝕤, 𝕘𝕣𝕒𝕟𝕕𝕞𝕒 𝕓𝕣𝕚𝕟𝕘𝕤 𝕠𝕦𝕥 𝕒 𝕥𝕣𝕒𝕪 𝕠𝕗 𝕟𝕒𝕣𝕔𝕠𝕥𝕚𝕔 𝕕𝕣𝕚𝕟𝕜𝕤. 𝕋𝕙𝕚𝕤 𝕞𝕚𝕘𝕙𝕥 𝕓𝕖 𝕥𝕙𝕖 𝕞𝕠𝕤𝕥 𝕥𝕖𝕝𝕝𝕚𝕟𝕘 𝕤𝕔𝕖𝕟𝕖, 𝕓𝕖𝕔𝕒𝕦𝕤𝕖 𝕚𝕥 𝕚𝕟𝕕𝕚𝕔𝕒𝕥𝕖𝕤 𝕥𝕙𝕒𝕥 𝕖𝕧𝕖𝕣𝕪𝕠𝕟𝕖 𝕤𝕙𝕠𝕦𝕝𝕕 𝕥𝕒𝕜𝕖 𝕡𝕒𝕣𝕥 𝕚𝕟 𝕙𝕒𝕟𝕘𝕚𝕟𝕘 𝕨𝕚𝕥𝕙 𝕒𝕟𝕕 𝕝𝕚𝕤𝕥𝕖𝕟𝕚𝕟𝕘 𝕥𝕠 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡, 𝕖𝕧𝕖𝕟 𝕠𝕝𝕕 𝕝𝕒𝕕𝕚𝕖𝕤 𝕨𝕙𝕠 𝕨𝕖 𝕨𝕠𝕦𝕝𝕕 𝕒𝕤𝕤𝕦𝕞𝕖 𝕤𝕡𝕖𝕟𝕕 𝕥𝕙𝕖𝕚𝕣 𝕥𝕚𝕞𝕖 𝕔𝕣𝕠𝕔𝕙𝕖𝕥𝕚𝕟𝕘 𝕒𝕟𝕕 𝕡𝕖𝕥𝕥𝕚𝕟𝕘 𝕔𝕒𝕥𝕤, 𝕟𝕠𝕥 𝕡𝕒𝕣𝕥𝕪𝕚𝕟𝕘 𝕨𝕚𝕥𝕙 𝕙𝕚𝕘𝕙 𝕤𝕔𝕙𝕠𝕠𝕝𝕖𝕣𝕤. 𝔽𝕦𝕣𝕥𝕙𝕖𝕣𝕞𝕠𝕣𝕖, 𝕥𝕙𝕚𝕤 𝕟𝕠𝕣𝕞𝕒𝕝𝕚𝕫𝕖𝕤 𝕥𝕙𝕖 𝕣𝕖𝕓𝕖𝕝𝕝𝕚𝕠𝕦𝕤 𝕚𝕕𝕖𝕒𝕝 𝕠𝕗 𝕥𝕙𝕖 𝕥𝕣𝕒𝕡 𝕝𝕚𝕗𝕖 𝕥𝕠 𝕨𝕙𝕚𝕥𝕖 𝔸𝕞𝕖𝕣𝕚𝕔𝕒𝕟𝕤, 𝕒𝕟𝕕, 𝕚𝕟 𝕘𝕖𝕟𝕖𝕣𝕒𝕝, 𝕥𝕠 𝕡𝕖𝕠𝕡𝕝𝕖 𝕥𝕙𝕒𝕥 𝕨𝕠𝕦𝕝𝕕 𝕟𝕖𝕧𝕖𝕣 𝕔𝕠𝕟𝕔𝕖𝕚𝕧𝕖 𝕠𝕗 𝕥𝕒𝕜𝕚𝕟𝕘 𝕡𝕒𝕣𝕥 𝕚𝕟 𝕥𝕙𝕠𝕤𝕖 𝕥𝕪𝕡𝕖𝕤 𝕠𝕗 𝕒𝕔𝕥𝕚𝕠𝕟𝕤. ℂ𝕖𝕞𝕖𝕟𝕥𝕚𝕟𝕘 𝕥𝕙𝕖 𝕣𝕖𝕓𝕖𝕝𝕝𝕚𝕠𝕟 𝕖𝕧𝕖𝕟 𝕞𝕠𝕣𝕖, 𝕥𝕙𝕖 𝕔𝕝𝕒𝕤𝕤𝕞𝕒𝕥𝕖𝕤 𝕤𝕥𝕒𝕣𝕥 𝕒 𝕗𝕠𝕠𝕕 𝕗𝕚𝕘𝕙𝕥, 𝕒𝕟𝕕 𝕥𝕙𝕖𝕟 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕤𝕞𝕒𝕤𝕙𝕖𝕤 𝕒 𝕡𝕚𝕖 𝕚𝕟𝕥𝕠 𝕥𝕙𝕖 𝕗𝕒𝕔𝕖 𝕠𝕗 𝕤𝕠𝕞𝕖𝕠𝕟𝕖 𝕨𝕙𝕠 𝕒𝕡𝕡𝕖𝕒𝕣𝕤 𝕥𝕠 𝕓𝕖 𝕒 𝕥𝕖𝕒𝕔𝕙𝕖𝕣 𝕠𝕣 𝕤𝕔𝕙𝕠𝕠𝕝 𝕒𝕕𝕞𝕚𝕟𝕚𝕤𝕥𝕣𝕒𝕥𝕠𝕣 𝕚𝕟 𝕗𝕣𝕠𝕟𝕥 𝕠𝕗 𝕥𝕨𝕠 𝕘𝕠𝕣𝕘𝕖𝕠𝕦𝕤 𝕨𝕠𝕞𝕖𝕟 𝕘𝕝𝕖𝕖𝕗𝕦𝕝𝕝𝕪 𝕝𝕠𝕠𝕜𝕚𝕟𝕘 𝕠𝕟. 𝔸𝕘𝕒𝕚𝕟, 𝕥𝕙𝕚𝕤 𝕚𝕞𝕡𝕝𝕚𝕖𝕤 𝕥𝕙𝕒𝕥 𝕡𝕒𝕣𝕥𝕒𝕜𝕚𝕟𝕘 𝕚𝕟 𝕓𝕣𝕖𝕒𝕜𝕚𝕟𝕘 𝕥𝕙𝕖 𝕣𝕦𝕝𝕖𝕤 𝕚𝕤 𝕒𝕨𝕖𝕤𝕠𝕞𝕖 𝕒𝕟𝕕 𝕥𝕙𝕒𝕥 𝕣𝕖𝕓𝕖𝕝𝕝𝕚𝕟𝕘 𝕒𝕘𝕒𝕚𝕟𝕤𝕥 𝕒𝕦𝕥𝕙𝕠𝕣𝕚𝕥𝕪 𝕥𝕣𝕒𝕟𝕤𝕗𝕠𝕣𝕞𝕤 𝕪𝕠𝕦 𝕚𝕟𝕥𝕠 𝕒 𝕔𝕠𝕠𝕝 𝕜𝕚𝕕. 𝔹𝕦𝕥 𝕒𝕤 𝕨𝕖 𝕝𝕖𝕒𝕣𝕟𝕖𝕕 𝕗𝕣𝕠𝕞 𝕋𝕙𝕠𝕞𝕒𝕤 𝔽𝕣𝕒𝕟𝕜, 𝕥𝕙𝕚𝕤 𝕚𝕤 𝕒 𝕡𝕝𝕠𝕪 𝕞𝕒𝕕𝕖 𝕓𝕪 𝕥𝕙𝕖 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕚𝕟𝕕𝕦𝕤𝕥𝕣𝕪. 𝕐𝕠𝕦 𝕞𝕒𝕪 𝕥𝕙𝕚𝕟𝕜 𝕪𝕠𝕦’𝕣𝕖 𝕓𝕖𝕚𝕟𝕘 𝕔𝕠𝕦𝕟𝕥𝕖𝕣𝕔𝕦𝕝𝕥𝕦𝕣𝕒𝕝 𝕓𝕪 𝕝𝕚𝕤𝕥𝕖𝕟𝕚𝕟𝕘 𝕥𝕠 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡, 𝕓𝕦𝕥 𝕚𝕟 𝕣𝕖𝕒𝕝𝕚𝕥𝕪 𝕪𝕠𝕦’𝕣𝕖 𝕡𝕝𝕒𝕪𝕚𝕟𝕘 𝕣𝕚𝕘𝕙𝕥 𝕚𝕟𝕥𝕠 𝕥𝕙𝕖 𝕙𝕒𝕟𝕕𝕤 𝕠𝕗 𝕥𝕙𝕖 𝕔𝕠𝕣𝕡𝕠𝕣𝕒𝕥𝕖 𝕞𝕒𝕔𝕙𝕚𝕟𝕖. ℕ𝕠𝕨, 𝕒 𝕗𝕖𝕨 𝕠𝕥𝕙𝕖𝕣 𝕒𝕤𝕡𝕖𝕔𝕥𝕤 𝕠𝕗 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕥𝕙𝕒𝕥 𝕚𝕟𝕗𝕝𝕦𝕖𝕟𝕔𝕖 𝕙𝕚𝕤 𝕒𝕡𝕡𝕖𝕒𝕝 𝕒𝕣𝕖 𝕙𝕚𝕤 𝕣𝕒𝕔𝕖 𝕒𝕟𝕕 𝕒𝕡𝕡𝕖𝕒𝕣𝕒𝕟𝕔𝕖. 𝕋𝕙𝕖 𝕥𝕨𝕠 𝕚𝕞𝕡𝕠𝕣𝕥𝕒𝕟𝕥 𝕚𝕥𝕖𝕞𝕤 𝕙𝕖𝕣𝕖 𝕒𝕣𝕖 𝕙𝕚𝕤 𝕣𝕒𝕚𝕟𝕓𝕠𝕨-𝕔𝕠𝕝𝕠𝕣𝕖𝕕 𝕕𝕣𝕖𝕒𝕕𝕝𝕠𝕔𝕜𝕤 𝕒𝕟𝕕 𝕣𝕒𝕔𝕚𝕒𝕝 𝕒𝕞𝕓𝕚𝕘𝕦𝕚𝕥𝕪. 𝔹𝕖𝕔𝕒𝕦𝕤𝕖 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕚𝕤 𝕦𝕟𝕠𝕣𝕚𝕘𝕚𝕟𝕒𝕝 𝕚𝕟 𝕙𝕚𝕤 𝕞𝕦𝕤𝕚𝕔, 𝕙𝕖 𝕞𝕦𝕤𝕥 𝕦𝕥𝕚𝕝𝕚𝕫𝕖 𝕤𝕠𝕞𝕖𝕥𝕙𝕚𝕟𝕘 𝕖𝕝𝕤𝕖 𝕥𝕠 𝕓𝕖 𝕞𝕖𝕞𝕠𝕣𝕒𝕓𝕝𝕖. ℍ𝕚𝕤 𝕕𝕣𝕖𝕒𝕕𝕤 𝕕𝕠 𝕛𝕦𝕤𝕥 𝕥𝕙𝕒𝕥: 𝕥𝕙𝕖𝕪 𝕒𝕝𝕝𝕠𝕨 𝕙𝕚𝕞 𝕥𝕠 𝕤𝕥𝕒𝕟𝕕 𝕠𝕦𝕥 𝕨𝕙𝕖𝕣𝕖 𝕙𝕖 𝕠𝕥𝕙𝕖𝕣𝕨𝕚𝕤𝕖 𝕨𝕠𝕦𝕝𝕕 𝕟𝕠𝕥. 𝕋𝕙𝕚𝕤 𝕔𝕠𝕦𝕡𝕝𝕖𝕤 𝕨𝕚𝕥𝕙 𝕙𝕚𝕤 𝕤𝕥𝕒𝕥𝕦𝕤 𝕒𝕤 𝕒𝕟 𝕦𝕟𝕕𝕖𝕣𝕘𝕣𝕠𝕦𝕟𝕕 𝕊𝕠𝕦𝕟𝕕ℂ𝕝𝕠𝕦𝕕 𝕣𝕒𝕡𝕡𝕖𝕣 𝕥𝕠 𝕔𝕣𝕖𝕒𝕥𝕖 𝕥𝕙𝕖 𝕗𝕒𝕔𝕒𝕕𝕖 𝕥𝕙𝕒𝕥 𝕙𝕖’𝕤 𝕒 𝕟𝕖𝕨 𝕒𝕟𝕕 𝕗𝕣𝕖𝕤𝕙 𝕒𝕣𝕥𝕚𝕤𝕥. 𝕄𝕠𝕧𝕚𝕟𝕘 𝕗𝕠𝕣𝕨𝕒𝕣𝕕, 𝕒𝕥 𝕗𝕚𝕣𝕤𝕥 𝕘𝕝𝕒𝕟𝕔𝕖 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕤𝕖𝕖𝕞𝕤 𝕝𝕚𝕜𝕖 𝕙𝕖 𝕔𝕠𝕦𝕝𝕕 𝕓𝕖 𝕡𝕒𝕣𝕥 𝔸𝕗𝕣𝕚𝕔𝕒𝕟 𝔸𝕞𝕖𝕣𝕚𝕔𝕒𝕟. ℍ𝕖 𝕙𝕒𝕤 𝕥𝕙𝕖 𝕕𝕣𝕖𝕒𝕕𝕤. 𝔸𝕟𝕕 𝕥𝕙𝕖 𝕥𝕣𝕒𝕡 𝕘𝕖𝕟𝕣𝕖 𝕚𝕤 𝕒𝕝𝕞𝕠𝕤𝕥 𝕖𝕩𝕔𝕝𝕦𝕤𝕚𝕧𝕖𝕝𝕪 𝕓𝕝𝕒𝕔𝕜, 𝕨𝕚𝕥𝕙 𝕞𝕒𝕛𝕠𝕣 𝕒𝕣𝕥𝕚𝕤𝕥𝕤 𝕝𝕚𝕜𝕖 𝔾𝕦𝕔𝕔𝕚 𝕄𝕒𝕟𝕖, 𝕄𝕚𝕘𝕠𝕤, 𝕃𝕚𝕝 𝕌𝕫𝕚 𝕍𝕖𝕣𝕥, 𝕒𝕟𝕕 𝔸𝕊𝔸ℙ 𝔽𝕖𝕣𝕘. 𝔹𝕦𝕥 𝕘𝕚𝕧𝕖𝕟 𝕙𝕚𝕤 𝕣𝕖𝕒𝕝 𝕝𝕒𝕤𝕥 𝕟𝕒𝕞𝕖 𝔾𝕒𝕣𝕔𝕚𝕒, 𝕙𝕖 𝕚𝕤 𝕞𝕠𝕣𝕖 𝕝𝕚𝕜𝕖𝕝𝕪 ℍ𝕚𝕤𝕡𝕒𝕟𝕚𝕔. ℝ𝕖𝕒𝕝𝕝𝕪 𝕥𝕙𝕖𝕟, 𝕙𝕚𝕤 𝕣𝕒𝕔𝕖 𝕚𝕤 𝕞𝕦𝕝𝕥𝕚-𝕗𝕒𝕔𝕖𝕥𝕖𝕕. 𝔸𝕟𝕕 𝕀 𝕨𝕠𝕦𝕝𝕕 𝕘𝕠 𝕠𝕟 𝕥𝕠 𝕒𝕤𝕤𝕖𝕣𝕥 𝕥𝕙𝕒𝕥 𝕥𝕙𝕚𝕤 𝕙𝕒𝕤 𝕒𝕝𝕝𝕠𝕨𝕖𝕕 𝕙𝕚𝕞 𝕥𝕠 𝕔𝕠𝕟𝕟𝕖𝕔𝕥 𝕨𝕚𝕥𝕙 𝕒 𝕨𝕚𝕕𝕖𝕣 𝕒𝕦𝕕𝕚𝕖𝕟𝕔𝕖. 𝕃𝕚𝕘𝕙𝕥𝕖𝕣 𝕤𝕜𝕚𝕟𝕟𝕖𝕕 𝕧𝕚𝕖𝕨𝕖𝕣𝕤 𝕞𝕚𝕘𝕙𝕥 𝕚𝕕𝕖𝕟𝕥𝕚𝕗𝕪 𝕞𝕠𝕣𝕖 𝕨𝕚𝕥𝕙 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕥𝕙𝕒𝕟 𝕠𝕥𝕙𝕖𝕣 𝕓𝕝𝕒𝕔𝕜 𝕥𝕣𝕒𝕡 𝕒𝕣𝕥𝕚𝕤𝕥𝕤, 𝕤𝕠 𝕥𝕙𝕚𝕤 𝕙𝕖𝕚𝕘𝕙𝕥𝕖𝕟𝕖𝕕 𝕒𝕤𝕤𝕠𝕔𝕚𝕒𝕥𝕚𝕠𝕟 𝕨𝕚𝕥𝕙 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕓𝕣𝕚𝕟𝕘𝕤 𝕞𝕠𝕣𝕖 𝕣𝕒𝕔𝕚𝕒𝕝 𝕘𝕣𝕠𝕦𝕡𝕤 𝕚𝕟𝕥𝕠 𝕥𝕙𝕖 𝕗𝕠𝕝𝕕. (𝕀 𝕒𝕝𝕤𝕠 𝕨𝕠𝕦𝕝𝕕 𝕝𝕚𝕜𝕖 𝕥𝕠 𝕡𝕠𝕚𝕟𝕥 𝕠𝕦𝕥 𝕥𝕙𝕒𝕥 𝕥𝕙𝕖𝕤𝕖 𝕚𝕟𝕥𝕖𝕣𝕡𝕣𝕖𝕥𝕒𝕥𝕚𝕠𝕟𝕤 𝕒𝕣𝕖 𝕟𝕠𝕥 𝕥𝕙𝕖 𝕠𝕟𝕝𝕪 𝕡𝕠𝕤𝕤𝕚𝕓𝕚𝕝𝕚𝕥𝕚𝕖𝕤; 𝕥𝕙𝕖𝕪 𝕕𝕠 𝕒𝕡𝕡𝕖𝕒𝕣 𝕥𝕠 𝕓𝕖 𝕥𝕙𝕖 𝕞𝕠𝕤𝕥 𝕡𝕠𝕚𝕘𝕟𝕒𝕟𝕥 𝕒𝕟𝕕 𝕥𝕖𝕝𝕝𝕚𝕟𝕘 𝕙𝕠𝕨𝕖𝕧𝕖𝕣.) 𝕋𝕙𝕖 𝕤𝕥𝕒𝕣𝕕𝕠𝕞 𝕒𝕥𝕥𝕒𝕚𝕟𝕖𝕕 𝕓𝕪 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕔𝕣𝕖𝕒𝕥𝕖𝕤 𝕒 𝕨𝕙𝕠𝕝𝕖 𝕙𝕠𝕤𝕥 𝕠𝕗 𝕔𝕦𝕝𝕥𝕦𝕣𝕒𝕝 𝕡𝕣𝕠𝕓𝕝𝕖𝕞𝕤. 𝕊𝕚𝕟𝕔𝕖 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡’𝕤 𝕨𝕠𝕣𝕜 𝕚𝕤 𝕦𝕟𝕕𝕖𝕣 𝕥𝕙𝕖 𝕝𝕒𝕣𝕘𝕖 𝕦𝕞𝕓𝕣𝕖𝕝𝕝𝕒 𝕠𝕗 𝕙𝕚𝕡-𝕙𝕠𝕡 𝕒𝕟𝕕 𝕣𝕒𝕡, 𝕙𝕚𝕤 𝕞𝕦𝕤𝕚𝕔 𝕙𝕒𝕤 𝕥𝕙𝕖 𝕖𝕗𝕗𝕖𝕔𝕥 𝕠𝕗 𝕥𝕣𝕚𝕧𝕚𝕒𝕝𝕚𝕫𝕚𝕟𝕘 𝕥𝕙𝕖 𝕘𝕣𝕖𝕒𝕥𝕖𝕣 𝕘𝕖𝕟𝕣𝕖 𝕗𝕣𝕠𝕞 𝕒𝕟 𝕒𝕣𝕥𝕗𝕠𝕣𝕞 𝕠𝕗 𝕖𝕩𝕡𝕣𝕖𝕤𝕤𝕚𝕠𝕟 𝕥𝕠 𝕒 𝕤𝕖𝕟𝕤𝕖𝕝𝕖𝕤𝕤 𝕔𝕠𝕞𝕞𝕠𝕕𝕚𝕥𝕪. 𝔸𝕟𝕕 𝕓𝕖𝕔𝕒𝕦𝕤𝕖 𝕠𝕗 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡’𝕤 𝕡𝕠𝕡𝕦𝕝𝕒𝕣𝕚𝕥𝕪, 𝕙𝕚𝕤 𝕞𝕦𝕤𝕚𝕔 𝕓𝕖𝕔𝕠𝕞𝕖𝕤 𝕣𝕖𝕡𝕣𝕖𝕤𝕖𝕟𝕥𝕒𝕥𝕚𝕧𝕖 𝕠𝕗 𝕥𝕙𝕖 𝕖𝕟𝕥𝕚𝕣𝕖 𝕘𝕖𝕟𝕣𝕖 𝕚𝕟 𝕗𝕣𝕠𝕟𝕥 𝕠𝕗 𝕚𝕥𝕤 𝕞𝕒𝕚𝕟𝕤𝕥𝕣𝕖𝕒𝕞 𝕒𝕦𝕕𝕚𝕖𝕟𝕔𝕖. 𝕋𝕙𝕖𝕣𝕖𝕗𝕠𝕣𝕖, 𝕥𝕙𝕖 𝕒𝕧𝕖𝕣𝕒𝕘𝕖 𝕡𝕖𝕣𝕤𝕠𝕟 𝕚𝕤 𝕝𝕚𝕜𝕖𝕝𝕪 𝕥𝕠 𝕙𝕖𝕒𝕣 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡, 𝕒𝕟𝕕 𝕥𝕙𝕖𝕪 𝕞𝕚𝕘𝕙𝕥 𝕔𝕠𝕞𝕖 𝕥𝕠 𝕓𝕖𝕝𝕚𝕖𝕧𝕖 𝕥𝕙𝕒𝕥 𝕥𝕙𝕚𝕤 𝕞𝕚𝕟𝕕𝕝𝕖𝕤𝕤𝕟𝕖𝕤𝕤 𝕚𝕤 𝕚𝕟𝕕𝕚𝕔𝕒𝕥𝕚𝕧𝕖 𝕠𝕗 𝕙𝕚𝕡-𝕙𝕠𝕡. 𝕋𝕙𝕦𝕤, 𝕙𝕚𝕡-𝕙𝕠𝕡 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕚𝕤 𝕕𝕚𝕞𝕚𝕟𝕚𝕤𝕙𝕖𝕕. 𝕀𝕟 𝕖𝕩𝕒𝕔𝕥𝕝𝕪 𝕥𝕙𝕖 𝕤𝕒𝕞𝕖 𝕨𝕒𝕪, 𝕥𝕙𝕖 𝕙𝕠𝕠𝕕/𝕚𝕟𝕟𝕖𝕣-𝕔𝕚𝕥𝕪 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕚𝕤 𝕒𝕝𝕤𝕠 𝕥𝕣𝕚𝕧𝕚𝕒𝕝𝕚𝕫𝕖𝕕 𝕒𝕟𝕕 𝕔𝕠𝕞𝕞𝕠𝕕𝕚𝕗𝕚𝕖𝕕 𝕚𝕟 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡’𝕤 𝕞𝕦𝕤𝕚𝕔. 𝕋𝕙𝕖 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕚𝕤 𝕟𝕖𝕘𝕒𝕥𝕚𝕧𝕖𝕝𝕪 𝕒𝕡𝕡𝕣𝕠𝕡𝕣𝕚𝕒𝕥𝕖𝕕 𝕚𝕟 𝕥𝕙𝕖 𝕗𝕚𝕣𝕤𝕥 𝕡𝕝𝕒𝕔𝕖 𝕓𝕪 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕒𝕟𝕕 𝕥𝕙𝕖𝕟 𝕚𝕤 𝕒𝕡𝕡𝕣𝕠𝕡𝕣𝕚𝕒𝕥𝕖𝕕 𝕞𝕚𝕝𝕝𝕚𝕠𝕟𝕤 𝕠𝕗 𝕥𝕚𝕞𝕖𝕤 𝕠𝕧𝕖𝕣 𝕓𝕪 𝕙𝕚𝕤 𝕝𝕚𝕤𝕥𝕖𝕟𝕖𝕣𝕤 𝕨𝕙𝕠 𝕔𝕠𝕟𝕤𝕦𝕞𝕖 𝕥𝕙𝕖 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕒𝕤 𝕒 𝕟𝕠𝕧𝕖𝕝 𝕔𝕠𝕞𝕞𝕠𝕕𝕚𝕥𝕪. 𝔽𝕒𝕝𝕝𝕒𝕔𝕚𝕠𝕦𝕤 𝕚𝕞𝕒𝕘𝕖𝕤 𝕠𝕗 𝕥𝕙𝕖 𝕚𝕟𝕟𝕖𝕣-𝕔𝕚𝕥𝕪 𝕒𝕣𝕖 𝕥𝕙𝕖𝕟 𝕠𝕓𝕥𝕒𝕚𝕟𝕖𝕕 𝕓𝕪 𝕡𝕖𝕠𝕡𝕝𝕖 𝕨𝕙𝕠 𝕕𝕠𝕟’𝕥 𝕜𝕟𝕠𝕨 𝕥𝕙𝕖 𝕣𝕖𝕒𝕝𝕚𝕥𝕚𝕖𝕤 𝕠𝕗 𝕡𝕠𝕧𝕖𝕣𝕥𝕪. 𝕋𝕙𝕖𝕣𝕖𝕗𝕠𝕣𝕖 𝕥𝕙𝕖 𝕙𝕠𝕠𝕕 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕚𝕤 𝕟𝕠𝕥 𝕠𝕟𝕝𝕪 𝕒𝕡𝕡𝕣𝕠𝕡𝕣𝕚𝕒𝕥𝕖𝕕 𝕓𝕦𝕥 𝕒𝕝𝕤𝕠 𝕘𝕣𝕠𝕤𝕤𝕝𝕪 𝕞𝕚𝕤𝕣𝕖𝕡𝕣𝕖𝕤𝕖𝕟𝕥𝕖𝕕. 𝕋𝕙𝕚𝕤 𝕠𝕗 𝕔𝕠𝕦𝕣𝕤𝕖 𝕔𝕦𝕝𝕞𝕚𝕟𝕒𝕥𝕖𝕤 𝕨𝕚𝕥𝕙 𝕡𝕣𝕚𝕧𝕚𝕝𝕖𝕘𝕖𝕕, 𝕨𝕙𝕚𝕥𝕖 𝟙𝟚-𝕪𝕖𝕒𝕣-𝕠𝕝𝕕𝕤 𝕡𝕣𝕖𝕥𝕖𝕟𝕕𝕚𝕟𝕘 𝕥𝕠 𝕤𝕟𝕠𝕣𝕥 𝕔𝕠𝕔𝕒𝕚𝕟𝕖. 𝕆𝕟𝕖 𝕞𝕠𝕣𝕖 𝕚𝕞𝕡𝕝𝕚𝕔𝕒𝕥𝕚𝕠𝕟 𝕠𝕗 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡’𝕤 𝕣𝕚𝕤𝕖 𝕚𝕤 𝕥𝕙𝕖 𝕗𝕒𝕔𝕥 𝕥𝕙𝕒𝕥 𝕙𝕚𝕤 𝕚𝕟𝕚𝕥𝕚𝕒𝕝 𝕗𝕒𝕞𝕖 𝕠𝕟 𝕊𝕠𝕦𝕟𝕕ℂ𝕝𝕠𝕦𝕕 𝕨𝕒𝕤 𝕔𝕠𝕞𝕡𝕝𝕖𝕥𝕖𝕝𝕪 𝕠𝕣𝕘𝕒𝕟𝕚𝕔. 𝕎𝕚𝕥𝕙𝕠𝕦𝕥 𝕥𝕙𝕖 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕚𝕟𝕕𝕦𝕤𝕥𝕣𝕪, 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡’𝕤 𝕗𝕚𝕣𝕤𝕥 𝕗𝕖𝕨 𝕣𝕖𝕝𝕖𝕒𝕤𝕖𝕤 𝕘𝕒𝕣𝕟𝕖𝕣𝕖𝕕 𝕞𝕚𝕝𝕝𝕚𝕠𝕟𝕤 𝕠𝕗 𝕝𝕚𝕤𝕥𝕖𝕟𝕤. ℕ𝕠𝕨 𝕥𝕙𝕚𝕤 𝕔𝕠𝕦𝕝𝕕 𝕓𝕖 𝕒 𝕤𝕚𝕘𝕟 𝕠𝕗 𝕡𝕠𝕠𝕣 𝕖𝕕𝕦𝕔𝕒𝕥𝕚𝕠𝕟 𝕚𝕟 𝕥𝕙𝕚𝕤 𝕔𝕠𝕦𝕟𝕥𝕣𝕪; 𝕒 𝕤𝕚𝕘𝕟 𝕥𝕙𝕒𝕥 𝕡𝕖𝕠𝕡𝕝𝕖 𝕒𝕣𝕖 𝕟𝕠𝕥 𝕒𝕓𝕝𝕖 𝕥𝕠 𝕕𝕚𝕤𝕔𝕖𝕣𝕟 𝕘𝕠𝕠𝕕 𝕞𝕦𝕤𝕚𝕔, 𝕒𝕣𝕥, 𝕒𝕟𝕕 𝕔𝕦𝕝𝕥𝕦𝕣𝕖. 𝔹𝕦𝕥 𝕒𝕝𝕤𝕠, 𝕥𝕙𝕚𝕤 𝕔𝕠𝕦𝕝𝕕 𝕞𝕖𝕒𝕟 𝕥𝕙𝕒𝕥 𝔸𝕞𝕖𝕣𝕚𝕔𝕒𝕟𝕤 𝕙𝕒𝕧𝕖 𝕓𝕖𝕖𝕟 𝕔𝕠𝕟𝕕𝕚𝕥𝕚𝕠𝕟𝕖𝕕 𝕓𝕪 𝕥𝕙𝕖 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕚𝕟𝕕𝕦𝕤𝕥𝕣𝕪 𝕥𝕠 𝕗𝕚𝕟𝕕 𝕟𝕖𝕨 𝕗𝕠𝕣𝕞𝕤 𝕠𝕗 𝕞𝕚𝕟𝕕𝕝𝕖𝕤𝕤 𝕖𝕟𝕥𝕖𝕣𝕥𝕒𝕚𝕟𝕞𝕖𝕟𝕥 𝕗𝕠𝕣 𝕥𝕙𝕖𝕞. 𝕋𝕙𝕖 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕚𝕟𝕕𝕦𝕤𝕥𝕣𝕪’𝕤 𝕡𝕒𝕤𝕥 𝕨𝕠𝕣𝕜 𝕠𝕗 𝕡𝕦𝕞𝕡𝕚𝕟𝕘 𝕠𝕦𝕥 𝕣𝕖𝕞𝕖𝕕𝕚𝕒𝕝 𝕡𝕠𝕡 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕞𝕒𝕪 𝕨𝕖𝕝𝕝 𝕙𝕒𝕧𝕖 𝕔𝕣𝕖𝕒𝕥𝕖𝕕 𝕒 𝕞𝕖𝕔𝕙𝕒𝕟𝕚𝕤𝕞 𝕨𝕙𝕖𝕣𝕖𝕓𝕪 𝕣𝕖𝕘𝕦𝕝𝕒𝕣 𝕡𝕖𝕠𝕡𝕝𝕖 𝕤𝕖𝕖𝕜 𝕠𝕦𝕥 𝕞𝕚𝕟𝕕𝕝𝕖𝕤𝕤 𝕖𝕟𝕥𝕖𝕣𝕥𝕒𝕚𝕟𝕞𝕖𝕟𝕥. 𝕀𝕗 𝕥𝕙𝕚𝕤 𝕚𝕤 𝕥𝕙𝕖 𝕔𝕒𝕤𝕖, 𝔸𝕞𝕖𝕣𝕚𝕔𝕒𝕟 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕚𝕤 𝕞𝕠𝕤𝕥 𝕔𝕖𝕣𝕥𝕒𝕚𝕟𝕝𝕪 𝕚𝕟 𝕕𝕚𝕤𝕥𝕣𝕖𝕤𝕤. 𝔾𝕠𝕠𝕕 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕥𝕖𝕒𝕔𝕙𝕖𝕤 𝕦𝕤 𝕤𝕠𝕞𝕖𝕥𝕙𝕚𝕟𝕘 𝕒𝕓𝕠𝕦𝕥 𝕠𝕦𝕣 𝕙𝕦𝕞𝕒𝕟𝕚𝕥𝕪, 𝕠𝕣 𝕒𝕓𝕠𝕦𝕥 𝕠𝕦𝕣 𝕔𝕚𝕣𝕔𝕦𝕞𝕤𝕥𝕒𝕟𝕔𝕖. 𝕀𝕥 𝕞𝕒𝕪 𝕡𝕠𝕚𝕟𝕥 𝕠𝕦𝕥 𝕤𝕠𝕞𝕖𝕥𝕙𝕚𝕟𝕘 𝕒𝕓𝕠𝕦𝕥 𝕤𝕠𝕔𝕚𝕖𝕥𝕪 – 𝕘𝕠𝕠𝕕 𝕠𝕣 𝕓𝕒𝕕. 𝕀𝕥 𝕞𝕒𝕪 𝕒𝕝𝕤𝕠 𝕖𝕩𝕥𝕠𝕝 𝕒 𝕧𝕚𝕣𝕥𝕦𝕖, 𝕠𝕣 𝕡𝕖𝕣𝕙𝕒𝕡𝕤 𝕚𝕥 𝕔𝕠𝕦𝕝𝕕 𝕓𝕖 𝕛𝕦𝕤𝕥 𝕤𝕚𝕞𝕡𝕝𝕪 𝕓𝕖𝕒𝕦𝕥𝕚𝕗𝕦𝕝 𝕒𝕟𝕕 𝕦𝕟𝕚𝕢𝕦𝕖. 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕕𝕠𝕖𝕤 𝕟𝕠𝕟𝕖 𝕠𝕗 𝕥𝕙𝕖𝕤𝕖 𝕥𝕙𝕚𝕟𝕘𝕤, 𝕤𝕠 𝕥𝕙𝕖𝕣𝕖𝕗𝕠𝕣𝕖, 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 (𝕒𝕟𝕕 “𝕒𝕣𝕥𝕚𝕤𝕥𝕤” 𝕝𝕚𝕜𝕖 𝕙𝕚𝕞) 𝕔𝕣𝕖𝕒𝕥𝕖𝕤 𝕓𝕒𝕕 𝕔𝕦𝕝𝕥𝕦𝕣𝕖. 𝔹𝕦𝕥 𝕒𝕝𝕒𝕤, 𝕃𝕚𝕝 ℙ𝕦𝕞𝕡 𝕕𝕠𝕖𝕤 𝕔𝕣𝕖𝕒𝕥𝕖 𝕒 𝕔𝕦𝕝𝕥𝕦𝕣𝕖. 𝕀𝕥 𝕚𝕤 𝕒 𝕔𝕦𝕝𝕥𝕦𝕣𝕖 𝕠𝕗 𝕚𝕟𝕕𝕚𝕗𝕗𝕖𝕣𝕖𝕟𝕔𝕖 – 𝕚𝕟𝕕𝕚𝕗𝕗𝕖𝕣𝕖𝕟𝕔𝕖 𝕥𝕠, 𝕨𝕖𝕝𝕝, 𝕖𝕧𝕖𝕣𝕪𝕥𝕙𝕚𝕟𝕘. ℍ𝕚𝕤 𝕡𝕦𝕣𝕡𝕠𝕤𝕖𝕝𝕖𝕤𝕤 𝕣𝕒𝕡𝕡𝕚𝕟𝕘 𝕔𝕣𝕖𝕒𝕥𝕖𝕤 𝕖𝕩𝕥𝕣𝕖𝕞𝕖 𝕕𝕚𝕤𝕚𝕟𝕥𝕖𝕣𝕖𝕤𝕥 𝕥𝕠𝕨𝕒𝕣𝕕𝕤 𝕚𝕞𝕡𝕠𝕣𝕥𝕒𝕟𝕥 𝕤𝕠𝕔𝕚𝕒𝕝 𝕒𝕟𝕕 𝕡𝕠𝕝𝕚𝕥𝕚𝕔𝕒𝕝 𝕚𝕤𝕤𝕦𝕖𝕤, 𝕒𝕟𝕕 𝕞𝕠𝕣𝕖 𝕘𝕖𝕟𝕖𝕣𝕒𝕝𝕝𝕪 𝕔𝕣𝕖𝕒𝕥𝕖𝕤 𝕕𝕚𝕤𝕚𝕟𝕥𝕖𝕣𝕖𝕤𝕥 𝕥𝕠𝕨𝕒𝕣𝕕𝕤 𝕒𝕟𝕪𝕥𝕙𝕚𝕟𝕘 𝕥𝕙𝕒𝕥 𝕞𝕒𝕪 𝕓𝕖 𝕙𝕖𝕝𝕡𝕗𝕦𝕝, 𝕣𝕚𝕘𝕙𝕥𝕖𝕠𝕦𝕤, 𝕠𝕣 𝕘𝕠𝕠𝕕 𝕗𝕠𝕣 𝕙𝕦𝕞𝕒𝕟𝕚𝕥𝕪. Source: https://www.reddit.com/r/copypasta/comments/8n6d2v/esketit_a_cultural_analysis_of_lil_pump/

Personally, I prefer the demo version of sakura. rather than this latest version, but it sounds just as impactful/amazing live. Keiya is a phenomenal live singer. (Also, I love that setlist ^^) That sounded like a great time!

SLAYYYYYYYYYYYYYY. Even though this is a sub-unit, this is my favorite from PRISTIN so far. Also, stone-faced Nayoung and Kyulkyung are my biases from I.O.I ^^.

Rather than being dismissive, I'll be constructive since every thread like this turns into shitposting anyway. https://vk.com/nihon_ongaku and/or literally typing "visual kei downloads" in Google will take you to all the obscure blogs you could dream of. If you ever want to participate in MH threads, you're welcome to do so as long as you follow the General Rules. Otherwise, have at it. Just don't spam other users.

WE rECENtLY UPDaTED OUr PrIvACY poLICy and termS OF use to cOMPLy WITh tHE EuRopeAN UNIOn's gEneRal DATa prOTECTiON REGulatiON (gDpR). (In all seriousness, I'm glad a lot of these services are rolling out these changes to cover everyone and not just EU users, and it makes sense since doing otherwise wouldn't be viable anyway.)