#1999-2000

Norman is a Pureblood wizard that was born on the 21st of March 1988 and started attending Hogwarts on the 1st of September 2003 after having been homeschooled, being sorted into Slytherin house.

He has a Beech wand with a Dragon Heartstring Core.

He has a Non-Corporeal Patronus.

His favorite subject is Muggle Studies and his least favorite subject is Care of Magical Creatures.

Norman is a calm, level-headed, kind, and gentle boy who presents himself to have figured things out because he wants to appear as a reliable person to people around him. At the same time, Norman is a complex individual due to his conflicting morality. Like the rest of his siblings, he enjoys playing games such as quidditch and goblestones. After being exposed to the truth behind the orphanage, Norman is revealed to be similar to Ray, as in being a realist and wanting to take a limited group of people along in the escape. However, he deems himself as being selfish due to worrying about his own life, as opposed to Emma who selflessly worries about others first before herself. Norman's love for Emma inspires him to follow her idealistic ideals, and as so he becomes determined to escape with all of his siblings despite it seeming impossible. To achieve this, Norman has shown to be manipulative, ruthless and extremely rational, having no issues agreeing to the plan to kill Krone and Isabella that Ray came up with in order to escape.

Norman is the most intelligent child at Grace Field, consistently getting perfect scores during their daily exams. He likes to apply what he learns to his day-to-day activities, even in a simple game of quidditch. He is known to be strategic, analytical, rational, and possesses logical deductive skills. He is a planner who can see the entire situation and plan for it ahead of time. Additionally, Norman is very determined and doesn't let other budge him when he has firmly put his mind into a certain decision. He has a strong sense of self-confidence which stems from assuming everything will work out in his favor in the end if he plays his gambles right. He always relies on himself to come up with the answers, and even Norman himself states that he always managed to accomplish what he set out to do. However, he puts intense pressure on himself to achieve their goals, and he also harbors a crushing perfectionism where he is not allowed to lose or make mistakes. When he does make mistakes and suffers, he only blames himself and imagines that a perfect scenario exists out there, and if he only had envisioned and executed that plan, he would not be suffering.

Being an extremely caring individual who is fiercely loyal and protective of his family and friend, he has a tendency to hide his true feelings of worry, fear, and hurt projecting instead of a calm and collected exterior to calm down and give emotional support to the people around him. For example, Norman assumes it’s logical that he should use himself, and be the only one hurting, rather than place any of that weight on his family. Additionally, after Norman’s shipping date, is announced, his first priority is to comfort Emma, even though he was the one whose life was on the line. But when faced with his impending death, he realizes how badly he still wants to live.

An overall strong-willed boy, he tends to disregard his own humanity and worth as a person if it means keeping everyone else safe and for the greater good.

Due to being completely isolated and jailed within the Ratri Mansion's dungeon — far away from Emma, Ray, and his family— as well as being treated as an experiment who was drugged and could at any time be shipped-off and die, Norman's psyche was heavily damaged. He grew increasingly afraid of vampires and the unknown human world. As a defense mechanism, Norman forced himself to forget that he was a child and continually told himself he needed to be strong. In addition, he eventually took upon the mantle of "William Minerva", and presented himself as a strong leader whom everyone could rely and depend on. However, this often caused him to neglect himself to the point of misery, but he deems this as a necessary step to find happiness for everyone, including himself.

After he started attending Hogwarts, Norman has turned into a shadow of his eleven-year-old self, and his bright and cheerful demeanor is replaced with a more serious one, as his usual smile is diminished into a frown. Although he has good intentions behind his actions, he has become very isolated and prefers to work alone without consulting anyone. Norman also developed the mentality that although kindness is valuable, it will never be able to bring victory into the world. As Barbara, Cislo and Vincent describes, they view the current Norman as a "serious", "emperor" and "winter" person, and the fact that they have never seen him smile before genuinely surprised them when they discovered how warm and cheerful Norman was during his reunion with Emma and the others.

After witnessing the true horrors of the vampires and the human farming, Norman became fully convinced that the only way to stop the vampires is to kill them all, even adding that Emma's plan for a new law that involves no bloodshed is too optimistic and naïve. He even admits to himself that he'd gladly become both a God or a Devil if it meant he could keep his family and friends safe. This is demonstrated further when he hears that Mujika is alive; he immediately suggests to kill her rather than ally with her; and he kills Ayshe's adoptive werewolf father despite their loving family life. This shows that he has abandoned all hopes and opportunities for peace between the humans, vampires and even werewolves.

In the five years since the release of his last album, Joey Bada$$ hadn’t been as active as he usually is. Aside from his contributions to the Beast Coast album and the 3-song Light Pack EP back in 2020, Joey has been busy with other things outside of music. He had a daughter and continued his acting career, appearing in the first season of Wu-Tang: An American Saga, one of the Power spinoff shows, and the film Two Distant Strangers which won an Oscar. 2022 not only marks the release of Joey’s third album but also the 10th anniversary of his first mixtape 1999, which his new album’s title is a nod too. Though the cover and title are a nod to Joey’s beginnings, 2000 is definitely not a sequel to 1999 but instead marks the decade of Joey’s successful rap career. It’s much more polished in terms of production choices and mixing as this is a studio album full of original production mostly from longtime collaborator Statik Selektah who has produced a lot of Joey’s best music. The production is great and works well for Joey like always but the lyricism shines extremely bright on this album, which is also typical for a Joey Bada$$ album. Songs like Make Me Feel, Where I Belong, and Zipcodes sound like classic Joey. In terms of lyrical content, he spends most of the album reflecting on the past ten years, both in terms of his success but also sharing life experiences that happened along the way as well as honoring those close to him that lost, including Pro Era member Capital STEEZ and his cousin Junior B, who he dedicates the incredible Survivors Guilt to. Joey has mentioned Steez on many songs before, including #LONGLIVESTEELO but this song is easily the most vulnerable he has ever been about losing his close friend and family member. The beat is gorgeous and the hook is sung simply yet so beautifully as he says, “this one is for you.” He talks about missing his loved ones who came up with him and feeling guilty for being successful without them. It is moments like this song that we have been waiting for from Joey. The song Head High is also one of the better songs on the album, which he dedicates a verse to XXXTentacion as he tells a story of how their friendship came to be. I also love the hook on this one as he raps “This for my n****s who took the time to relax / huggin’ their block but the block ain’t hug ‘em back.” While a lot of this album is very reflective and introspective, he enjoys his successes on the album too on songs like Brand New 911 where Westside Gunn joins him for a verse and adds his amazing “BOOM BOOM BOOM BOOM” adlibs to the track. There is also the song One Of Us with Larry June which I love the vocal sample on. While I love a good amount of this album as it sounds like the Joey we know and love, there are some dull moments like the intro with Diddy as well as Welcome Back with Chris Brown and Capella Grey which could have been cut from the album. That song really did not fit well with the album. I think the same thing about the hook on Cruise Control, though I do like the verses and the production. While 2000 accomplishes its goals of documenting Joey’s life since the release of 1999 back in 2012, it only somewhat meets my expectations. I am satisfied with the classic Joey Bada$$ wordplay and production choices and love the more personal songs on the album, the quality of the album as a whole doesn’t really hold a candle to his other albums. Besides that opinion which isn’t much of an actual criticism, I think that when you don’t compare it to anything and judge my own enjoyment of the album, it is really good and I am happy that Joey is back. 2000 isn’t anything groundbreaking but that doesn’t make it any less enjoyable. Joey is now in a very interesting part of his career as he has been in music for 10 years but is still only 27 years old. He has lived a whole rap career but is not even 30, making it seem as though he is only just getting started. 2000 seems like a major milestone for him, which is exciting because he is so young but has been rapping too long to be lumped in with the younger generation of rappers. 2000 is a very good album when you keep that in mind and enjoy the music for what it is and his reflective songs make a big impact for longtime Joey Bada$$ fans.

Il Bloc Notes di Mad

Mode colte al volo da Maddalena Sisto

ricordi e annotazioni di Maria Luisa Agnese, Lina Sotis, Graziano Frediani

Hazard edizioni, Milano 2000, 96 pagine, 17x24cm, ISBN  978-8886991537

euro 14,50

email if you want to buy :[email protected]

Maddelena Sisto aveva la capacità di raccontare la moda, non quella ufficiale, ma le mode quotidiane, ovvero i mille modi di mostrarsi messi in atto dalle donne di fine secolo. Il volume raccoglie 69 illlustrazioni realizzate da Maddalena Sisto per «Sette» il magazine del Corriere della Sera tra il 1999 e il 2000, accompagnate da ricordi e annotazioni di Maria Luisa Agnese, Lina Sotis e Graziano Frediani.   Per più di un anno, dal febbraio 1999 al luglio 2000, in quella preziosa paginetta, che condivideva con la più spiritosa delle croniste di costume italiane,Lina Sotis, Mad ha regalato ai lettori qualcosa di più di una divertente vignetta a colori. Con l'occhio di chi è abituato ad esprimersi per immagini, e dunque sa far convergere in pochi segni tante contrastanti suggestioni, il suo Bloc Notes cataloga con ricercato e malizioso disordine i mille travestimenti buffi, teneri pretenziosi e raffinati che le donne di fine secolo adottano di giorno in giorno per affrontare il mondo accostando nella massima libertà, e spesso con geniale incoscienza, sete e nylon, oro e plastica, zoccoli neohippy e lingerie ultrasexi.

L’edizione 2000 di Lucca Comics & Games ha ospitato una retrospettiva dedicata a Maddalena Sisto, la grande disegnatrice dallo stile pungente e inconfondibile che raccontava – con i suoi schizzi – i gusti, gli umori, i modi diversi di vestire e interpretare la moda, sempre dalla parte di tutte le donne che amano indossare solo quello che gli va. 

30/12/20

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"Yine Söylüyorum: Kazanacaksınız Kazanmak İçin Uğraşacaksınız. Ama Netice Ne Olursa Olsun, Siz Benim Gönlümde Hep Kazandınız, Hep Şampiyonsunuz ve Öyle Kalacaksınız."

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🏆17.05.2000🏆

Donnie throws a plate as if it were a boomerang

The Wild Thornberrys S2 Ep.16-Dancing with Dingoes