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Adam Smith
After two centuries, Adam Smith remains a towering figure in the history of economic thought. Known primarily for a single work, An Inquiry into the nature an causes of the Wealth of Nations (1776), the first comprehensive system of political economy, Smith is more properly regarded as a social philosopher whose economic writings constitute only the capstone to an overarching view of political and social evolution. If his masterwork is viewed in relation to his earlier lectures on moral philosophy and government, as well as to allusions in The Theory of Moral Sentiments (1759) to a work he hoped to write on “the general principles of law and government, and of the different revolutions they have undergone in the different ages and periods of society “, then The Wealth of Nations may be seen not merely as a treatise on economics but as a partial exposition of a much larger scheme of historical evolution. Unfortunately, much is known about Smith's thought than about his life. Though the exact date of his birth is unknown, he was baptised on June 5, 1723, in Kikcaldy, a small (population 1,500) but thriving fishing village near Edinburgh, the son by second marriage of Adam Smith, comptroller of customs at Kikcaldy, and Margaret Douglas, daughter of a substantial landowner. Of Smith's childhood nothing is known other than that he received his elementary schooling in Kirkcaldy and that at the age of four years he was said to have been carried off by gypsies. Pursuits was mounted, and young Adam was abandoned by his captors. “He would have made, I fear, a poor gypsy”, commented his principal biographer.
At the age of 14, in 1737, Smith entered the university of Glasgow, already remarkable as a centre of what was to become known as the Scottish Enlightenment. There, he was deeply influenced by Francis Hutcheson, a famous professor of moral philosophy from whose economic and philosophical views he was later to diverge but whose magnetic character seems to have been a main shaping force in Smith's development. Graduating in 1740, Smith won a scholarship (the Snell Exhibition) and travelled on horseback to Oxford, where he stayed at Balliol College. Compared to the stimulating atmosphere of Glasgow, Oxford was an educational desert. His years there were spent largely in self-education, from which Smith obtained a firm grasp of both classical and contemporary philosophy. Returning to his home after an absence of six years, Smith cast about for suitable employment. The connections of his mother's family, together with the support of the jurist and philosopher Lord Henry Kames, resulted in an opportunity to give a series of public lectures in Edinburgh – a form of education then much in vogue in the prevailing spirit of “improvement” . The lectures, which ranged over a wide variety of subjects from rhetoric history and economics, made a deep impression on some of Smith's notable contemporaries. They also had a marked influence on Smith's own career, for in 1751, at the age of 27, he was appointed professor of logic at Glasgow, from which post he transferred in 1752 to the more remunerative professorship of moral philosophy, a subject that embraced the related fields of natural theology, ethics, jurisprudence, and political economy. Smith then entered upon a period of extraordinary creativity, combined with a social and intellectual life that he afterward described as “by far the happiest, and most honourable period of my life”. During the week he lectured daily from 7:30 to 8:30 am and again thrice weekly from 11 am to noon, to classes of up to 90 students, aged 14 and 16. (Although his lectures were presented in English, following the precedent of Hutcheson, rather than in Latin, the level of sophistication for so young an audience today strikes one as extraordinarily demanding.) Afternoons were occupied with university affairs in which Smith played an active role , being elected dean of faculty in 1758; his evenings were spent in the stimulating company of Glasgow society. Among his circle of acquaintances were not only remembers of the aristocracy, many connected with the government, but also a range of intellectual and scientific figures that included Joseph Black, a pioneer in the field of chemistry, James Watt, later of steam-engine fame , Robert Foulis, a distinguished printer and publisher and subsequent founder of the first British Academy of Design, and not least, the philosopher David Hume, a lifelong friend whom Smith had met in Edinburgh. Smith was also introduced during these years to the company of the great merchants who were carrying on the colonial trade that had opened to Scotland following its union with England in 1707. One of them, Andrew Cochrane, had been a provost of Glasgow and had founded the famous Political Economy Club. From Cochrane and his fellow merchants Smith undoubtedly acquired the detailed information concerning trade and business that was to give such a sense of the real world to The Wealth of Nations.
In 1759 Smith Published his first work, The Theory of Moral Sentiments. Didactic, exhortative, and analytic by turns, The Theory lays the psychological foundation on which The Wealth of Nations was later to be built. In it Smith described the principles of “human nature”, which, together with Hume and the other leading philosophers of his time, he took as a universal and unchanging datum from which social institutions, as well as social behaviour, could be deduced. One question in particular interested Smith in The Theory of Moral Sentiments. This was a problem that had attracted Smith's teacher Hutcheson and a number of Scottish philosophers before him. The question was the source of the ability to form moral judgements, including judgements on one's own behaviour, in the face of the seemingly overriding passions for self-preservation and self-interest. Smith's answer, at considerable length, is the presence within each of us of an “inner man” who plays the role of the “impartial spectator”, approving or condemning our own and others 'actions with a voice impossible to disregard. (The theory may sound less naive if the question is reformulated to ask how instinctual drives are socialized through the superego.) The thesis of the impartial spectator, however, conceals a more important aspect of the book. Smith saw humans as created by their ability to reason and – no less important – by their capacity for sympathy. This duality serves both to pit individuals against one another and to provide them with the rational and moral faculties to create institutions by which the internecine struggle can be mitigated and even turned to the common good. He wrote in his Moral Sentiments the famous observation that he was to repeat later in The Wealth of Nations: that self-seeking men are often “led by an invisible hand … without knowing it, without intending it, to advance the interest of the society. ” It should be noted that scholars have long debated whether Moral Sentiments complemented or was in conflict with The Wealth of Nations, which followed it. At one level there is a seeming clash between the theme of social morality contained in the first and largely amoral explanation of the manner in which individuals are socialized to become the market-oriented and class-bound actors that set the economic system into motion. The Theory quickly brought Smith wide esteem and in particular attracted the attention of Charles Townshend, himself something of an amateur economist, a considerable wit, and somewhat less of a statesman, whose fate it was to be the chancellor of the exchequer responsible for the measures of taxation that ultimately provoked the American Revolution. Townshend had recently married and was searching for a tutor for his stepson and ward, the young Duke of Buccleuch. Influenced by the strong recommendations of Hume and his own admiration for The Theory of Moral Sentiments, he Approached Smith to take the Charge. The terms of employment were lucrative (an annual salary of Ј300 plus travelling expenses and a pension of Ј300 a year after), considerably more than Smith had earned as a professor. Accordingly, Smith resigned his Glasgow post in 1763 and set off for France the next year as the tutor of the young duke. They stayed mainly in Toulouse, where Smith began working on a book (eventually to be The Wealth of Nations) as an antidote to the excruciating boredom of the provinces. After 18 months of ennui he was rewarded with a two-month sojourn in Geneva, where he met Voltaire, for whom he had the profoundest respect, thence to Paris where Hume, then secretary to the British embassy, introduced Smith to the great literary salons of the French Enlightenment. There he met a group of social reformers and theorists headed by Francois Quesnay, who are known in history as the physiocrats. There is some controversy as to the precise degree of influence the physiocrats exerted on Smith, but it is known that he thought sufficiently well of Quesnay to have considered dedicating The Wealth of Nations to him, had not the French economist died before publication. The stay in Paris was cut short by a shocking event. The younger brother of the Duke of Buccleuch, who had joined them in Toulouse, took ill and perished despite Smith's frantic ministration. Smith and his charge immediately returned to London. Smith worked in London until the spring of 1767 with Lord Townshend, a period during which he was elected a fellow of the Royal Society and broadened still further his intellectual circle to include Edmund Burke, Samuel Johnson, Edward Gibbon, and perhaps Benjamin Franklin. Late that year he returned to Kirkcaldy, where the next six years were spent dictating and reworking The Wealth of Nations, followed by another stay of three years in London, where the work was finally completed and published in 1776. Despite its renown as the first great work in political economy. The Wealth of Nations is in fact a continuation of the philosophical theme begun in The Theory of Moral Sentiments. The ultimate problem to which Smith addresses himself is how the inner struggle between the passions and the “impartial spectator '- explicated in Moral Sentiments in terms of the single individual – works its effects in the larger arena of history itself, both in the long – run evolution of society and in terms of the immediate characteristics of the stage of history typical of Smith's own day. The answer to this problem enters in Book 5, in which Smith outlines he four main stages of organization through which society is impelled, unless blocked by deficiencies of resources, wars, or bad policies of government: the original “rude 'state of hunters, a second stage of nomadic agriculture, a third stage of feudal or manorial” farming “, and a fourth and final stage of commercial interdependence. It should be noted that each of these stages is accompanied by institutions suited to its needs. For example, in the age of the huntsman, “there is scar any established magistrate or any regular administration of justice.” With the advent of flocks there emerges a more complex form of social organization, comprising not only “formidable” armies but the central institution of private property with its indispensable buttress of law and order as well. It is the very essence of Smith's thought that he recognized this institution, whose social usefulness he never doubted, as an instrument for the protection of privilege, rather than one to be justified in terms of natural law: “Civil government,” he wrote, “so far as it is instituted for the security of property, is in reality instituted for the defence of the rich against the poor, or of those who have some property against those who have none at all.”
Finally, Smith describes the evolution through feudalism into a stage of society requiring new institutions such as market-determined rather than guild-determined wages and free rather than government-constrained enterprise. This later became known as laissez-faire capitalism; Smith called it the system of perfect liberty. There is an obvious resemblance between this succession of changes in the material basis of production, each bringing its requisite alterations in the superstructure of laws and civil institutions, and the Marxian conception of history. Though the resemblance is indeed remarkable, there is also a crucial difference: in the Marxian scheme the engine of evolution is ultimately the struggle between contending classes, whereas in Smith's philosophical history the primal moving agency is “human nature” driven by the desire for self -betterment and guided (or misguided) by the faculties of reason. The theory of historical evolution, although it is perhaps the binding conception of The Wealth of Nations, is subordinated within the work itself to a detailed description of how the “invisible hand” actually operates within the commercial, or final, stage of society. This becomes the focus of Books I and II. In which Smith undertakes to elucidate two questions. The first is how a system of perfect liberty, operating under the drives and constraints of human nature and intelligently designed institutions, will give rise to an orderly society. The question, which had already been considerably elucidated by earlier writers, required both an explanation of the underlying orderliness in the pricing of individual commodities and an explanation of the “laws” that regulated the division of the entire “wealth” of the nation (which Smith saw as its annual production of goods and services) among the three great claimant classes – labourers, landlords, and manufacturers. This orderliness, as would be expected, was produced by the interaction of the two aspects of human nature, its response to its passions and its susceptibility to reason and sympathy. But whereas The Theory of Moral Sentiments had relied mainly on the presence of the “inner man” to provide the necessary restraints to private action, in The Wealth of Nations one finds an institutional mechanism that acts to reconcile the disruptive possibilities inherent in a blind obedience to the passions alone. This protective mechanism is competition, an arrangement by which the passionate desire for bettering one's condition – a “desire that comes with United States from the womb, and never leaves United States until we go into the grave” – is turned into a socially beneficial agency by pitting one person's drive for self-betterment against another's. It is in the unintended outcome of this competitive struggle for self-betterment that the invisible hand regulating the economy shows itself, for Smith explains how mutual vying forces the prices of commodities down to their natural levels, which correspond to their costs of production. Moreover, by inducing labour and capital to move from less to more profitable occupations or areas, the competitive mechanism constantly restores prices to these “natural” levels despite short-run aberrations. Finally, by explaining that wages and rents and profits (the constituent parts of the costs of production) are themselves subject to this natural prices but also revealed an underlying orderliness in the distribution of income itself among workers, whose recompense was their wages; landlords, whose income was their rents; and manufacturers, whose reward was their profit. Smith's analysis of the market as a self-correcting mechanism was impressive. But his purpose was more ambitious than to demonstrate the self-adjusting properties of the system. Rather, it was to show that, under the impetus of the acquisitive drive, the annual flow of national wealth could be seen steadily to grow. Smith's explanation of economic growth, although not neatly assembled in one part of The Wealth of Nations, is quite clear. The score of it lies in his emphasis on the division of labour (itself an outgrowth of the “natural” propensity to trade) as the source of society's capacity to increase its productivity.
The Wealth of Nations opens with a famous passage describing a pin factory in which 10 persons, by specialising in various tasks, turn out 48,000 pins a day, compared with the few, perhaps only 1, that each could have produced alone. But this all-important division of labour does not take place unaided. It can occur only after the prior accumulation of capital (or stock, as Smith calls it), which is used to pay the additional workers and to buy tools and machines. The drive for accumulation, however, brings problems. The manufacturer who accumulates stock needs more labourers (since labour-saving technology has no place in Smith's scheme), and in attempting to hire them he bids up their wages above their “natural” price. Consequently his profits begin to fall, and the process of accumulation is in danger of ceasing. But now there enters an ingenious mechanism for continuing the advance. In bidding up the price of labour, the manufacturer inadvertently sets into motion a process that increases the supply of labour, for “the demand for men, like that for any other commodity, necessarily regulates the production of men.” Specifically, Smith had in mind the effect of higher wages in lessening child mortality. Under the influence of a larger labour supply, the wage rise is moderated and profits are maintained; the new supply of labourers offers a continuing opportunity for the manufacturer to introduce a further division of labour and thereby add to the system's growth. Here then was a “machine” for growth – a machine that operated with all the reliability of the Newtonian system with which Smith was quite familiar. Unlike the Newtonian system, however, Smith's growth machine did not depend for its operation on the laws of nature alone. Human nature drove it, and human nature was a complex rather than a simple force. Thus, the wealth of nations would grow only if individuals, through their governments, did not inhibit this growth by catering to the pleas for special privilege that would prevent the competitive system from exerting its begin effect. Consequently, much of The Wealth of Nations, especially Book IV, is a polemic against the restrictive measures of the “mercantile system” that favoured monopolies at home and abroad. Smith's system of “natural liberty”, he is careful to point out, accords with the best interests of all but will not be put into practice if government is entrusted to, or heeds, the “mean rapacity, who neither are, nor ought to be, the rulers of mankind. ” The Wealth of Nations is therefore far from the ideological tract it is often supposed to be. Although Smith preached laissez-faire (with important exceptions), his argument was directed as much against monopoly as government; and although he extolled the social results of the acquisitive process, he almost invariably treated the manners and manoeuvres of businessmen with contempt. Nor did he see the commercial system itself as wholly admirable. He wrote with decrement about the intellectual degradation of the worker in a society in which the division of labour has proceeded very far; for by comparison with the alert intelligence of the husbandman, the specialised worker “generally becomes as stupid and ignorant as it is possible for a human being to become “. In all of this, it is notable that Smith was writing in an age of preindustrial capitalism. He seems to have had no real presentiment of the gathering Industrial Revolution, harbingers of which were visible in the great ironworks only a few miles from Edinburgh. He had nothing to say about large-scale industrial enterprise, and the few remarks in The Wealth of Nations concerning the future of joint-stock companies (corporations) are disparaging. Finally, one should bear in mind, that, if growth is the great theme of The Wealth of Nations, it is not unending growth. Here and there in the treatise are glimpsed at a secularly declining rate of profit; and Smith mentions as well the prospects that when the system eventually accumulates its “full complement of riches” – all the pin factories, so to speak, whose output could be absorbed – economic decline would begin, ending in an impoverished stagnation. The Wealth of Nations was received with admiration by Smith's wide circle of friends and admires, although it was by no means an immediate popular success. The work finished, Smith went into semiretirement. The year following its publication he was appointed commissioner both of customs and of salt duties for Scotland, posts that brought him Ј600 a year. He thereupon informed his former charge that he no longer required his pension, to which Buccleuch replied that his sense of honour would never allow him to stop paying it. Smith was therefore quite well off in the final years of his life, which were spent mainly in Edinburgh with occasional trips to London or Glasgow (which appointed him a rector of the university). The years passed quietly, with several revisions of both major books but with no further publications.
On July 17, 1790, at the age of 67, full of honours and recognition, Smith died; he was buried in the churchyard at Canongate with a simple monument stating that Adam Smith, author of The Wealth of Nations, was buried there. Beyond the few facts of his life, which can be embroidered only in detail, exasperatingly little is known about the man. Smith never married, and almost nothing is known of his personal side. Moreover, it was the custom of his time to destroy rather than to preserve the private files if illustrious men, with the unhappy result that much of Smith's unfinished work, as well as his personal papers, was destroyed (some as late as 1942). Only one portrait of Smith survives, a profile medallion by Tassie; it gives a glimpse of the older man with his somewhat heavy-lidded eyes, aquiline nose, and a hint of protrusive lower lip. “I am a beau in nothing but my books,” Smith once told a friend to whom he was showing his library of some 3,000 volumes. From various accounts, he was also a man of many peculiarities, which included a stumbling manner of speech (until he had warmed to his subject), a gait described as “vermicular” / and above all an extraordinary and even comic absence of mind. On the other hand, contemporaries wrote of a smile of “inexpressive benignity,” and of his political tact and dispatch in managing the sometimes acerbic business of the Glasgow faculty. Certainly he enjoyed a high measure of contemporary fame; even in his early days at Glasgow his reputation attracted students from nations as distant as Russia, and his later years were crowned not only with expression of admiration from many European thinkers but by a growing recognition among British governing circles that his work provided a rationale of inestimable importance for practical economic policy. Over the years, Smith's lustre as a social philosopher has escaped much of the weathering that has affected the reputations of other first-rate political economists. Although he was writing for his generation, the breadth of his knowledge / the cutting edge of his generalization, the boldness of his vision, have never ceased to attract the admiration of all social scientists, and in particular economists. Couched in the spacious, cadenced prose of his period, rich in imagery and crowded with life, The Wealth of Nations projects a sanguine but never sentimental image of society. Never so finely analytic as David Ricardo nor so stern and profound as Karl Marx, Smith is the very epitome of the Enlightenment: hopeful but realistic, speculative but practical, always respectful of the classical past but ultimately dedicated to the great discovery of his age — progress.

Frosya – Only in Red …
Full stage name: Frosya
Age: 19 Date of Birth: 24/07/1984
Bust: 83 Waist: 60 Hips: 90
Height: 169 Weight: 51
Dress Size: 42 Shoe Size: 37,5
Place of Birth: Volgograd
What do you think are some of your best features?
My lips
Favorite Color:
Blue
Favorite TV Shows, list names:
“Around the world”
Favorite Books, list titles:
“Ovod”
Favorite Movies, list titles:
“Where dreams can bring”
Favorite Magazines, list names:
“ELLE”
Favorite Web sites:
www.mobile-erotica.net
Favorite Music, list titles:
Red hot Chilly Peppers, A-ha, Tory Amos.
Favorite Time of the Day, Why?
Evening, when I can underline my day activity and rest
What is your educational background? Major?
I `ma second year student of the Technical University. Chemical technologies faculty.
Do you speak any other languages? If so, say something to me in that language.
I study English
Favorite Place to travel, relax, or visit:
Seaside
Where are some of the places you have traveled?
I was abroad several times. Finland, Turkey
What is your favorite Holiday? (Christmas, Valentines, Thanksgiving, etc ..)
New Year
Favorite Food, Snacks, and Candy:
I love ice-cream
What is your dream car?
KIA Rio
What is your dream occupation?
Biologist
Describe your favorite place to shop?
Toy shops
Do you watch sports, if so what are your favorite teams?
I love figure skating, football, gymnastics
Do you play any sports or other activities? Explain.
I used to go in for gymnastics
What are your hobbies?
I collect rare foreign coins
Drinks of choice both alcoholic and non-alcoholic:
Original pineapple juice
Occupation:
Chemist-technologist
Do you have any Pets?
Fish
Marital status:
Single
Nothing comes between.:
Me and my family
My worst habit is:
I'm often naughty
The one thing I cannot stand is:
Lies and treachery
What animal best describes your personality and why?
Cat. I always do everything by myself
The people who knew me in high school thought I was:
Very calm and modest
How do you relax or spend your free time?
I read different things in Internet, go for a walk or read books
What has been the happiest moment of your life?
When my sister was born
What are your Hopes% 26amp; Dreams:
I want to get higher education and build my own life full of happy moments.
The best advice I've ever been given was:
Not to lose my head
The worst advice I've ever been given was:
I don `t remember bad advice
What type of panties do you wear, if any?
Bikini
Ideal Man or Woman:
There are no ideal people
Does size matter? What is the ideal size?
Size doesn `t matters at all!
Describe your First time (details: location, thoughts, satisfaction, etc.)
I `m still a virgin
Turn-ons:
Kisses in my ears
Turn-offs:
Insolent people, especially drunk
What makes you feel the most desirable?
Tender huggs
Best way to give you an orgasm:
I don `t have such experience
Do you masturbate? How often? (Finger, toys, or both)
No
What was your first fetish, if so what?
I love blue cloth, especially stockings.
What is the most exotic or unusual place you have ever had sex? Or where would you like it to be?
I would like it to happen in the palace on the old oak furniture with silk sheet.
Extended Questions:
Describe a typical day in your life.
I get up at 9 am, wash my face and have my breakfast. I go to university. I spend there most of my time. I come back home at about 7 p.m.
Describe in detail your favorite sexual fantasy:
Making love at the seaside
Tell us about your idea of a fantasy date:
I dream of the date somewhere in the Finland
If you could be photographed in any way, in any setting, what would you choose? What would make you feel the most desirable, the sexiest? Please describe.
I would like to be shot in the shower or having a free-fly.
What can you wish our members?
I wish you pleasurable viewing. I hope, I won `t disappoint you.
What do you think about you work with Galitsin?
He helped me to overcome my fears. This person made me open my secret talents towards erotic photography.
One day it happened that Frosya became adult. Her desires began to dominate over her mind. She is longing for love and concupiscence, endearment and passion, contentment and felicity. But. does she know that she really wants it? Her essence, fervent frenzy incites her to thoughtless actions. She takes queer decisions not realizing to end why she is doing that …
In her innocent glance it's hard to perceive temptation of a woman of experience, her white maidenlike body allures with its primeval charm. Her easy and expressive gestures bewitch with sensual strength, unwittingly involving a spectator into a whirlpool of secret desires. Her body is full of delightful curves, that fascinate men with its coquettish hints at terrific delight which a splendid body can give; reward the worthy man. Slender waist and broad hips stir up the very primitive hunger for a woman. Her breast as if created for a male palm, its perfect shape attracts rapturous gaze of admirers.
That wonderful creature woks at the junior group of the kindergarten, and she dreams of becoming a teacher of a senior school in future. Her sphere is rather wide and multifarious, it is not limited to kids or coevals; she is much more attracted by big men she feels herself happy and safe with.
One of the reasons she agreed to be shot at the Master's place after his numerous entreaties was the thing that Galitsin acquired a taste for a young picture of beauty. She adores being photographed, knowing that hundreds of thousands eyes are watching her, virtually fondling her body. That's why she is eagerly opening all undercover corners of her essence.
Do you want to have such tutor?

Because he's gay 7-12/18
Why all of a sudden does he ignore me? Why would he help me and lose his friends for me to just ignore me? Ruki shook his head and turned around to walk to the next class though he didn't get all the way before someone grabbed his arm and roughly pulled him into another room. It was an empty classroom. In there Ruki recognised the person, anger building up inside him. “What do you want?” He sighed.
“What have you done to Aoi, huh!!?”
“What are you talking about, I haven't done anything!”
“Well he turned against me for YOU! You must have done something you little fucker! Why would he help protect you from me?! ”
“I don't fucking know, okay! I don't know the bastard!! Now let me go. “Ruki reached for the doorknob to open it but was stopped. He looked up at the blonde.
“You must've turned him fucking gay!” Ruki just shook his head and sighed and opened the door fast and ran out. Behind him he heard Reita calling 'fucking fag' after him but he just ran. Suddenly he was outside of the building and slowed down his pace coming near a bench and kicking it hard, it really hurt. “AAAAAAH fuck I'm so sick of this!!” He sat down on it, the pain in his foot unbearable but he tried to ignore it. He was so damn sick of everything all of a sudden. Fucking everybody hates me; I have no one, no one to talk with. I'm a fucking fag! I'm fucking sick! Why can't I be normal??
Suddenly he felt so down, so weak and he didn't know where these feelings came from. He just wanted to disappear. Tears formed in his eyes. Why can't someone be close to me, hold me? I'm so sick of being alone. The tears flowed down his cheeks and he didn't notice the person who stood just in front of him.
Ruki didn't care he cried, no one would notice. “Ru.?” A quiet voice said and he slowly raised his head to look up at the person it belonged to.
Aoi had heard Ruki's scream and walked over to him but the other hadn't noticed him. Now Aoi could see he was crying and Ruki began to sob suddenly, it just hurt in Aoi's heart to see that. He sat down beside the other and wrapped his arms around the little body, bringing it into an embrace. Ruki immediately leaned into the embrace as he cried his tears out. This was what he needed, warmth and care. It was like everything had just crushed down, all the feelings and loneliness he'd kept inside for so long.
He longed for more of the black haired man's warmth and pressed himself to him as much as possible as he was being cradled. “Shhhh.calm down.it will be okay.” Finally after some more minutes Ruki relaxed and totally enjoyed being held by Aoi.
“Do you want to go somewhere? We could go into the town, or the park? Or do you want to go home? ”
“Please don't leave me alone.”
“Okay, I won't. Do you want to go to my place then? Nobody will be home for a couple of hours. “Ruki nodded and after some more minutes of sitting there some more, they went to mentioned place.
The walk to there was completely quite, neither of them saying anything and Ruki mostly staring at the ground. When they got there Aoi unlocked the door and they went inside. The house was so big compared to where Ruki was living. When they got upstairs he could see mostly girlie stuff and toys spread all over. It was so much of princess things and to answer Ruki's questioning look Aoi said: “I have three little sisters, hehe” the redhead nodded and he could see into one of the rooms, it was all white and pink and princess-like.
“Well, here's my room” Aoi said and opened a close door to another room. This room was completely different, it was dark and black.
Ruki walked around in it some and took in how it looked, he liked it really much, especially how it was so dark. Aoi sat down on the bed, watching Ruki. He had never seen him like this before, he looked so sad and stuff, the boy had always been so lippy or perky and stuff before.
“Ru, how are you?” Ruki tensed a little on his spot, turning around and looking straight to Aoi.
XXXX
How are you? Wow no one ever bothers to ask me that. He turned his gaze to the floor instead, what should he answer? He didn't know where all those feelings came from earlier and he surely wasn't used to talk about his feelings to anyone. Could he trust Aoi? He didn't even know him, but after everything the last days and the hugging earlier, he felt like he could. But why Aoi had to avoid him?
“It's okay. I know we don't know each other and I've been bad to you. But I'm sorry, I'm so sorry for hurting you before. I won't do it again. You can trust me. ”
“Why?” Ruki looked up at the other again “why this all of a sudden? Why 'no more hurting Ruki'? ”
“I'm. I'm actually not sure. I just can't. I never agree with what my friends did to whoever they did all these stuff. I just couldn't do it, you know. I wanted to be cool. Anyway, you made me not being able to continue. I don't know why, but trust me I won't do anything again to hurt you. They are not my friends any more as you can notice it. “Aoi tried to smile reassuringly. Ruki still didn't know what to say or what to do; Aoi patted the bed beside him for Ruki to sit down, which he did.
They just sat there for some moments, looking at each other or just somewhere else. Aoi was the most confident though he was very nervous, while Ruki didn't really know what to do. The silence killing him and it felt weird in the stomach. Gods, he's so beautiful! Aoi wanted to touch him, his body drawn to the other like a magnet and the other seemed to actually need the contact, so he let his hand raised to the other's cheek. The touch was feather light and slightly trembling, what are you doing? Yet he didn't restrain himself. Nothing existed besides the man beside him.
Ruki flinched in surprise when he felt something touch his face but soon registered that it was Aoi's fingers and he liked being touched. He enjoyed the shy gentle fingers on his face. He felt care coming from the other. He couldn't help to let his eyes fall close and slightly lean into the warm hand a bit, wanting and needing more. This made Aoi more confident and he caressed the little man's cheek, watching the beautiful face closely, especially the deep cheekbones he loved. And the lips, and the nose, god he had never ever seen something so beautiful and flawless. He couldn't believe he used to hit this face, how could he ever did it!!? Well, he surely wasn't going to do it again. Never and ever.
Suddenly Aoi pulled away, Ruki opened his eyes and sad about the loss of contact, it felt so cold. Aoi just stood up and asked, “So, you want something to eat?”
Ruki was a little taken aback by the sudden change of subject, and pretty upset about it. He wanted to continue just sitting on the bed with Aoi; sadly the other didn't seem to. He didn't feel any hunger but still said 'yes', and so they went down to eat.
Ruki stayed at Aoi's home for hours, they had totally begun to relax being with each other and just having a great time as friends. Well, they were getting to know each other.
“Oh my, I'm sorry! Aaaoooooi !!???” Aoi heard Ruki's scream and quickly ran to him.
“Haha what the fuck Ruki!”
“God I'm so sorry!” But Aoi just laughed, especially about the cute little face the other was making in his embarrassment and panic for just have accidentally broken Aoi's mother's expensive vase. He covered his mouth with his hand and starred at the pieces on the floor.
“Awwwww Ru its fine.” Just then the front door smashed open and a bunch of little girls stormed inside the house with a tired-looking mother after them. She didn't really notice Ruki or Aoi but her beloved vase splitter into a million of pieces on the floor.
“Aaaaaaaaoi! What have you done to my vase !!!???” She almost screamed. Everything happened so fast for Ruki that he didn't really know what was happening. He just felt panicked.
“No mum-”
“Aoi you know how much that means to m-. who's this? You destroyed it? “She had noticed Ruki and how he was standing just by the splitter. She pointed her finger to him, now the little man was scared! He had never met the woman before and he had destroyed something and of course she'd be mad at him! Aoi saw how poor little Ruki looked like he was about to cry.
“Mum it's not his fault! Let him be. “Aoi walked over to Ruki and laid an arm around his shoulders. “Look I'll clean this up, it was an accident it can't be undone.” She looked pissed and a little sad, scary woman, Ruki thought.
Aoi cleaned up while his mother was in the kitchen making dinner, and then they went upstairs. She didn't even bother to get to know who Ruki was.
“Fuck Aoi, I'm a disaster!” Aoi knew Ruki was sensitive right now. “No, no you're not, anyone can break a vase, and it wasn't on purpose. Or was it? “He joked.
“Noooo of course not!”
“Look Ru, just forget about it.”
“No she hates me, she won't let me come back here again!”
“Haha silly, calm down, okay?” Ruki sighed heavy and sat down on the bed, arms crossed. Aoi joined him and pushed the other gently so he fell backwards onto it.
“Hey!”
They both laughed.
Ruki didn't stay for dinner because he was too scared to meet Aoi's mother again. Now Ruki was lying in his own room trying to fall sleep, he was thinking about the day. It had been so great, Aoi was an amazing person and so fun to hang out with. He never felt this happy before, and the excitement about going to school the other day, just so he could see the guy again. He sighed happily, changing to lying on one side to eventually fall asleep.
XXXX
The next morning when Ruki walked into the classroom he immediately looked around it for Aoi; he actually spotted him on a seat next to his. That made him happy and he smiled brightly at the other who smiled just as happily back at him while he walked over and sat down beside him. This is a very good start, the best morning in a very long time, Ruki thought.
“Hi there” Aoi smiled widely. “I hope it's okay if I sit beside you.”
“Of course” Ruki felt something funny in his stomach the way the other looked at him, it was a wonderful feeling and he knew he was smiling so much more than he ever had before.
“Haha, are we happy today”? Aoi giggled and now Ruki felt himself blush a little which he didn't like as much as the warm feeling the other gave him.
They were so busy with each other that the man on the other side of the room didn't exist anymore, but they to him, surely did exist. He was watching them, he felt angry and although he would never admit it, jealous. Aoi had left him for Ruki and now he was so much happier. He felt lonely suddenly and he hated that feeling.
“Wohooooo, Rei!??” Uruha was waving his hand in front of the blonde's face, trying to bring him back to reality. He giggled at the other's absent-minded appearance. Reita had a thing for just disappearing into a daydream very often. Uruha gave up chuckling to himself, the boy next to him rolled his eyes.
During class the teacher held one of his never-ending ramblings about something no one could possibly listen to for more than 5 minutes before falling asleep out of boredom. This teacher really sucked. He just talked during the whole class and it's not proper English so no one could understand what the fuck he's talking about.
Aoi was never really listening to what he had to say at all, he was feeling something, he was confused. The little cutie right next to him was making him nervous and almost sweaty, he came to think about when he had seen him naked in the shower and felt a strong blush. At the same time, Ruki was making him so nervous and forced butterflies to flutter in his stomach, he made him so incredibly happy and he always wanted to be with him. Well, at least since yesterday, he hadn't really wanted for Ruki to leave as the other had escaped from having dinner with them. Ha-ha Ruki had been so cute, he was afraid of his mother and surely also of coming over to his house again. But I hope he will, it was so fun.
Yesterday after Ruki had left, Aoi had been thinking. He had been thinking about Ruki's sexuality and his own, he really felt something, and maybe he was falling for him? That would explain some stuff, wouldn't it? This surely would have scared him some time ago and he would deny it, but now it really didn't scare him that much. If he was really liking the other more than a friend.
Suddenly Ruki's arm accidentally brushed his, waking him from his thoughts and butterflies going fucking crazy inside him. Oh my god I think I am!!
–
The next class, Aoi didn't come. Why didn't he come? Where the fuck is he? As the time went by and the teacher having no idea, Ruki felt worried. And now even more worried since Reita hadn't shown up either.
His heart skipped a beat when the door opened, but it revealed Reita, not Aoi. Shit.
The school was over for today, and all day Aoi was missing, Ruki couldn't find him and had gotten seriously worried, why would he just take off without even telling me? He didn't have Aoi's number or anything and he had to know what happened so he could go to Aoi's home and see if he's there. Even if it meant he had to face his mother whom he really didn't want to see. But Aoi was important, damn important!
Standing in front of the door, Ruki hesitated but finally knocked on it, his heart beating fast. When it opened it was Aoi's mother, he had so hoped it would be Aoi himself opening it up for him but unfortunately it wasn't.
“Hello. Is Aoi home? “He smiled.
“I recognize you.” The smile faded. “You're that guy who was here yesterday, right? I'm so sorry about yesterday honey, I was tired and when I got home. come in! Yes, Aoi is home. “Wow he felt relieved! Wait, honey? Haha now she seemed very nice, she might really had had a bad day yesterday. She shoved him in.
“Aoi is, well. you can go up to his room. ”
“Okay, thank you” what the hell?
After getting up the stairs he was met by more princess-stuff than yesterday. He knocked on Aoi's door.
“Who is it?”
“Aoi? It's me. ”
“Come in” Ruki's here??? He sat up on the bed from his lying position.
Ruki opened the door and was shocked at the sight. Aoi looked terrible! He stormed in and over to the other.
“What the fuck had happened Aoi !!??” He sat down on the floor in front of him, one hand on the other's knee and with the other he carefully put some strands of hair out of Aoi's face and carefully touched the bruised cheek . His beautiful face was so bruised; he had been beaten up badly. Ruki almost felt like crying.
“So this is why Reita and you were missing? God I was so fucking worried about you! Why didn't you tell me, Aoi!? ”
“Calm down Ru. We knew this was going to happen. ”
“Fuck. he can't keep fucking doing this. “Ruki continued to touch the other's face, it warmed Aoi's whole body up and he relaxed and enjoyed. It was comforting and the pain almost fell forgotten.
“I hate that guy, Aoi.” Ruki muttered “so much”
“Fuck him.” His heart was beating and he didn't have time to stop the word before they escaped his lips
“Come lay down with me?” Ruki looked at him questioningly as the other took the hand that had been on his face and lead him as he lay back on the bed, Ruki following him.
Aoi wanted to just be with Ruki, close. Now they where lying down, he listened to the other's breathing and watched his chest heave up and down as he did. They weren't close enough to touch, Ruki felt so nervous.
“Aoi.”
“Yeah?” They didn't really look at each other, Ruki just staring onto the bed and Aoi at Ruki's body.
“You do know. that I'm. well you know, of course you know! Stupid, well, so. you know. just keep away. “Ruki spoke in a very low tone.
“What are you saying?”
“I'm. Fucking gay. so don't get too close. ”
“Does it matter?”
“Well if you don't have any problems touching one. just reminding you ”
“Reminding me? Ruki why would I not want to touch you because of that? I don't care. ”
Ruki was still avoiding any eye contact. He flinched as Aoi's warm hand came to touch his upper arm and then started stroking it gently.
Aoi didn't plan or think, he just followed his heart. He moved closer, so close and pulled the other into an embrace, pressing the body to his. They stayed like that for some time. Then he whispered
“I like you Ruki”
Aoi could feel Ruki tensing up in his arms. Oh he enjoyed this so much, he loved being close to the other, he smelled so good and his body was warm.
Oh god Aoi, I like you too. In what way did you mean? You can't possibly like me in another way than as a friend. No Aoi. Fuck.
Ruki opened his eyes; it was all dark, where the hell was he? Who is this holding him? He blinked a couple of times, he could only see a neck in front of his eyes.
“Aoi” he whispered. “Aoi”, this time a little louder.
“Aoi we fell asleep, wake up.” Aoi hmm-ed, holding him more tightly.
Ruki nuzzled closer to the crook of the man's neck, smelling his scent and closed his eyes again.
XXXX
A week later.
That night at Aoi's they had fallen asleep in each others arms, Ruki had been to comfortable to try to wake the other up so they had slept 'till early in the morning, around 3 a clock. Then they had just been in Aoi's room lying on his bed and talking or just lie there close to each other.
The red-haired had been whining about being oh so hungry, so Aoi had to sneak downstairs to the kitchen to try to find something for the annoying little man. It was completely dark in the house and he was high. High on Ruki, of happiness. It didn't go so well, he was giggling and stumbling around, walking into stuff and making a lot of noise. Like he hadn't just slept all day? His mother got that crazy again and Ruki hided under the sheets as he heard her screaming in the hall outside. Did Ruki feel bad? Oh yes!
So, it's been a week now and everything is pretty great. The boys always hang out, Ruki had been sleeping over one more time, they had each other at school and so they never had to be alone again. The other students did make fun of them, calling mean stuff after them about them being a gay couple and many other names. It would've hurt, but they didn't care; it didn't bother them too much. You are much stronger together then alone. They had become best friends.
Reita was mostly silent, to both their surprise but also relief. He would mostly glare at them; he had gotten more quite lately. It's Friday and next week would be holiday, which they planned to spend together of course. It was the last lesson and soon it would be over, for a week at least, everyone was happy and wanted to get out but of course the teacher wanted to sing a song! She always did, especially when it's going to be a holiday.
Reita rolled his eyes at Uruha who was so happy, almost bouncing in his seat as the teacher started playing the piano. No one liked these fucking songs, except for the tall blonde. Everyone glared at him when he started to sing along with the teacher.
Didn't get this wrong, Uruha was not a dork, he was just a person that's unmorally happy.
Finally free, Ruki was dancing around Aoi as they walked out of the school. Ruki seemed very happy that it was spring or something, he thought. He smiled widely at the cute little thing; it was just so adorable, he was so happy. Never had anyone made Aoi feel so happy and free, like when he got friends with Ruki. With Ruki he could be his true self.
“Haha, you're so adorable Ruki!”
“Whaa, I'm happy!” Aoi chuckled and they just continued walking, Ruki still dancing around. Sometimes he would try to catch a butterfly or pick up a flower and smell it then throw it away. “You like flowers?”
“I love flowers, they are so pretty and they smell good.” Ruki smiled and got to pick up another flower, a blue one, and then he walked up to Aoi. He reached out and gave it to the other shyly and smiling. “Here”, Aoi just melted at the sweetness, the sunny and beautiful spring day, the fresh air, the flowers, the butterflies, the birds singing, holiday with Ruki. “For me?” The other nodded, they looked in each others eyes.
Aoi took the flower from Ruki and smelled it, it smelled very good. Ruki smiled at him and then started to walk again, Aoi followed. Aoi was in love. He was sure of it. From now on, every time he'd see a flower of this sort, he would be thinking about the other.
“So what do you wanna do this week?”
“Swim!”
“What!? It's way too early to swim Ru, you would freeze to death! ”
“Don't you wanna swim with me?” Ruki pouted. Aoi blush, “Ehm.” And Ruki just laughed. “Haha I'm kidding with you, woman!” Aoi gaped
“Woman !!??” And Ruki laughed even more running away with Aoi close behind.
Later they sat on a bench in the park, panting hard from all the running and chasing. “Haha that was. fun “the red haired panted. Aoi exhaustingly just leaned onto him and buried his face in the other's thin jacket, smiling. Ruki looked down at the black head and let his cheek resting on it and wrapped his arms around the other's shoulders.
“Don't fall asleep this time” and they both giggled.
–
Saturday
They had decided to go for a picnic in a forest glade Ruki knew about, a place he loved and used to go to; to think about things and just enjoy the nature and calmness. He wanted to take Aoi to that place.
Ruki was in Aoi's kitchen making the sandwiches while Aoi got something to drink from the fridge. Lucky his mother wasn't home; she was with the little girls at the ballet.
“Hahaha Ru you got butter on your nose.”
“I do?”
“Haha yes.”
“Well you too!” And then he smeared Aoi's nose with a lot of butter.
“Hey!”
That leaded to a food fight, guess who came home? Both boys where full of butter and a lot of other things, and the whole kitchen was pretty much destroyed. Ruki tensed as he heard the front door open and the little girls, and of course, their mother. Finally she walked into the kitchen to saw the most terrible sight.
“WHAAAAAAAAT ARE YOU TWO DOING!!?? Aoi can't I ever walk out of this house without you two destroying it? “Poor Ruki, standing there ashamed and scared with his hair full of mayonnaise.
“I'm sorry mum we.”
“CLEAN THIS UP!” And she walked out. Ruki looked at Aoi.
“Oh my god.”
The taller boy just smiled and smeared some more mayonnaise in the other's face. “Haha, it will be fine, come on let's clean this and then ourselves, we look a mess haha.”
XXXX
It took hours to clean the kitchen and then shower themselves and change into other clothes. Ruki had to borrow some of Aoi's, they where a little big but according to Aoi, the tiny boy just looked more adorable.
Sitting in the grass with a sandwich in his hand, Aoi was admiring the forest surrounding them. He felt so good, that life was good 'cause right now he had nothing to worry about, it was holiday and this beautiful place made him forget about the world outside it. He was here with Ruki, so everything was perfect.
Ruki on the other hand was admiring his friend who looked so far-away and deep in his own thoughts he had no idea he was being watched. His gaze roaming over his face, stopping a little longer at the lips. He felt such a longing to capture them with his own.
“You look distant. What are you thinking about? “Aoi snapped out of his thoughts, looking at the other.
“Nothing really, just liking this place very much.”
“Well, feel special cause I've never told about it to anyone before.” Aoi chuckled.
They didn't know for how long they had been out there but it was getting late since it was getting darker. And cold. Ruki started shivering out of coldness, he hadn't brought any warm clothes and the ones he was wearing were so big it let a lot of cold air in. Aoi noticed this and luckily he had remembered to bring his jacket along, so he grabbed it and got up to get over and sit down beside Ruki, putting the jacket around the others shoulders. “Thanks”
“Wanna go home? It's getting dark. ”
“Just a little longer, please?” Aoi smiled “of course”.
“Hey Aoi, did you ever regret what you did to me, and lost your friends?”
“No, well maybe I was a little the first days 'cause you know I had known them all for a very long time. I didn't even know you then. But now I'm glad I did it 'cause now I have you instead. I've never been happier. “Ruki's heart fluttered and he couldn't help to smile” I'm glad to. Very. “Aoi didn't need any clothes to be warm, sitting beside the other made him feel overall warm already, but when Ruki asked” Are you cold? “, He nodded and tried to fake a slight shudder.
“Come closer and I'll do something about it.” Both boys 'hearts where pounding hard in their chests and the butterflies were going crazy. Aoi leaned closer and was a little surprise when Ruki moved away but soon Ruki was straddling his legs. The read head closed his arms around the others shoulders and nuzzled into the neck, chest against chest they sat there. At first Aoi was too paralysed to do anything but finally he managed to wrap his arms around the other. Oh Ruki.
Ruki wondered if Aoi could feel his heart right now, 'cause it was beating so hard. Oh god he loved the scent of the other, he snuggled up closer, loving the feeling of the soft black hair. Never did he want to let go of Aoi, he wanted to be here forever, right here, them alone where no one would bother them.
Aoi was thinking the same thing, could Ruki feel his heart? Cause it sure was pounding like crazy. He nuzzled into the neck, inhaling. Did he have the guts? What held him back, Ruki wouldn't be mad, he knew that, but what if their relationship as friends would change? That he didn't want, but still he knew Ruki would take it well if it wasn't returned. He just was so afraid of rejection; it would break his heart 'cause he really was in love with him.
Ruki on the other hand wasn't so sure about Aoi's reaction if he would have the guts to tell the other. Aoi had been beating him for years just because he was gay, so how would he think about it? Would he leave him alone again? Ruki was day in and day out afraid of Aoi to abandon him. But really, why should he? He had risked so much to be with him, right?
Aoi was his best friend ever but. to tell him that he is in love with him? He was too scared to say anything.
Though his heart didn't want to obey his mind, longed and screamed for the other and making it so fucking hard. Ruki clung to the other, I need you.
“Aoi?”
“Hm?” But Ruki had nothing to say, they went silent again. Did Aoi want to leave and go home? Did Ruki force him to stay? This was fucking tearing him apart! Suddenly he felt just the opposite of what he had felt all day, he had been so happy but now.
Aoi's heart was racing, he had to, he couldn't just go on without even giving Ruki the chance to return his feelings. Shyly he placed a soft kiss on the side of Rukis neck. Ruki shivered in surprise. He swallowed “AhioI wh-aaaaa.” Okay it didn't make any sense but he couldn't form any words so. Aoi silenced him anyway
“Ru.” Said man felt his breath at his ear “I like you, will you be with me? Do you wanna be more than my friend? “Ruki's mind went total blank. The words, the question, repeating over and over inside his head. He felt on the verge of tears of joy. He didn't realise that his silence was currently killing Aoi with nervousness.
“Oh Aoi. I. I don't want anything more in the whole world. “What a relief when he finally got an answer! “You want me as your boyfriend?”
“Yes, oh yes, I don't want anything more in the whole world!” Ruki giggled in pure happiness. “I'm all yours”.
Aoi lifted himself from the other's neck to meet his eyes, they smiled at each other, he moved his hand to cup Ruki's cheek that leaned into it a bit but neither of them wanted to wait any longer. They closed the distance between them and soon ghosting over lips before finally touching. And wasn't it wonderful? It felt amazing and so good and right. It was their first kiss. It made them both feel like melting away. It was shy and gentle. No tongue action!
When the kiss broke they connected their foreheads together, smiling widely.
“Haha I'm so happy, I've wanted it for such a long time, well we haven't known each other for long but it feels longer. Well-”
“Aoi, you're babbling” giggling again “I know, well you know me, I'm doing it 'cause I'm so happy.”
“I know, that's so cute” Aoi chuckled, giving a fast kiss to Ruki's cheek.
They sat there for some more time and then decided to went back home to Aoi. On the way Ruki took Aoi's hand in his, holding it, it was dark so no one would really notice if Aoi happened to be uncomfortable. Ruki didn't know how Aoi felt about showing it openly in public, though he really hoped Aoi wasn't the kind that would want them to hide.
At least he didn't reject holding hands right now. Nearing home
“Aoi, I'm scared of your mother. I only destroy stuff and she screams at me and to always sleep over at your house and stuff, it feels weird, I don't like it. ”
“Awww honey, don't be. I promise you she's not that bad, you just happen to meet her when she's in a bad mood. You never meant to break her vase. She's not angry with you, she just freaks out to see her house being destroyed haha. It's nothing personal towards you, K? She doesn't dislike you sleeping over or being there. ”
“You called me honey!” Ruki announced with the biggest smile ever.
“You're so sweet Aoi; I guess she and I just have to speak to each other so it doesn't have to be like this. She was very kind when I came over and wanted to see you after Rei beat you up, and then I hadn't done anything so. ”
“Exactly. And she has to like you 'cause I wanna be with you. ”
They entered the house some minutes later. Slipping out of the shoes, they left the picnic basket in the kitchen and walked into the living room where Shizuka and her mother were sitting, watching some Disney movie. Ruki felt nervous.
“Hi, what are you watching?” “Oh, hi boys.”
“AOI!” The girl called when she saw him and jumped down from the couch running up to and hugged his legs, the purple dragon in her hand. Ruki smiled at this. This was the only little sister Aoi was so gentle and sweet to; you could see she really loved him. The other ones he mostly screamed at. Shizuka wasn't like her sisters, she was more calm and careful when her sisters where rowdy. They always made Aoi so angry 'cause they really could be little devils.
“We're watching Little mermaid!” She said with a big smile on her face and then she realised Ruki behind her brother. “Hi Ruki!” Awwww she really is such a cutie, he thought.
“Hi Shizuka” he smiled.
“Come watch Little mermaid with me Aoi!” She took his hand and tried to drag him to the couch but, “well I don't know if Ruki-”
“No it's okay, we can watch it” so they all three sat down on it to watch while mum left the room since now Shizuka had new 'babysitters'.
XXXX
Ruki looked from the movie to Aoi several times while they sat there. Aoi was sitting in front of him with his sister close to him; Ruki smiled. Shizuka would hug her brother's arm and hide from the witch on the screen, or smile about the beautiful girl with the prince and laugh at how she combed her hair with a fork.
“I want a prince just like him when I grow up” she said.
“Haha you will find him I promise, just not him in the movie.” Aoi smiled. “But I want him.” She pouted.
“Don't you want a princess like Ariel, Aoi?” Aoi looked at Ruki and met his eyes; “I already have a princess” he smiled eyes sparkling. Ruki felt warmness in his whole body and his heart flutter, Aoi said he was his princess. He smiled back at the other, a slight blush to his cheeks. No he so didn't mind being called princess, he just felt like melting and he wanted to hug Aoi close, though he didn't dare. What if his mother would walk in or something?
Aoi and Ruki continued to look in the eyes of each other, forgetting the world for just a moment before Shizuka broke the silence:
“You do!? Where is she, can I meet her? What's her name? Is she beautiful?” Aoi turned back to his sister and chuckled, she was too young to know about her brother's princess being a little man so he just said that they should go on watching the movie now which she whined about but did.
Ruki moved a little closer to Aoi and shyly laid his hand into the other's who lightly squeezed it and like so many times since he started to hang out with Aoi, he smiled brightly.
When the movie had ended the two boys went upstairs, they wanted to be with only each other now I mean hey; they had just revealed their feelings towards the other. They entered Aoi's room, leaving the door ajar after them, the dark haired man walked over to Ruki who stood in the middle of his room watching him. Aoi smiled lovingly approaching the other, he took the Ruki's hands in his and they just looked at each other for some time before Aoi made the next movement. He let go of one of Ruki's hands to stroke his cheek; was his body on fire? Oh yes.
Slowly he leaned his face closer to the other, too, just like the first kiss, just ghosting over the lips before softly pressing his own to them.
Aoi gently moved his lips against Ruki's warm ones, he so loved the feeling of them! It was only their second kiss and they did take it so carefully and slowly, it was just that they were both a little shy plus actually pretty new to it. They were both 17 but pretty inexperienced. Well at least Ruki, for Aoi had made out and a lot of stuff pretty much, but just never did it with love. He had never been in love with a person before; Ruki was also the first guy, of course, to kiss too. Ruki on the other hand had barely done anything, he had known he was gay pretty long and that cost him a lot, no guy wanted to do stuff with him! He really enjoyed feeling Aoi; it was so wonderful and just like the first time the world didn't exist anymore. He moved a little closer to the taller body, wanting to feel it's warmth against his.
“Ruki is your princess!?” In shock they immediately broke apart and turned to the door, there was Shizuka in a pink pyjama with hello kitty on and hugging her dragon as usual. Aoi should have closed the door; luckily it wasn't his mother who had seen them. He felt so relieved it wasn't her! “Shizuka” he breathed “you should be in bed”. She had a big smile on her face; Ruki was thinking she seemed not disgusted at all by this.
“Hai, I'm his little princess” Ruki giggled and hugged his boyfriend (or prince) from behind.
“Awwwiieee but Aoi, Ruki is a boy?” He smiled
“Yes, and he's my princess. At home he actually wears little pink dresses just like you honey” They all giggled. Aoi was glad his sister wasn't disturbed at all by all this.
“Now go to bed, okay?” She ran in to them and hugged Rukis legs and then Aoi's saying “I'm so happy for you”. “Thank you sweetie, that's so sweet of you.” She ran back to the door and looked back at them before she went out and closed the door after her, “Good night prince and princess.”
Aoi walked to the door and closed it, “So, guess you wanna borrow some clothes?” he went to his closet and took out some clothes to sleep in for both himself and Ruki. Of course they where a little too big for Ruki again but Aoi was so in love seeing the other in his big clothes and Ruki loved wearing them 'cause they were Aoi's and had his scent to them. After changing Ruki slipped down onto the bed and under the sheets first so that he was lying beside the wall and Aoi on the outside, just as always when he slept over. They also used to hold each other before but this time it was different.
Immediately when Aoi joined him in the bed and under the sheets he snuggled up closely, not in the way he had done before but in a way of a boyfriend towards his boyfriend. Aoi held the little guy tightly and kissed his cheek, running a hand through the red hair. Ruki was in heaven. Aoi was his heaven.
Once again Aoi felt himself so fascinated by the other's beauty, stroking his face, returning to the hair and then the face again. “You're so beautiful Ruki” he whispered placing a small kiss on the cute nose. “Nah, but you are”.
They just laid there on the bed, there was no such thing as time or world, or other people; it was just the two of them. Eyes sparkling, hands making the most loving and caring touches on soft skin.
“What do you wanna do tomorrow, princess?” The little princess snuggled closer to the other's neck, inhaling. “Haha it actually fits you, you know, you both have red hair and all” Aoi chuckled a little. “Hey! It's okay being your princess but I'm still a guy. I'm not a girl. if you want one-“
“What?? Ruki what is it? It was a joke, I'm sorry. Of course you're not a girl and I don't want one either.” Aoi didn't understand anything, why had Ruki been so offended? Was he a little unsure of Aoi wanting him 'cause he was a guy and that before this Aoi had been straight? He nuzzled the red hair, entwining his fingers in it at the back of the neck. “You're the one I want, please never doubt it.”
Ruki felt so bad, why had he suddenly reacted so snappy at what the other said? It warmed his heart earlier that night but now it almost stung instead. He had felt such a worry that Aoi used him, that he still only was into girls and Ruki was nothing at all to him. But why would Aoi do that? “God I'm so sorry Aoi, its okay, I'm sorry” Ruki tightened his hold on the other, “please let me be your princess again.” Aoi chuckled cuddling the other, “Of course.” A little later they would drift off to sleep, still holding each other.
“AAAOOOOOOOOI!!!” the banging on the door continued. Aoi groaned, he had just been woken up from a wonderful sleep by this fucking banging and shouting outside his door, “fuck those little brats” he groaned again. Ruki had woken up before Aoi by the first banging, he wasn't used to this noise so it easily awoke him from his sleep and at first he was terrified before he came back to his senses.
It were the two devil sisters, why the hell would they wake us up? It's fucking holiday! Ruki shouted in his mind, also he had got very tired of those little devils and he had barely met them, and fuck Aoi had been living with them for years!
“SHUT UP!!!” Aoi shouted and threw something at the door so it made a loud sound making the girls scream and then giggle as they ran away. He lay back down on the pillow closing his eyes sighing. God he hated them right now. He felt anger rushing inside of him, but a small gentle hand was placed on his cheek, it was calming and soon he relaxed. Turning to lie on the side towards Ruki “sorry 'bout that” he smiled and Ruki gave a peck to his lips.
“I think we should get up, maybe mom wants something, she often asks my sisters to wake me up when she needs me.” So they got up and into the bathroom and then downstairs.
Ruki fallowed behind Aoi who abruptly just stopped in the middle of the hall, Ruki followed with his gaze and saw a man, who is that?
“Dad?” Oh so it's Aoi's father? Ruki had never met the man before, he seemed busy with work or something, he didn't really know. The man turned at hearing the voice and just then his mother joined them too, a big smile adoring her face. The man also smiled brightly at his son.
“Why are you here? Shouldn't you be… wherever it was?”
“He was honey, but he just came back to take you with him, you will be gone for the whole rest of your holiday”.

27-28 листопада і 4 грудня 2009р. в Центрі сучасного мистецтва ім. Сергія Курьохіна відбудеться фестиваль електронного мистецтва «Електро-механіка».
«Електро-Механіка” – щорічний міжнародний мультимедійний фестиваль, який представляє різні грані електронного аудіовізуального мистецтва – експериментальну і танцювальну музику, цифровий відеоарт, відео, інсталяції і перфоманси. На фестивалі буде представлена музика різних сучасних стилів і напрямків – абстрактний хіп хоп, даб степ, Грайм, тернтаблізм, джаз, IDM, дроун, ембієнт, нойз, абстрактна електроніка, трип хоп, електро, семплінг, маш ап, техно та ін Аудіосети супроводжуються відіосетамі від віджеїв і відеохудожніков.
В основній програмі беруть участь як популярні західні артисти, так і молоді, талановиті і оригінальні російські колективи. Цього року наші учасники: хіп-хопера “Копи у вогні” (Москва), Anti-Pop Consortium (США), Beans (США), Anti Social Entertainment (Silkie та Quest) (Великобританія), Gudrun Gut live (Німеччина), Kid606 (США), Lawrence English (Австралія), Okapi (Італія), Valta% 26amp; Minikin (Україна), Kotra (Україна), Ben Frost (Ісландія), Machinefabriek% 26amp; Wouter van Veldhoven (Нідерланди), Skinny Patrini ( Польща), Ottosiderspunk (Україна), Tenpoint Vjs (Україна), Andrei 0id (Латвія), Moving Silence (Німеччина), Krater (Іспанія), Acid Buda (Іспанія), Dmitriy Rodionov Experience (Снежинськ), Illuminated Faces (Кіров), Fear Konstruktor (Брянськ), Quell Figure (Калінінград), Toys Market, Re'sequence, Blasta, Baltic Wind, DJ Koma, Paklya, Poliar Poliar, Proskurnin, Melomake, Les Phares, Poetry-Track, vj Epiq Sty, Bimka, Egor % 26amp; Kate, Горизонт Події, Punktieren, Олександр Дубровін, Lari Unit, Greenartist, Neguevara, DS, SDZ, Takis, Yoga, Anton Mayer, Krab, Vadyadya, El, Hild, Gariq Weed, Subfilter (усі С.-Петербург) та інші.
27го листопада у Великому залі програма почнеться з виступу групи музикантів, художників і кінематографістів Moving Silence з Берліна, воодушівленних ідеєю повернути в сьогоднішній день поезію німого кіно. У цьому їм допомагатимуть музиканти пітерського проекту Chikiss. Відразу після них – італієць% 26 # 216; kapi, тернтабліст і імпровізатор, віртуозно жонглюють семплами: новаторський підхід до використання вертушок і комп'ютера виводить його далеко за рамки хіп-хоп школи ді-джеїв. Тему нестандартного та експериментального хіп-хопу продовжить Beans (Нью Йорк) – це хіп-хоп революціонер, дивний коваль слова, архітектор звуку, що видається поет, альбоми якого випускають лейбли Thirsty Ear, Warp, 75 Ark, Adored and Exploited. А також член легендарних інноваторів альтернативного хіп-хопу ANTI-POP CONSORTIUM, які вийдуть на сцену слідом за своїм колегою. Довгоочікуваний і все ж несподіваний приїзд цих світочів сучасного репу, що перевернули уявлення про це стилі, стане дарунком для всіх шанувальників оригінальної музики, від хіп-хопу до нової хвилі, шанувальникам лейблів Warp, Big Dada і Ninja Tune. Коли в 2002 році учасники APC розлучилися, вони залишили порожню нішу в хіп-хоп, яку не змогла заповнити ні одна група. Через вже майже сім років, виклик так і не був прийнятий. Але сьогодні знову об'єднана група повертається, щоб поліпшити свій результат. За 7 років, поки вони працювали нарізно, APC багато придбали і стали ще сильніше. До Росії вони везуть свій останній альбом «Fluorescent Black» – кращу роботу групи на сьогоднішній день.
Вночі на цій сцені очікується даб степ, одна з найпопулярніших на сьогоднішній день стилів на танцполах світу, від одних з кращих у своїх країнах артистів. Зірки програми – Silkie і Quest з Anti Social Entertainment (Лондон). Разом з новими альбомами Silkie Quest, що розбурхала всю сцену, на табір Anti Social звернено багато уваги, і не даремно, саме їм вдається зберегти даб степ душевним і глибоким. З Києва низький бас привезуть Valta% 26amp; Minikin (Kievbass) – промоутери та музиканти, що присвятили останні 10 років розвитку електронної культури в Україні. Всі перші чотири сету будуть супроводжуватися провакаціонним відеорядом від Tenpoint vjs-піонерів віджеінг в Україні. Завершать даб степ програму петербуржці Blasta і Paklya.
На Клубної сцені у фойє цього дня молоді експериментальні проекти з Петербурга, і лише двоє іногородніх: інтерактивна аудіо-візуальна інсталяція Олександра Сенько «Звукові образи» (Москва) і сочитать електронні звуки зі звуками класичних і народних інструментів Quell Figure (Калінінград). Петербург буде представлений дуетом Іллі Белорукова (саксофон, електроніка) і Марії Григор'євої (скрипка, електроніка) Les Phares; аудіовізуальним проектом «Горизонт Події”; діджеєм ревербератором Олександром Дубровіна (також гітаристом «Чікіс») і VJ Epiq Sty; актуальним дуетом саунд-мейкери (Командіроff) і поета-перформанстіста (Осьмінкін) Poetry-Track; імпровізаційним проектом Дмитра Кротевича та Іллі Белорукова Punktieren; Toys Market, на концертах яких можна почути музику з фільмів жахів, зіграну під важкий hip-hop біт, пронизливий вобла бас, дитячі пісеньки , складні джазові гармонії і хитромудрий scratch; електроакустичним проектом Дмитра Аникина Re'sequence; дуетом асоціативної музики Poliar Poliar, idm-ambient-експериментальним проектом Potential Differense і мінімаліста Coaxil.
Чилі-аутом цього року займається промоутерська група Happy Stars, які запросили петербурзьких музикантів Lari Unit, Greenartist, DS, Neguevara, Koma, SDZ, Takis, Yoga, Subfilter, Krab, Vadyadya, El, Hild, Gariq Weed, Anton Mayer створити приємну атмосферу для тих, хто втомився від танцполу і хоче більш спокійної мелодійної музики.
Вечірня програма 28го листопада не менш цікава, розрахований на любителів ембієнту, дроуна, IDM, мінімал, нойза та іншої красивої інтелектуальної музики. Почне її у Великому залі IDM пост-рок колектив з Іспанії Krater, музика якого грунтується на побудові звукового ландшафту, характерного для Канарських островів з використанням традиційних інструментів і звуків природи, схильних до цифрової обробки. За ними виступить вельми цікавий дует – Machinefabriek% 26amp; Wouter van Veldhoven (Нідерланди). Machinefabriek значиться серед кращих експериментальних електронних проектів останніх років, який з легкістю доводить до абсолютної досконалості класичний ембієнт і створює органічні дроуновие пейзажі, звертається до електронного мінімалізму і народжуються катарсис нойзу. Авторитетний британський журнал The Wire визнав його альбом «Dauw» одним з найкращих релізів 2008 року, а самого музиканта ставить до числа найбільш цікавих нових експериментаторів. Його компаньйон Wouter van Veldhoven пише експериментальну музику в стилі ембієнт з додаванням елементів поп та основних звукових ланшафт, використовуючи аналоговий котушковий магнітофон і аналогові синтезатори. Ембіентная тема стає все цікавіше і глибше з появою на сцені Lawrence English (Австралія) – художника медіа-арту, композитора, куратора, і одного з найцікавіших фігур у такої сучасної експериментальної музики, як мікроелектроніка та ambient, а також власника лейблу Room40. Катарсис наступить з появою на сцені іншого автралійца, нині жителя Ісландії Ben Frost,. представника нового покоління композиторів. Його недавнє виконання на Sonar було проголошено Resident Advisor «вселяє благоговіння … самим проникливим шоу на фестивалі ». Його захвалити критики після виходу альбому Theory of Machines (Wire Magazine написав: «Це просто фантастика – таке відчуття, ніби це Арво Пярт в аранжуванні Трента Резнор», Boomkat іменував Фроста «одним з найцікавіших і революційних продюсерів у світі на сьогоднішній день» і навіть назвав Theory of Machines «майбутнім електронної музики»), який Бен виконав на фестивалі SKIF-12, і ось він вже їде до нас з новим альбомом By The Throat, ще одним музичним шедевром. Опівночі на сцену вийде берлінська дива, еклектична і прекрасна Gudrun Gut. За її біографії можна вивчати історію німецької сучасної муизкі. Вона брала найдіяльнішу участь у подіях, які багато в чому сформували нинішню музичну картину світу: грала в жіночих групах Mania D і Malaria!, Тобто була в перших рядах Neue Deutsche Welle, у першому складі групи Einstuerzende Neubauten, створила легендарне об'єднання Ocean Club, влядеет лейблами Monika Enterprise і Moabit Musik, є куратором електронних медіа-проектів по всій Європі. На фестивалі Gudrun Gut представить свій сольний альбом – це буде живий перформанс. Свою першу платівку вона випустила лише два роки тому, відразу догодивши з такої нагоди на обкладинку Wire. Наступний виконавець – довгоочікуваний в Петербурзі американець венесуельського походження Kid606, один з найбільш радикальних і безкомпромісних електронних музикантів. Його новий альбом “Shout at the Doner” являє собою зухвалу і захоплююче поєднання семплоделіческіх і пландерфоніческіх елементів, якими відомий Kid606, з цілим світом нехарактрно музичних і танцювальних прийомів і стилів, які завжди оригінальні і не схильні до впливу часу. Проект Illuminated Faces, дітище кіровчаніна Романа Цепелева, можна назвати одним із самих обіцяють з вітчизняної інтелектуальної танцювальної електроніки. Проект був визнаний одним з переможців щорічного конкурсу «Red Bull Music Academy» в 2007, тоді ж учасником «Пікніка Афіші», і ось він на кращому електронному подію Петербурга. Andrei Oid – сольний проект Андрія Антонець з колективу Alexandroid, однією з небагатьох електронних груп з пострадянського постранства що добився міжнародного статусу. Під нікнеймом Oid Андрій грає атмосферне ембієнт. Закінчать програму у Великому залі Ottosiderspunk (Україна), експериментальний проект Вальти і Мінікіна з Kievbass у супроводі Tenpoint Vjs.
На Клубної сцені в цей вечір нойз буде переходити в ембієнт і навпаки, і створювати трохи похмуро-гарну атмосферу будуть досить відомі в наших широтах музиканти. Петербурзький музикант Bimka використовує для цих цілей оригінальні саморобні пристрої, як аналогові, так і цифрові. Виступ Dmitriy Rodionov Experience (Снежинськ) – це свого роду музично-шумові картини, створені за допомогою живих і неживих звуків, шумів, голосів, а також різноманітних акустичних та електричних інструментів, у совпровожденіі відеоінсталяції. Fear Konstruktor (Брянськ) грає разлічнеи види нойза, але пошук нових ходів і звучання на цьому не закінчується. Kotra (Україна) – проект Дмитра Федоренка, одного з хедлайнерів і з-продюсерів лейблів Nexsound та Kvitnu, куратора фестивалю Деталі Звуку. Проекти Дмитра брали участь у багатьох фестивалях медіа-арту по всьому світу. Baltic Wind – сайд проект Гоши Солнцева з Шумов Росії, у якому балтійського пориву вітру та інші навколишні нас звуки перетворюються в реальному часі до невпізнанності і служать матеріалом для побудови гігантських акустичних споруд найхимернішої форми. Egor% 26amp; Kate (С.-Петербург) – intelligence minimal techno дует музиканта Єгора Лаврентьєва і відеохудожніци Катерини Куку у супроводі фото-та відео-«замальовок», доповнені цифровими ефектами. Proskurnin (С.-Петербург) грає мелодійний колаж декількох стилів з елементами electronica, 2step, techno та idm. В електро-Клеш дуеті з Польщі Skinny Patrini Anna Patrini співає і відповідає за відеоряд, а Michael 'Skinny' Skorka відповідальний за ритм-партії та інструменти. Кожен їх концерт – це незабутнє шоу. Танці, виски, повзання по сцені, психоделічний відео-ряд, стильний мейк-ап та незвичні костюми – обов'язкові елементи всіх їх концертів.
Acid Buda (Канарські о-ви) створює психоделічну поп музику за допомогою аналогових синтезаторів, голосу і різноманітних ефектів. І завершує програму в цей день Melomake (Петербург), який грає мелодійну суміш IDM, ambient, techno і lofi-звучання. На фестивалі відбудеться його дебют.
4-го грудня відбудеться друга частина фестивалю – российская прем'єра хіп-хопер «Копи у вогні», музично-театрального проекту, результату творчої взаємодії клубної та театральної культур – хіп-хоп коммьюнити How2make і творчого об'єднання Le Cirque de Сharles La Tannes з Москви. Перший відомий проект Le Cirque deСharles La Tannes – спектакль “Кришталевий світ” за однойменною повістю Віктора Пелевіна, був показаний в Мьюзік Холі в цьому квітні. Учасники How2make – Ларик Сурапов, Рома Литвинов (Mujuice), Саша Холенко (DZA) вже брали участь у фестивалі в минулому році. How2make – це угруповання складається з музикантів, дизайнерів, режисерів, діджеїв, графіті-райтерів і інших творчих особистостей, які влаштовують галасливі вечірки в клубах “Солянка” та “16 тонн”, випускають одяг і постійно працюють над новими цікавими проектами. Глядачів очікують живі хіп-хоп арії, оригінальні декорації, трюки та хореографія. «Копи у вогні»-це шоу на межі театру і клубу, сучасної драми і хіп-хопу, мистецтва і моди, розваги та високої культури, гумору і провокації. Хіп-хопера сподобається як тим, хто прийде на якісне модне шоу, так і людям, для яких важлива ідейна частина твору мистецтва.
Фестиваль «Електро-Механіка” проводиться Центром Сергія Курьохіна за підтримки Комітету з культури Санкт-Петербурга, Інституту Адама Міцкевича у Польщі, Італійського Інституту Культури в Санкт-Петербурзі, Генерального Консульства Королівства Нідерландів в Санкт-Петербурзі і Canarias Crea (Gobierno de Canarias – Канарські острови, Іспанія).
27,28 жовтня початок 20:00 до ранку. Ціна 600 руб. в день заходу; 500 руб. попередній продаж.
4 грудня. 20:00 – 23:00. Ціна 400 руб. в день заходу і 300 руб. попередній продаж.
Інформація про фестиваль http://www.kuryokhin.ru/em2
 Інформація про учасника та розклад

http://www.kuryokhin.ru/em2/schedule.htm

і http://www.kuryokhin.ruem2artists.htm Інформація для преси та фото для друку http://www.kuryokhin.ru/em2/pressa.htm
                                     
ЦЕНТР СУЧАСНОГО МИСТЕЦТВА ім. Сергія Курьохіна
199106, Санкт-Петербург Середній пр. В.О. 93 т. / ф. 322-0-094
http://kuryokhin.ru, pop-mech@mail.ru
Розклад
27 листопада
Великий зал
20:00 Moving Silence (Німеччина)
21:00 Okapi (Італія) + Tenpoint Vjs (Україна)
22:00 Beans (США) + Tenpoint Vjs (Україна)
22:30 Anti-Pop Consortium (США) + Tenpoint Vjs (Україна)
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When Bjork was born in Reykjavik (Iceland), did not promise that it will become the most famous in the world isladnskim musician and the most recognizable citizen of his country. As a child she learned to play the flute and piano, studying vocal. In 1979, in 15 years under the strong influence of creativity Siouxsie and the Banshees, she took her first musical group of post-punk – Tappi Tikarass.
In 1982, two songs were included in the collection of radio Icelandic New Wave 'Rock in Reykjavik', and Bjork was prizanana nabolee promising young talent. In 1983, Bjork and other stars of the waves were invited to address a single group at a special radio program. She and several others, including Einar Orn and Sigtryggur Baldursson work well and the fall of that year created a new group – Kukl. By the time the second and last album Tappi Tikarass released late in 1983, a new collective Kukl became the main place of creativity Bjork. In the next two years of Bj% 26 # 246; rk with the group released two albums, had a tour of Europe and began to develop jazz in the style of jazz and political post-punk. By mid-1986 Kukl exhausted itself.
June 8, 1986 at the Bjork and her husband, guitarist Thor Eldon, a son Sindri, and on the same day, was founded a new group of two happy parents and several members of the team Kukl. By the end of the year they decided on the name of the group: Sykurmolarnir, but in English – Sugarcubes (sugar cubes).
The success of the Icelandic version of their pevogo dreamy and distinct from other signla Birthday (Birthday) in 1987 led to the signing of the contract with the record company Elektra. The spring of 1988 their debut – the album Life's Too Good (Life is too good) has received rave reviews in America. In addition to the Birthday jangl-and somewhat confusing single Motrocrash also received a good share of the ether. However, the second CD entitled Here Today, Tomorrow, Next Week (Here today, tomorrow, next week) was not so highly rated.
In 1990, Bj% 26 # 246; rk took time out to write Gling-Glo – album of traditional Icelandic jazz tunes. Despite the fact that in 1992 released their third album Sugarcubes Stick Around for Joy (Mike Happyness) include single, just called Hit (Hit), the group disbanded. By this time all the glory focused on Bjork and began her solo career was a logical outcome. 'Swan song' Sugarcubes became a remix album It's – It (That's) released in 1992 – a forerunner of solo work with dance Bjork remission. Break with her husband, Bjork and her son moved to London in 1993.
This enabled her to work with producers of the British music scene – one of the finest, Nellee Hooper, worked on his first solo album of Bjork – Debut (debut). Highlight the zamechalnym Siglo Human Behaviour (Human behavior), which used cymbals and guitar, Debut has been widely recognized: from the defeat of the magazine Rolling Stone to praise others. The reality was reflected in the figures: the size of sales Debut Bjork finally adopted as a star in America.
In 1995, Bjork continued with melancholic album Post. He did not sell with the same success as Debut despite very enticing video from Busby Berkeley to Blow a Fuse (It's Oh So Quiet) (struck out the fuse (oh, so quiet around)) – extravaganza in the style of big-band – jazz. 1997 began with the release of the album Telegram (Telegram), in which nearly every track from the Post was a remix or overwritten with various accomplices from Dillinja, Deodato to the Brodsky Quartet. Where else would Bjork can only guess … All players Runet on AudioMarket.ru! CD, MP3, MD, cassette players, voice recorders, headphones …. Discography: Homogenic 1. Hunter 2. Joga 3. Unravel 4. Bachelorette 5. All neon like 6. 5 years 7. Immature 8. Alarm call 9. Pluto 10. All is full of love
Bjork Gudmundsdottir was born November 21, 1965 in Reykjavik. Perhaps only this bureaucratic phrase, and is available in its biography. Because the standard “description of the creative ways of” man created so virtuosic, unique, dusherazdirayusche beautiful music to Bjork difficult to apply. Nevertheless …
Her stepfather was a hippie (Bjork's parents divorced when she was 3 years after birth), and Bjork, thus, was a true “child of flowers, grown in the free atmosphere hippovskoy commune.
Although the title of her first solo album “Debut” and implied that this is the first work of Bjork, in fact she was a professional singer since childhood.
As a child, she studied flute, piano and vocals, knock together, so a decent background of musical education.
In 1977 in Iceland, where Bjork was still at primary school, was released this debut album by Bjork, who just called and down – “Bjork”. She wrote it at age 11, was already showing a stubborn and determined man. Her teacher from Reykjavik's music school record brought the young singer on local radio station, where they have an interest in record label Falkinn. Recording the album took place in August – September 1977, at the studio Hloudrita in Hafnafordure.
Bj% 26 # 246; rk's mother Hildur Hauksdouttir invited my friends – musicians, bassist and drummer Paulmi Gunnarsson Sigur% 26 # 240; ur Karlsson to take part in the recording, and they in turn took the case seriously and have attracted to participate in recording the best musicians in Iceland. Results The album includes 10 tracks, including some Icelandic folk songs and cover versions of such hits 70 as “Christopher Robin” Melani, “Your Kiss Is Sweet” Stevie Wonder and “Fool On The Hill” The Beatles, except to the album also included instrumental composition “Youhannes Kyarval” which Bj% 26 # 246; rk wrote myself. The album features Bjork participated not only as a vocalist, in a few songs she sang musical party on the flute and piano. After the release of this disc Bjork received a very great fame in his native country.
Bjork has already become famous, but so far only in Iceland.
Prior to her solo career in 1995, Bj% 26 # 246; rk managed to work with three groups.
In the late 70's Bjork was very partial to punk – in 1979 she organized a post-punk group called Exodus, and the following year she sang in Jam 80. In 81, Bjork and Exodus bassist Jakob Magnusson formed a group “Tappi Tikarrass” ( “Shut your bitch (or bitch) ass”) and recorded a minion “Bitid Fast I Vitid” at the company Spor. Two years later – in 1983 – an album “Miranda”. Thereafter with Einar Orn Benediktsson, and Thor Eldon (who later became her husband), she organized a group Kukl ( “Witchcraft”). Before Kukl gradually evolved into Sugarcubes (this happened in the summer of 1986), they released two albums: “The Eye” (1984) and “Holidays in Europe” (1986).
June 8, 1986 at the Bjork and her husband and guitarist Thor Eldon, a son named Sindri. On the same day, was founded a new group, which includes two happy parents, plus several members Kukl. By the end of the year they came up with a final name for the group Sykurmolarnir, or, in English, Sugarcubes. Great success for the new team began to release the first single “Birthday” in 1987 as a result of signing a contract with Elektra Records.
The Sugarcubes became one of the rare Icelandic group, which managed to escape outside their country. In the spring of 1988 in the United States was released their debut album “Life's Too Good”, which quickly became the Anglo-American hit. In the next 4 years the team has strengthened its popularity and became a cult in the US and Britain.
Second album “Here Today Tomorrow Next Week” (1989), however, did not bring the same profit.
In 90, Bjork has recorded several jazz standards and original compositions with jazz bebop group Trio Gudmundar Ingolfssonar. His work with the trio Gudmundur Ing% 26 # 243; lfsson Bjork started with a few joint performances in night clubs – her voice is ideally suited for jazz vocals. The process of creating the album “Gling-Glo” is very unusual (which is, for example the fact that for recording 14 songs the musicians took only 17 hours of joint studio work). Album “Gling-Glo”, unfortunately, was released only in Iceland.
Although their third album in 1992 Sugarcubes “Stick Around for Joy” – was really cool, the band broke up in the same year – so tense at that time were the relations between Bjork and Eldon. Thank Sugarcubes Bjork has centered around, but somehow, she herself was more inclined to “Solo Voyage”. [In 1998, the label Elektra / Asylum, which Bjork has cooperated for many years, has released a compilation Sugarcubes "Great Crossover Potential" with 14 tracks from the previously album - approx. Ed.]
Then Bjork and her son in 1993, moved to London and began a solo career. However, rather than to follow the subtle guitar lines Sugarcubes, Bj% 26 # 246; rk immersed in the world of dance and club music.
She has worked with such luminaries of the genre, as Nellee Hooper (producer, who had previously been known by Soul II Soul and Massive Attack), Underworld, and Tricky. “Debut”, her first album (not counting the Icelandic records, which she did in 11 years), not only approved it on a new artistic direction, but by becoming an international hit, made her the most original star of the 90's.
The first result of cooperation Bjork and Hooper was the single “Human Behaviour”, which was released in June 1993. The song entered the British Top 40, setting the successful 3 rd place the album “Debut”. During 1993, Bjork did not leave the British charts with the songs “Venus as a Boy”, “Big Time Sensuality”, and “Play Dead”. In the U.S. hits “Human Behavior”, “Big Time Sensuality” and “Violently Happy” actively spinning rock radio and MTV. Songs Bjork were cheers by reviewers and the public on both sides of the Atlantic. At the end of the year the most influential British music weekly magazine “New Musical Express” called “Debut” album of the year, and Bjork was singer and the opening of the Year BRIT. “Debut” was certified gold in the U.S. and platinum in Britain.
During 1994, Bj% 26 # 246; rk recorded a second album with Nellee Hooper, Tricky, Graham Macey from 808 State, Skunk Anansie and Howie B. of Mo'Wax Records. At the same time she released a remix, participated in writing the music for the Madonna album “Bedtime Stories” (for which Bj% 26 # 246; rk wrote the song “Bedtime Story”) and performed on MTV Unplugged. “Army of Me”, the first single from the forthcoming album, Bj% 26 # 246; rk, released in spring 1995, he debuted in tenth place in Britain and became an alternative rock hit in the US.
“Post”, her second album, was published in June 1995 and received a good reception when they reached second place in the UK and up to 32 th in the US. Commercially it was not as successful as the “Debut”, but helped Bjork become a second time winner of awards BRIT. Singles from “Post” – “Isobel”, “It's Oh So Quiet” and “Hyperballad” were successful in Britain, but not in the US.
In late 1996, Bj% 26 # 246; rk released “Telegram” – a collection of radical remixes of songs from the album “Post”, a collection published in the United States in January 1997.
The latter – at least a pilot and bright – album Bjork “Homogenic” was released in 1997.
On this album, there is little information – and it is not surprising – he recorded more than 6 months in a secluded studio in southern Spain. Bjork herself in an interview after the release of the album “challenging”. It is known that a very strong influence on the emotional disposition of “Homogenic” has had an attempt on the life of Bjork – 1996 24-year-old fan of Ricardo Lopez sent her a mail bomb, packed with sulfuric acid and a videotape in which he confesses his love for the singer and sounds song “I Miss You” lets put a bullet in his head (another version of Ricardo Lopez Bjork accused in connection with a black musician Goldie, in favor of this interpretation of the fact that before his suicide, Ricardo Lopez shaved his skull and struck on the head and face paint ritual). The bomb had time to intercept and neutralize workers from Scotland Yard (parcel was sent to the home address in London, Bjork), but this singer has become a major psychological shock. Her condition is fully passed on to the music. According to Bjork, this album is made in the same emotional vein, which is reflected in the title. “Homogenic” – not really an existing word, it means nothing, but refers to the integrity, homogeneity. This quality album is very noticeable in comparison to previous albums, which represented a kaleidoscope of styles and music making.
Last three years after the release of “Homogenic” Bjork “slid” all his musical projects for work on the painting “Dancer in the Dark.”
And now, after hours and on the film, and on the soundtrack to it ( “Selma Songs”), Bj% 26 # 246; rk continues to work on a new solo album (more on the music for the film and its relation to the picture of Bj% 26 # 246; rk and Lars von Trier read Interviews and film sections – approx. ed.).
“I kept writing songs, to stay sane at the moment the album is not finished yet, but I had already made eight or nine songs – she said in a recent interview. – New album will be the exact opposite of” Homogenic “. It's hard to explain because I am in the middle of working on it. “Homogenic” was full of confrontation. Emotionally, all of it was eleven, and string and percussion instruments. It was as if each grabbed a flag and a trumpet, and tu -tu-ru-tu! “Bj% 26 # 246; rk pretends to play the trumpet. “If” Homogenic “was eleven, my new job will be to minus eleven. It is a very happy album, while” Homogenic “, I think it was evil. He is very happy and quiet, and very intravertny, very micro.”
Bjork plans to release a new album Vespertine in 2001-2 respectively. Experiments continue …
P.S. This is not the end of a full biography was not a word about the video of Bjork. However, this is a separate and very interesting topic that deserves a whole site.
The singer, pianist and composer Bj% 26 # 246; rk (Bjork Gundmundsdottir real name) was born October 12, 1966 in Iceland.
After trying a few garage bands in Reykjavik in June 1986 organized a group of Bjork Sugarcubes, in the early 90's became very popular outside of Iceland. In the mid-90's Bjork began a successful solo career, which peaked on her solo album «Post» (1995), quickly reached the top mark of the American hit parade; issued separate singles were successful songs «Army Of Me», «Enjoy and «I Miss You».
_ _ … _ _
BJORK Icelandic singer Bjork Gudmundsdottir (Bjork Gundmundsdottir), better known simply as Bjork, born November 21, 1965 in Reykjavik in the most ordinary family. She showed early musical abilities. At the age of five, was admitted to the Special Music School, where for ten years she studied in classes of vocals, piano and flute. At age 11, after a speech on national radio with the song “I Love To Love”, Bjork recorded her first album, titled simply by its name (includes cover versions of pop standards from the Beatles to Stevie Wonder, as well as things Icelandic composers). Bjork sang and played the flute.
The disc went platinum, but to renew the contract and record the new disc does not become a girl. She soon realized that in art there are no easy ways. And I began to find its way – the only and unique. This road runs through a girl's punk command Spit And Snot ( «Spit and harchok”), “garage” band Exodus and another punk band Tappi Tikarrass (untranslatable Icelandic curse). The latter even recorded two albums (1981 and 1983).
All this time she never ceased to study at music school, which successfully and zakanchila. Again, the reluctance to follow the smooth path, justifying the title of “prodigy” – Bjork played for clubs, banged drums in a group, worked on the vocals then one, then the other team. Finally, a community of like-minded musicians transformed into a group KUKL ( «The Witch” in Icelandic), plays post-punk with a gothic slant. KUKL also released two albums – «The Eye» (1984) and «Holidays in Europe »(1986), on Crass Records.
The summer of 1986 a group KUKL was transformed into the Sugarcubes. Birthday Party and became the birthday of the son Bjork – syndrome. Soon Bj% 26 # 246; rk married the child's father, guitarist Sugarcubes TOUR Eldona. Sugarcubes – one of the few Icelandic groups, gained fame outside his native country. The team signed a contract with the «One Little Indian» in Britain and «Elektra Records» in the States. Debut album Sugarcubes «Life's Too Good» was released in 1988 and was welcomed by critics.
Main attention attracted, of course, the young and eccentric singer Bjork – she looked like a flame, which could not blow any wind. But musician friends very quickly become entangled in personal relationships (for example, Bjork and TOUR decided to divorce, but the drummer with vocals, by contrast, got married – in Iceland it is possible). All this did not prevent the band released their second album «Here Today, Tomorrow, Next Week!» (1989), more experimentation, rather than pop-rock debut, and therefore more cool adopted criticism.
Group toured, but in 1990 all its members decided to take time out and temporarily take their own affairs. Bjork for the period of cooperation with the Sugarcubes starred in several roles in the movies, and in 1990 recorded a few jazz standards and original compositions with the Icelandic jazz group Trio Gudmundar Ingolfssonar (album «Gling-Glo» was released only on the singer's home country). At the same time, she became interested in new musical directions, including electronic – the traditional set of instruments, “old” sound does not suit her more.
In 1992 came the remix album «It's It was» and the third LP Sugarcubes “Stick Around for Joy”. Posledniybyl passed very well, but for Bjork work with this group is not so interesting. After moving to London, she began a solo career. Already a year earlier Bjork try their hand at the arena-style house, singing a song «Ooops» Graham Massey – author Poyekt 808 State. Bjork is also working with a prominent producer of Nellee Hooper, recording with a single «Human Behaviour», which in 1993 is included in the Top 40.
This prepares the ground for the first full-length album, which ranks third in the charts, despite the fact that it was conceived as a totally non-profit. Album gets called «Debut» – thus Bjork stresses that re-starts all over again, and this time completely independently. Unusual, almost artificial, as though not of this world, and at the same time very touching image created by Bjork, enthusiastically adopted by the public. Two more singles – «Venus as a Boy», «Big Time Sensuality”, as well as nealbomnaya “Play Dead”, written with David Arnold as the soundtrack to «Young Americans» radiohitami are on both sides of the Atlantic.
Criticism breathless enthusiasm, noting the originality and depth of talent Bjork and at the same time tormented by the definition of the style of music. Bjork's voice, bewitching, infantile, and at the same time expressive, breaking with a gentle cantabile of whining, with a whisper in the roar, once heard, can not forget anybody. At the end of the year, the magazine NME called “Debut” album of the year, it becomes gold in the US and platinum in Britain. Bjork gets the prize BRIT Awards as best actress in the world. The most experienced and well-known house musicians – from Fluke to Underworld – create remixes for Bj% 26 # 246; rk, occupying the top lines in the dance charts. Unconditional recognition of the talent the young actress was the fact that Madonna herself turned to her with a proposal to sponsor the title song for her new album «Bedtime Stories».
In 1994, Bjork appears unplugged on MTV. Unlike many other singers (and singers), whose debut was the sunset of their own, Bjork all their creativity further showed that the bright spark in the beginning of the road broke out in a flame, stirring, nervous, sometimes muted, but then again flashes even more. Each succeeding album Bjork – «Post» (1995, for which the singer was the second time BRIT Award as Best International Female Artist), «Telegram» (1996, conceived as a remix of «Post», but the result is a completely separate album), experimentation-minimalist «Homogenic» (1997), «Selmasongs» (2000), «Vespertine» (2001) – original, wonder and delight in the integrity and detail work.
From touching and fresh «Debut» to mature «Vespertine» Bjork has come a long way, but it has kept its main quality – she left the child, looking at the world with their eyes wide open, which (perhaps due to bizarre sequence) see what do not see ordinary people. She was always herself, and while its otherness, “otherness” and sincerity at times was so blatant that even a bogey. However, Bjork, as already mentioned, never liked to work alone, and her music is constantly being exposed to someone with whom at the moment collaborated actress.
Graham Massey and Nellee Hooper, who contributed to the “Debut”, “electronic genius” Tricky and Howie Bi, produced by «Post», composer and producer Mark Bell, who invested much effort in albums «Homogenic» and «Selmasongs», Vince Mendoza and Mark “Spike” Stent, who participated in the work «Selmasongs» and «Vespertine», king of drum and bass Goldi – their role in the life and work of Bjork was different. However, it should be noted that the details of his private life very Bjork protects, and is often said that the only man in her life – a son, Sindri. Like the lives of most artists, her fate has not been without disappointment.
Disruption of voting which brought a long and persistent treatment, violent outbursts, which forced Bjork pounce and beat the journalist, who wanted something to ask Syndrome in Bangkok airport, crazy fan, knock out their brains with a pistol after Bjork sent by mail bomb ( which the police miraculously managed to intercept) – all this leads to depression and the need to overestimate the value. But perhaps someone else's invisible eye experiences become a source of inspiration.
In 1999, Bjork starred in the popular film director Lars von Trier's “Dancer in the Dark”, starring Selma, a woman with a difficult life, gave their lives for the salvation of his own son. Bjork also composed all the music for this film-drama. In 2000, the soundtrack «SelmaSongs», regarded by many as the new Bjork album. For his role in this movie Bjork at the Cannes Film Festival received the title of best actress. Native Iceland bestowed his daughter's glorious castle, outside the walls of which she can feel safe and in complete safety. And France, in 2001 awarded her the Order of Knights.
By 2001, he was almost ready material for a new “registration” album – «Vespertine», whose output is, however, was postponed at the end of August 2001. This CD is once again confirmed that Bjork – one of the most original, brightest and, of course, talented artists in contemporary pop music. DISCOGRAPHY: Sugarcubes: 1988 Life's Too Good Elektra 1989 Here Today Tomorrow Next Week Elektra 1992 Stick Around for Joy Bjork solo: 1977 Bjork Falkinn 1990 Gling Glo One Little 1993 Debut Elektra 1995 Post Elektra 1996 Telegram Elektra 1997 Homogenic One Little 2000 Selmasongs: Music from the Motion Picture … Elektra 2001 London Times Import 2001 Vespertine (Universal)