It's been quite a while since I last blogged. It's a lazy Friday afternoon at work, and the A/C is struggling to keep us cool. Further, there is a positive buzz in the building in anticipation of tonight's Oktoberfest themed party in Darling Harbour. Not at all conducive to a productive working environment.

Last weekend the boyf and I went down to Me!bourne ("Me!"? Wasn't Sydney supposed to be the self-absorbed city?). Once again Melbourne left a great impression on me. I had a great time, we went out to some really cool bars and clubs. We saw the musical Wicked, which was the highlight for me. We bought some novelty "Ozmopolitan" cocktails, whose glasses glowed an emerald green, in keeping with the theme of the show. We wanted to retain these kitsch trinkets but a standing ovation by the pair in front of us caused their chairs to bend back and snap both of them simultaneously, as the glasses were seated on the floor just in front of us. Weirdly, I don't think I've had my ID checked so frequently in my life, not even when I was 18. At one point, we were trying to get into a bar on Chapel St, and one of the drunken occupants heckled me, initially shouting that I looked 16, followed by "Oh, it's school holidays, it's okay, you can come in!" Crowne Plaza hotel was also awesome. I really got used to the bed, pillow menu and making-up of the room every time we went out.

Yesterday I had my hair cut by Antoine again, who, besides giving me the best cut I've ever had, told me I was losing my hair. This time was almost as monumental, with him telling me that I missed an excellent party at Sleaze (by being in Melbourne). He spoke of his "ex-wife", and how she wasn't comfortable with him going to such parties with his hair dressing shop staff. I said I enjoyed these parties, particularly the drinking and the dancing elements, but am generally turned off because of the drugs, and how everyone seems to turn into someone completely different. He said that wasn't important because I have a boyfriend and we don't need to take drugs because we can have our own fun. But, he added, it would be fun for my boyfriend to experiment together with party drugs at home alone first. However, I should NEVER smoke. NEVER NEVER EVER, he intoned. He then suggested that next year he would invite us to his pre-party to Sleaze and then we could all go to Sleaze together. Hmm. Pretty hesitant about that. He is a queer one, but it is entertaining on some level, and I'm willing to weather it so long as he keeps cutting my hair as well as he does.

[caption id="" align="alignleft" width="245" caption="Chez Moi"][/caption]

I can't imagine a better home for someone in my situation. I'm living with 5 other people of different ages and a cat named Skittles. Lisa is the owner of the house. She is an eccentric lady with a lot of energy. She is a retired teacher/counselor of deaf children and has traveled all over the world. Lisa's daughter, Solene, is 19 and just started university. I don't know her well, but she seems like a typical Parisian girl. Likes fashion, cigarettes, and weight-loss diets that consist only of cheese. Her boyfriend, Remy, lives with us. I think I have seen him twice since I've moved in. He studies computer science and spends many hours at school. He doesn't like to talk in English and well, my French is terrible, so we haven't said much to each other. Antoine is 27 and also in the computer science field. I haven't seen much of him in the week I've been living here, but Lisa tells me his job/program/whatever it is ends soon. He seems very nice and reasonable. And then there is Sameer. He came from Algeria only about a month or so ago. Lisa complains of his temper, attitude, and the number of lamps he has broken since he's been here. I haven't seen these sides of him yet so I'll withhold my judgment. Oh, Skittles is a wild cat from Corsica. He likes fingers, string, and climbing into my bed after being outside in the rain.

Besides Lisa, the best part about living here is the garden. We have two fig trees with the most incredible tasting figs in existence. We have a green grape vine, a red grape vine, a raspberry bush, and kiwis. There are a few drawbacks, though. Nearly everyone smokes, and for someone who has never lived in a smoker house before, this is difficult to get used to.Some things aren't as clean as I would like and I feel like cleaning or organizing anything would translate as an insult to Lisa. This brings me to the third complaint. Anytime you live with the landlord, the house can never really feel like your home. The house represents that person, their taste, and their method of doing things. Systems are already in place and it's difficult to change things that aren't working. My only other complaint is that the house is not so conveniently located. It is close to the train station that brings you to Paris, but the trains stop at 1am and costs 2.20 each way. The suburb isn't very pretty so I don't get much enjoyment from taking walks. In Paris, you can walk in any direction and find something interesting. Not the case in Maisons-Alfort.

But I can't complain too much. For only 500E I get a nice, furnished room with a view of the garden. This includes all utilities, cleaning supplies, 5 friends, and daily french lessons. On top of that, I don't have to clean anything other than my own dishes because Lisa is willing and has the time.

I was hesitent to live with an older person because I can rarely connect with people outside of my age group. Lisa has exceeded my expectations. She is quite open and child-like in many ways. I think she is happy to have someone around with just as much spare time. The other day, she was introducing new vocabulary to me while we were gardening. On creuse un trou pour planter la fleur. Ensuite, on l'arrose avec de l'eau. And today's set of vocabulary is about making fig jam. Nous avons ceuilli les figues. On a utilise l'escabot pour grimper dans la figier.

[caption id="" align="alignleft" width="136" caption="Nuit blanch attraction, image of the tower in daylight projected onto the tower at night"][/caption]

So far things are going alright, however, I feel a bit useless without any responsibilities or commitments.  And when I feel useless, my mood slips toward depression. I have been looking into volunteer positions or another online job but to no avail. I guess I need to be a little more self-motivated, adventurous, or inventive.

More pictures

[caption id="" align="aligncenter" width="580" caption="A gothic cathedral decorated with art for nuit blanch"][/caption] [caption id="" align="aligncenter" width="266" caption="Piano Man, Nuit Blanch"][/caption] [caption id="" align="aligncenter" width="255" caption="Stack of chairs, Nuit Blanch"][/caption] ]]> http://hydraconis.wordpress.com/?p=28 Sun, 28 Sep 2008 19:43:42 +0000 Billimarie http://hydraconis.lt.wordpress.com/2008/09/28/driving-while-black/ I've heard tons of bullshit cop stories, but this is the first time in a little while I've heard a friend give a perfect example of DWB:

Now, usually when pulled over a police officer will ask for license, registration and then tell you the reason you were pulled over. Only the first two happened. And that's when I really knew this was a being pulled over because of the demographic in the car. Instead of license, registration and reason, we were given license, registration and "were you smoking out?"

-  Antoine's Junkpile

You can find the rest of the story here.

Antoine Artaud's parents, Euphrasie Nalpas and Antoine-Roi Artaud, were of Greek origin (Smyrna), and he was much affected by this background. Although his mother had 9 children, only Antoine Artaud and 2 siblings survived infancy.

At the age of 4, Antoine Artaud had a severe attack of meningitis. The virus gave Antoine Artaud a nervous, irritable temperament throughout adolescence. Antoine Artaud also suffered from neuralgia, stammering and severe bouts of depression. As a teenager, he was allegedly stabbed in the back by a pimp for apparently no reason, similar to the experience of playwright Samuel Beckett.

Antoine Artaud's parents arranged a long series of sanatorium stays for their disruptive son, which were both prolonged and expensive. They lasted 5 years, with a break of 2 months, June and July 1916, when Antoine Artaud was conscripted into the army. Antoine Artaud was allegedly discharged due to his self-induced habit of sleepwalking. During Antoine Artaud's "rest cures" at the sanatorium, he read Rimbaud, Baudelaire, and Poe. In May 1919, the director of the sanatorium prescribed laudanum for Antoine Artaud, precipitating a lifelong addiction to that and other opiates.

In March 1920, Antoine Artaud moved to Paris. At the age of 27, Antoine Artaud sent some of his poems to the journal La Nouvelle Revue Française; they were rejected, but the editor wrote back seeking to understand him, and a relationship in letters was born. This epistolary work, "Correspondence avec Jacques Rivière," is Antoine Artaud's 1st major publication. In November 1926, Antoine Artaud was expelled from the surrealist movement, in which he had participated briefly, for refusing to renounce theater as a bourgeois commercial art form, and for refusing to join the French Communist Party along with the other Surrealists.

Antoine Artaud cultivated a great interest in cinema as well, writing the scenario for the 1st Surrealist film, The Seashell and the Clergyman, directed by Germaine Dulac. Antoine Artaud also acted in Abel Gance's Napoleon in the role of Jean-Paul Marat, and in Carl Theodor Dreyer's The Passion of Joan of Arc as the monk Massieu. Antoine Artaud's portrayal of Marat used exaggerated movements to convey the fire of Jean-Paul Marat's personality.

In 1926-28, Antoine Artaud ran the Alfred Jarry Theater, along with Roger Vitrac. Antoine Artaud produced and directed original works by Roger Vitrac, as well as pieces by Claudel and Strindberg. The theatre advertised that they would produce Artaud's play Jet de sang in their 1926-1927 season, but it was never mounted and was not premiered until 40 years later. The Theater was extremely short-lived, but was attended by an enormous range of European artists, including Andre Gide, Arthur Adamov, and Paul Valery.

The 1930s saw the publication of The Theatre and Its Double, his most well-known work. This book contained the 2 manifestos of the Theater of Cruelty, essential texts in understanding his artistic project. In 1935, Antoine Artaud's production of his adaptation of Shelley's The Cenci premiered. The Cenci was a commercial failure, although it employed innovative sound effects and had a set designed by Balthus.

After the production failed, Antoine Artaud received a grant to travel to Mexico where he gave lectures on the decadence of Western civilisation. Antoine Artaud also studied the Tarahumaran people and experimented with peyote, recording his experiences which were later released in a volume called Voyage to the Land of the Tarahumara. The content of this work closely resembles the poems of his later days, concerned primarily with the supernatural. Antoine Artaud also recorded his horrific withdrawal from heroin upon entering the land of the Tarahumaras; having deserted his last supply of the drug at a mountainside, he literally had to be hoisted onto his horse, and soon resembled, in his words, "a giant, inflamed gum". Having beaten his addiction, however, Antoine Artaud would return to opiates later in life.

In 1937, Antoine Artaud returned to France where he obtained a walking stick of knotted wood that he believed belonged to St. Patrick, but also Lucifer and Jesus Christ. Antoine Artaud traveled to Ireland in an effort to return the staff, though he spoke very little English and was unable to make himself understood. The majority of his trip was spent in a hotel room that he was unable to pay for. On his return trip, Antoine Artaud believed he was being attacked by 2 crew members and retaliated; he was arrested and put in a straitjacket.

The return from Ireland brought about the beginning of the final phase of Antoine Artaud's life, which was spent in different asylums. When France was occupied by the Nazis, friends of Antoine Artaud had him transferred to the Psychiatric hospital in Rodez, well inside Vichy territory, where he was put under the charge of Dr. Gaston Ferdière. Dr Gaston Ferdière began administering electroshock treatments to eliminate Antoine Artaud's symptoms, which included various delusions and odd physical tics. The doctor believed that Antoine Artaud's habits of crafting magic spells, creating astrology charts, and drawing disturbing images, were symptoms of mental illness. The electro-shock treatments have created much controversy, although it was during these treatments — in conjunction with Dr Gaston Ferdière's art therapy — that Antoine Artaud began writing and drawing again, after a long dormant period. In 1946, Dr Gaston Ferdière released Antoine Artaud to his friends, who placed him in the psychiatric clinic at Ivry-sur-Seine. Current psychiatric literature describes Antoine Artaud as having schizophrenia, with a clear psychotic break late in life and schizotypal symptoms throughout life.

Antoine Artaud was encouraged to write by his friends, and interest in his work was rekindled. Antoine Artaud visited an exhibition of works by Vincent van Gogh which resulted in a study Van Gogh le suicidé de la société (Van Gogh, The Man Suicided by Society), published by K éditeur, Paris, 1947 which won a critics´ prize. Antoine Artaud recorded Pour en Finir avec le Jugement de dieu (To Have Done With the Judgment of god) between 22 November and 29 November, 1947. This work was shelved by Wladimir Porché, the director of the French Radio, the day before its scheduled airing on 2 February, 1948. The performance was prohibited partially as a result of its scatological, anti-American, and anti-religious references and pronouncements, but also because of its general randomness, with a cacophony of xylophonic sounds mixed with various percussive elements. While remaining true to his Theater of Cruelty and reducing powerful emotions and expressions into audible sounds, Antoine Artaud had utilized various, somewhat alarming cries, screams, grunts, onomatopoeia, and glossolalia.

As a result, Fernand Pouey, the director of dramatic and literary broadcasts for French radio, assembled a panel to consider the broadcast of Pour en Finir avec le Jugement de Dieu. Among the approximately 50 artists, writers, musicians, and journalists present for a private listening on 5 February, 1948 were Jean Cocteau, Paul Eluard, Raymond Queneau, Jean-Louis Barrault, René Clair, Jean Paulhan, Maurice Nadeau, Georges Auric, Claude Mauriac and René Char. Although the panel felt almost unanimously in favour of Antoine Artaud's work, Porché refused to allow the broadcast. Fernand Pouey left his job and the show was not heard again until 23 February, 1948 at a private performance at the Théâtre Washington.

In January 1948, Antoine Artaud was diagnosed with intestinal cancer. Antoine Artaud died shortly afterwards on 4 March, 1948. Antoine Artaud died alone in his pavilion, seated at the foot of his bed, allegedly holding his shoe. It was suspected that he died from a lethal dose of the drug chloral, although whether or not he was aware of its lethality is unknown. 30 years later, French radio finally broadcast the performance of Pour en Finir avec le Jugement de Dieu.

Antoine Artaud believed that the Theatre should affect the audience as much as possible, therefore he used a mixture of strange and disturbing forms of lighting, sound and performance. In one production that he did about the plague he used sounds so realistic that some members of the audience were sick in the middle of the performance.

In his book The Theatre and Its Double, which was made up of a 1st and 2nd manifesto, Antoine Artaud expressed his admiration for Eastern forms of theatre, particularly the Balinese. Antoine Artaud admired Eastern theatre because of the codified, highly ritualised and precise physicality of Balinese dance performance, and advocated what he called a "Theatre of Cruelty". By cruelty, he meant not exclusively sadism or causing pain, but just as often a violent, physical determination to shatter the false reality. Antoine Artaud believed that text had been a tyrant over meaning, and advocated, instead, for a theatre made up of a unique language, halfway between thought and gesture. Antoine Artaud described the spiritual in physical terms, and believed that all theatre is physical expression in space.

The Theatre of Cruelty has been created in order to restore to the theatre a passionate and convulsive conception of life, and it is in this sense of violent rigour and extreme condensation of scenic elements that the cruelty on which it is based must be understood. This cruelty, which will be bloody when necessary but not systematically so, can thus be identified with a kind of severe moral purity which is not afraid to pay life the price it must be paid.

Evidently, Antoine Artaud’s various uses of the term cruelty must be examined to fully understand his ideas. Lee Jamieson has identified 4 ways in which Antoine Artaud used the term cruelty. Firstly, it is employed metaphorically to describe the essence of human existence. Antoine Artaud believed that theatre should reflect his nihilistic view of the universe, creating an uncanny connection between his own thinking and Nietzsche’s:

[Nietzsche’s] definition of cruelty informs Antoine Artaud’s own, declaring that all art embodies and intensifies the underlying brutalities of life to recreate the thrill of experience … Although Antoine Artaud did not formally cite Nietzsche, [their writing] contains a familiar persuasive authority, a similar exuberant phraseology, and motifs in extremis …

Antoine Artaud’s 2nd use of the term (according to Jamieson), is as a form of discipline. Although Antoine Artaud wanted to “reject form and incite chaos”, he also promoted strict discipline and rigor in his performance techniques. A 3rd use of the term was ‘cruelty as theatrical presentation’. The Theatre of Cruelty aimed to hurl the spectator into the centre of the action, forcing them to engage with the performance on an instinctive level. For Antoine Artaud, this was a cruel, yet necessary act upon the spectator designed to shock them out of their complacency:

Antoine Artaud sought to remove aesthetic distance, bringing the audience into direct contact with the dangers of life. By turning theatre into a place where the spectator is exposed rather than protected, Antoine Artaud was committing an act of cruelty upon them.

Antoine Artaud put the audience in the middle of the 'spectacle' (his term for the play), so they would be 'engulfed and physically affected by it'. Antoine Artaud often referred to this layout as like a 'vortex' - a constantly shifting shape - 'to be trapped and powerless'.

Finally, Antoine Artaud used the term to describe his philosophical views, which will be outlined in the following section.

Imagination, to Antoine Artaud, is reality; dreams, thoughts and delusions are no less real than the "outside" world. Reality appears to be a consensus, the same consensus the audience accepts when they enter a theatre to see a play and, for a time, pretend that what they are seeing is real.

Antoine Artaud's later work presents his rejection of the idea of the spirit as separate from the body. Antoine Artaud's poems imagistically revel in flesh and excretion, but sex was always a horror for him. Civilisation was so pernicious that Europe was pulling once proud tribal nations like Mexico down with it into decadence and death. The inevitable end result would be self-destruction and mental slavery. These were 2 evils Antoine Artaud opposed in his own life at great pain and imprisonment, as they could only be opposed personally and not on behalf of a collective or movement. Antoine Artaud thus rejected politics and Marxism wholeheartedly, a stance which led to his expulsion by the Surrealists who had begun to embrace it.

Antoine Artaud saw suffering as essential to existence, and thus rejected all utopias as inevitable dystopia.

Antoine Artaud was heavily influenced by seeing a Colonial Exposition of Balinese Theatre in Marseille. Antoine Artaud read eclectically, inspired by authors and artists such as Seneca, Shakespeare, Poe, Lautréamont, Alfred Jarry, André Masson, etc.

Antoine Artaud's theories in Theatre and Its Double influenced rock musician Jim Morrison. Mötley Crüe named the Theatre of Pain album after reading his proposal for a Theater of Cruelty, much like Christian Death had with their album Only Theatre of Pain. The band Bauhaus included a song about the playwright, called "Antonin Artaud", on their album Burning from the Inside. Charles Bukowski also claimed him as a major influence on his work. Influential Argentinean folk-rock songwriter Luis Alberto Spinetta named his album Artaud and wrote most of the songs on that album based on his writings. Composer John Zorn has 3 records, "Astronome," "Moonchild," and "6 Litanies for Heliogabalus," dedicated to Antoine Artaud.

Theatrical practitioner Peter Brook took inspiration from Antoine Artaud's "Theatre of cruelty" in a series of workshops that lead up to his well-known production of Marat/Sade. The Living Theatre was also heavily influenced by him, as was much English-language experimental theater and performance art; Karen Finley, Spalding Gray, Liz LeCompte, Richard Foreman, Charles Marowitz, Sam Shepard, Joseph Chaikin, and more all named Artaud as one of their influences.

Antoine Artaud also had a profound influence on the philosophers Gilles Deleuze and Félix Guattari, who borrowed Antoine Artaud's phrase "the body without organs" to describe their conception of the virtual dimension of the body and, ultimately, the basic substratum of reality.

The survival horror video game Silent Hill: Origins contains a segment in which the protagonist must solve puzzles within the "Artaud Theatre", which is in the town of Silent Hill.

Keep visiting: www.lifechums.com more celebrities featuring shortly ................

  Antoine, mon futur copain!!

Un film que vous retrouverez le 15 Octobre dans les salles obscurs.
Retrouvez le premier Teaser du film sur Lafoireolien
"Coluche, l'histoire d'un mec" sur Allociné

J'aime bien cette chanson, mais j'en cherchais plutôt une autre, que j'aime mieux : Je reprends la route demain. Et, en passant, je me suis surpris à regarder les émissions qu'Antoine fait maintenant en me demandant si les Antoine d'aujourd'hui s'en sortiront aussi bien et avec autant d'humour que lui, dans 40 ans.

Enter Antoine, the eccentrically Frenchish, fifty-something, entirely camp hair dresser.

I had about ten minutes to wait, and he suggests while putting someone's hair colour in, "Zere is a magazine, you can pick out ze hairstyle you want." I do so, but I already knew what I wanted.

When it was my turn, he proceeded to go at my hair with water spritzer and comb. It was not long before he remarked, "Did you know you have quite thin hair? It is quite porous. Look here, the hair is thinner." He was  pointing at my crown, reflecting it back at me through the mirror.

"You are only 22," he says, correctly guessing my age. "You are too young to be losing hair. I was going to tell you to look at the guy sitting next to you, see how thick his hair is."

Of course, I started freaking out. I could indeed see through the mirror that my wettened and combed hair was thinner on the crown than any other part of my head.

"Do you hate me now?" He said, in his slimy French, "Most people won't tell you things like this, but I am honest. It is important to be honest to the client, I am providing good service."

I said I didn't hate him - I appreciated his honesty, but I was screaming on the inside.

He spent at least three-quarters of an hour on my hair, which was great value for $25, and then he gave me shampoo and conditioner for my hair, for free. I think I will be trying to get him to cut my hair, despite the crushing news he easily gave me the best cut I've had in a long time.

He also began story telling about his trips through America, including a visit to San Fran over Xmas, where he was with his "nephew" and they met some guy with whom they were going to stay a night, but it's lucky they didn't, because it was so cold, they probably would've had a threesome or something? All a bit TMI.

In retrospect, I have come to the calmer realisation that I'm hardly balding, yet. But I'm scared enough to try to do something about it. Genetics are against me on my mum's side of the family...

I finished reading the Ichigo 100% manga series! Gosh, I’ve been reading it since first year college. It took me a long time to finish it actually, mainly because our pc’s not internet connected (oh, by the way, I read it online, not the actual printed material) and so I have to spend lots of money just reading it in my favorite internet café. I read it on Read Manga but I found out that you can actually download it for free so I preferred the latter. What I did was, while I was doing academic stuffs researching in the net or updating my blog, I was also downloading it. Saves a lot of trouble, time and money. Hehehe. I could finish my required stuffs and I could read the manga at home.

I really like the story, maybe it so funny, Manaka ending up in a strawberry labyrinth of love. *laughs.

This is a summary of the manga series. Not really accurate, I’m just trying to recall some important events. And if you haven’t read the manga just yet and plan to read it, DON’T READ BEYOND THIS BECAUSE IT MIGHT SPOIL YOU. But if you want the other way around, read at your own risk. 

Manaka Junpei, third year junior highschool student, bumped into a mysterious girl with strawberry panties. He didn’t know who the girl was, the only thing that’s left of her identity was an old math notebook. Unexpectedly, it belonged to Toujo Aya, a rather unnoticeable, classmate of Manaka, a girl with a braided hair and glasses, who enjoyed writing stories in her notebook. Manaka read her unfinished novel, and was moved by it. He wanted to become a movie director and told Toujo that he would make her novel alive on the movie screen.

On the other hand, Manaka’s friends, Ookusa and Koyami concluded that the girl with the strawberry panties might have been Nishino Tsukasa, the hottest and the prettiest girl in their school. Toujo suggested that he should confess to her, and Manaka did, by doing pull-ups in front of Tsukasa. Surprisingly, Nishino Tsukasa agreed to be her boyfriend. Junpei was very happy, besides, he saw that Nishino Tsukasa was wearing strawberry panties one time.

But it turned out the original strawberry panty girl was Toujo Aya, whom Junpei was sharing his dreams to become a film director. When Tsukasa was dating Junpei, Toujo changed her hairstyle and removed her glasses, making her beautiful and surprisingly, it even reminded Junpei more that she was the real strawberry panty girl. Nishino Tsukasa felt that Junpei was somehow into Toujo, so on the highschool entrance examinations she chose to study Oumi Academy while both Toujo and Junpei, driven by their movie dreams went to Izumizaka High. With Kitaoji Satsuki, Misuzu and Hiroshi Sotomura, and Rikiya Komiyama, they formed the Film Studies Club. Satsuki confessed her feelings for Junpei, and Junpei in turned became confused for the three of them, ending up in awkward situations and then breaking up with Tsukasa.

Later on, Hashimoto Chinami joined the club and Junpei was even more surrounded by beautiful girls that he really liked.

Another character Minamoto Yui, Junpei’s childhood friend, moved into Junpei’s household as she was attending Oumi Academy, the same school where Tsukasa was attending. Yui has this habit of ending up almost naked while sleeping and Junpei has to overcome this strange condition while living with her.

A certain guy named Amachi also blend in the crowd, and fell in love with Toujo Aya. They were both members of the Literature Club.

When Junpei was in second year highschool he worked part-time at the movie theater. Without knowing it, Tsukasa was also working part-time at a cake-shop nearby.

On their highschool field trip, Junpei’s class in Izumizaka High went to Kyoto and Nara, while Tsukasa’s class went to the same place. There, Tsukasa witnessed Junpei and Toujo on the brink of kissing each other. Later on, Junpei escaped from the hotel they were staying and went to Tsukasa to apologize to her and they were both reconciled.

On Valentine’s Day of the same year, he received chocolates from all the girls, and was surprised to find out that Tsukasa planned on studying abroad.

In preparation for college entrance exams, Junpei attended the same cram school as Aya, and met the beautiful Mukai Kozue, who has an intense fear of guys but whose head always filled with perverted thoughts. However, due to Junpei’s efforts, Mukai started to open up with him. Meanwhile, Amachi is trying to capture Toujo’s heart and this irritated Junpei. To further on, there were rumors that Tsukasa is getting married soon to the pastry chef Higure. But it was just only rumors, Tsukasa confirmed.

Around that time Tsukasa invited Junpei to go with her in a three-day trip. Junpei encouraged her to pursue her dream when she was on the verge of giving it up and this made Tsukasa loved Junpei ever more.

Lots of things happened when they were filming the last movie for that year, like Junpei being trapped in a women’s bath and Satsuki advancing on him. The main hero was Junpei, and the heroine was Toujo. In the memorable scene when the heroine confessed her love for the hero, Toujo did an ad lib to Junpei and it sounded so real.

The annual school festival was coming near. At that time Tsukasa invited Junpei to go on a date. There, Tsukasa confessed her feelings to Junpei, doing pull-ups like what Junpei did before. Junpei loved Tsukasa so they ended up together. Then Junpei found out that Toujo was dating somebody and this confused Junpei even more. Junpei noticed that Toujo was avoiding him, maybe because of her new boyfriend-rumor, but on Toujo’s part, she was only avoiding Manaka because she was not wearing bra that time (long story, actually) and she was still ashamed because she left her bra at the piles of movie equipments in the film club room.

Getting his emotions mixed up and confused of these events, Junpei became sad while he was walking Tsukasa home. Tsukasa consoled her, and Junpei confessed his love for her.

Going out again with Tsukasa, this bothered Junpei on how to tell everyone especially Satsuki. But he was able to eventually, and she was devastated (so to speak). He found it hard to tell Toujo, and postponed the idea for the meantime. The film club members were editing the movie that night, and Junpei stayed behind to finish the whole work. Tsukasa went there to bring snacks for hungry Junpei. When Junpei was out for something, she saw the part of the movie where the heroine Toujo confessed her love for the hero Junpei. They went home that night, and Tsukasa told Junpei that she loved him. Junpei answered the same.

The next day, Misuzu planned to rerun the whole movie at the school theater before the festival would start for the scriptwriter Toujo and the director Junpei. They were alone at the theater watching the movie they made and starred. Then out of the blue, Toujo asked Junpei if he was going out with someone at the festival. Junpei said yes, and he said that he was going out with Tsukasa. At that moment, the scene where the heroine Toujo confessing her love to the hero Junpei was rolling on the film screen. By the end of the movie, Toujo cried, and told Junpei that it’s because the movie was great (an excuse, hmmm), and then she ran away.

At the annual school festival, Junpei and Tsukasa planned to go on The Love Sanctuary. They bumped into Toujo and the guy that was rumored to be her boyfriend. But Junpei found out that the guy was Toujo’s older brother, and he was deeply relieved. Tsukasa noticed this, and told Junpei that she won’t watch the movie and then she left. Junpei went back to the film studies room, alone, hoping someone would ease the pain in his heart. He really wanted to see Toujo.

Meanwhile, Toujo was told by her brother to forget about Junpei, and she was sad that it was finally over because it was already their last year at high school. She wanted to see Junpei, and she left.

And the two met, though there was a huge glass wall separating them. And Toujo confessed her love for Junpei, and Junpei apologized to her. Toujo apologized too for blurting out her feelings, and ran away. Junpei was left alone again, (I think he was on the verge of tears), recalling that the first girl he fell in love with was actually Toujo, but it hurt him to recall Tsukasa’s painful expression. So he went to Tsukasa’s house and confessed that it was her that he truly loved, and he made sure that she knew it.

And everyone moved on.

The underclassman Misuzu continued to pursue the dreams of making movies of the film studies club. Mukai is now able to open up herself to guys. The rest were constantly thinking of the prospect university life, and were studying very hard. Toujo received an award for her published novel and was readily accepted in a prestigious university. A movie director told Junpei that his movie was nicely done and very passionate and this inspired Junpei even more. Tsukasa is planning to leave for France next spring to pursue her own dream.

And at the airport, Junpei bid Tsukasa goodbye. They decided to break up there mutually because of the separation due to the pursuit of their own dreams, and they promised that when they would see each other again, they would be together.

And graduation came.

A year after that, they decided to have a reunion.

Satsuki is now working in their family establishment. Chinami is a famous bikini model under Hiroshi Sotomura productions. Misuzu is now a beautiful young woman who attended a university and she got herself a boyfriend. Toujo is a famous author. Everyone was surprised upon the arrival of Junpei, who had grown up a lot. He worked as a day laborer to earn money to travel places and film them. He had already received a movie award.

After meeting up with them, Junpei went to the park. He was holding up his camera at the foot of the stairs for a long time. Tsukasa has come back. She was up there, waiting for her. He ran towards her, and they started their relationship afresh.

*Sigh! Such a wonderful ending!

The manga series was written by Mizuki Kawashita. Great thanks to Free Manga, Akatsuki, Yamaitsuki, Ass-Troop, Anime Waves, for their efforts to come up with the manga release (I saw it in the copy of the manga I have). I’m so grateful to you guys, especially

to the editors Dagashi, Bryan, ice-kun, Chrippa, Sses, pokute, darthlord, finalpro, hellcat, kawaiibaka, grave, youngmug, ravenheart, tragickingdom, motoko-chan, rinako, mizukage, smoo, shinaku, pridav, tree, azu, alphaultima, caffinated yug, krol,

and the translators resoto, akarichan, oldskool33, gotenks-x, dsy22, freya, déjà vu, kakuri, cccnnn, nahus, aintguest, Antoine, boon, jasonshinji, jlester, jekyl03, telemaster, kann, jujubix, Will, PlzDontHurtMe, the mysterious ghost, OG, kamis, kuroneko,

and for those people who further check the translations nihonjintaylor, ikuzu, maxpower,

to the scanners nanashi, cgotten, HiRO-AU,

to the proofreaders and QCers (Quality checkers) kazh, katydid, astcd2, katy-pyo, origami, charp, amievil, nishio, elkhan, xx_blue, yuurei, waya475, JZ87, ed, ACQ, Yuna, Jaisbane, pnyxtr, the_mighty_highlord, starfisher, roots, davidov, _yeah, smafdi, darkgodloki, relentlessflame, waxmaker, animetrader0306,

to the raw providers nanashi, frozenshade, loserbait, and finally

to da mighty plum, ddr, strikeflo for the real-like page colors.

I am really thankful to you guys, I really love the manga, and you really did a nice job that’s why I want to thank you personally. It must have been hard, doing all this, and sometime the project got rebooted and all. You’re so cool! Made by the fans for the fans like me!

Visit the following sites for an experience of the strawberry labyrinth of love! akatsuki-manga@aniverse.com, http://www.deshou.net/akatsuki, #akatsuki-manga@irc.aniverse.com, http://yanime.com, #anime@irc.mircx.com, http://akatsukimanga.com, #akatsuki-manga@irc.mircx.com, akatsuki-manga@irc.irchighway.net, yanime@irc.irchighway.net, #dragonvoice@irc.mircx.com, http://dragonvoice.no-ip.com, dragonvoice@irchighway.net, http://souhaku.free.fr/dragonvoice/, http://animewaves.net, #animewaves@irc.rizon.net,

Michele: Se ti senti sola
[Audio "http://se.mario2.googlepages.com/Setisentisola.mp3"]

Antoine: Pietre¹
[Audio "http://se.mario2.googlepages.com/Pietre.mp3"]

Gian Pieretti: Quando il vento dell'est
[Audio "http://se.mario2.googlepages.com/ventodellest.mp3"]

Don Backy: Cara
[Audio "http://se.mario2.googlepages.com/Cara.mp3"]

Michele: Dite a Laura che l'amo
[Audio "http://se.mario2.googlepages.com/DiteaLaura.mp3"]

Dino: Te lo leggo negli occhi
[Audio "http://se.mario2.googlepages.com/Dino.mp3"]

Don Backy: L'amore
[Audio "http://se.mario2.googlepages.com/Lamore.mp3"]

Ricky Shane: Cosa pensi di me²
[Audio "http://se.mario2.googlepages.com/Cosapensi.mp3"]

Ron: Il gigante e la bambina
[Audio "http://se.mario2.googlepages.com/Ron.mp3"]

Don Backy: L'immensità
[Audio "http://se.mario2.googlepages.com/Limmensit.mp3"]

Gene Pitney: Quando vedrai la mia ragazza
[Audio "http://se.mario2.googlepages.com/Quandovedrai.mp3"]

Neil Sedaka: Il re dei pagliacci
[Audio "http://se.mario2.googlepages.com/Ilredeipagliacci.mp3"]

Don Backy: Poesia
[Audio "http://se.mario2.googlepages.com/Poesia.mp3"]

Alice: Prospettiva Nevski
[Audio "http://se.mario2.googlepages.com/Alice.mp3"]

I ribelli: Pugni chiusi³
[Audio "http://se.mario2.googlepages.com/Pugnichiusi.mp3"]

————————————————————————————————————————

1] All'ora, inizialmente, Antoine era un cantante di protesta. Veniva definito la risposta francese a Dylan e a Donovan.

2] Di lui, barese, si raccontava che venisse direttamente da Liverpool e diventò famoso cantando le gesta delle bande giovanili dei Rocks e dei Moods.

3] In quel periodo cantava con i Ribelli il grande Demetrios Stratos che, prima di morire prematuramente, sarà con gli Area.

]]> http://wagnerwsa.wordpress.com/?p=167 Fri, 01 Aug 2008 15:05:03 +0000 wagnerwsa http://wagnerwsa.lt.wordpress.com/2008/08/01/frase-para-o-dia-01082008/ "Foi o tempo que dedicaste à tua rosa que fez tua rosa tão importante." (Antoine de Saint-Exupéry)

Ich wurde heute auf einer schmalen Straße von einem ausrangierenden Auto abgedrängt und mußte scharf bremsen, wozu ich gewöhnlich sowohl Rücktritt- als auch Handbremse zu Hilfe nehme. Zum Glück war ich nicht wahnsinnig schnell; die Gefahr bestand allein darin, an einem parkenden Auto entlangzuschrammen.

Die Handbremse riß einfach ab. Glücklicherweise kam ich trotzdem rechtzeitig zum Stehen.

Nun werden einige sagen: der arme Antoine, der weiß auch nicht mehr wohin, er ist traurig, er spürt, daß ich mein Herz an ein anderes Fahrrad verloren habe, oder er will sich rächen, hat er auch allen Grund zu usw. usf. Ich sage: ein Mordversuch, das geht entschieden zu weit. Er kann nicht aus verletzter Eitelkeit mein Leben aufs Spiel setzen. Was hätte alles passieren können.

Es schmerzt mich ja auch, doch es wird immer klarer: ein neues Fahrrad muß her. Ob es der schöne Gigi wird, kann ich noch nicht sagen. Ich kann mich noch nicht recht entscheiden. Ich möchte ja auch nicht ständig fürchten, daß das Fahrrad geklaut wird. Kann man noch irgendetwas gegen Fahrraddiebstahl tun als ein 70-Euro-Schloß kaufen? Ein Handy zum Orten umbinden oder so?

Und Antoine, der wird nicht so schnell vergessen. Er wird möglicherweise zum 1000sten Mal repariert und wird weiter in der Garage wohnen dürfen. Nach all den Jahren.

* * * * * * * * *

Ältere Fahrradgeschichten.

Join Ruby and co host Jack Thurston from Resonance FM's The Bike Show on a celebration of the Tour De France

Download this episode

Rockin' Bicycle - Fats Domino
En Bicicleta - Manuel Jiminez
La Troisième Roue De Ton Velo - Antoine
A Bicyclette - Yves Montane
Motorcycle - The Rumble Strips
Gravel Rash - Cookin' on Three Burners
Pedal Pusher - Abdominal
Tour De France - Kraftwerk
Bravo Eddy - Jean Narcy
Blood on the Saddle - Tex Ritter
Henkie de Fiets - Henkie
The Highway Code - The Master Singers
Waiting At The Bus Stop - Kay-Gees
La bicyclette - Annie Duparc

Tout le monde dance wao c'est génioule !

Je ne suis pas un héros !

Antoine & Fab : allez viens on va boire un canon de rosé !

C'est rigolo les photos !!!