#Cyrille Dubois

[infinitelytheheartexpands]

this album is *chef’s kiss*

[lesser-known-composers]

Camille Saint-Saëns (1835-1921) - Phryné, Acte II, Scène 2: Suite, air et trio. Un soir, j'errais sur le rivage ·

Florie Valiquette · Anaïs Constans · Cyrille Dubois ·

Orchestre de l'Opéra de Rouen Normandie · Hervé Niquet

[chaifootsteps]

The Odd one is here hhhhh

This will be more of a post about ideas and concepts I have on Hazbin characters and what I wanted to name them in my version of HH! I made these back in 2020 so sorry if they seem outdated and such.

Husk/Roger Alscher (German)

Nifty/Geneva Uchida (Japanese)

Baxter/Baxter Horvat (Croatian)

Crymini/Aimee Taylor (British)

Cherri Bomb/Cheryl De La Rosa (Dominican)

Vaggie or Polilla/Geraldine Vasquez (Salvadoran)

Dolly or Mimzy(by Alastor)/ Vita Ariti (Greek)

Alastor/Alexander Dubois (Creole)

Vox's/ Kenneth Cyril. (Caucasian-American)

Valentino/ Vincent Valentino (Mixed Mexican and Italian)

Velvet/ Shirley Fahlett (African-American)

(In my version it isn't in hell, it takes place in the 1920s mainly because Viv's hell functions like earth, earth itself has a lot of hellish periods and struggles, I wanna tackle on serious topics in an environment stock-filled with em, and I feel that certain restrictions and obstacles would make more sense in a setting like this! Thoughts?

Sounds promising, and I like the names you went with!

[valloninfo]

Jeudi soir, 24 octobre, le CP Fleurier a remporté une victoire cruciale face au HC Star Chaux-de-Fonds, s’imposant 6 à 3 devant une centaine de spectateurs rassemblés à la patinoire des Mélèzes. Une prestation solide des Fleurisans qui, dès le premier tiers-temps, ont mis leur adversaire sous pression avec un jeu offensif décisif. Un début de match explosif pour Fleurier Le CP Fleurier démarre fort, ouvrant le score dès la 9e minute grâce à Victor Gudel, assisté de Sandy Dubois et d’Evan Colo. En moins d’une minute, Enzo Dell'Orefice double la mise, soutenu par Gudel, suivi d’un troisième but signé Dubois avec l’aide de Robin Fuchs et de Gudel. À 14:17, Dell'Orefice écope d’une pénalité pour accrocher, permettant à Lionel Houriet de réduire l’écart en supériorité numérique pour le HC Star. Le premier tiers se clôture donc avec un avantage 3-1 pour le CP Fleurier. Deuxième tiers : Fleurier creuse l’écart mais le HC Star résiste Dès l’entame du deuxième tiers, Loïc Pecaut porte le score à 4-1, assisté par Quentin Pecaut et Kevin Fleuty. Cependant, une pénalité de Pecaut laisse une ouverture au HC Star, qui en profite grâce à un but de Kevin Baumberger. Quelques minutes plus tard, Fleurier prend à nouveau l’avantage en supériorité numérique avec un but de Fleuty sur une passe de Kenny Camarda, portant le score à 5-2. Malgré un troisième but pour le HC Star marqué par Lionel Houriet, Fleurier termine le tiers avec une avance de deux points. Un troisième tiers sous tension et un dernier but qui scelle la victoire La tension monte au troisième tiers, avec plusieurs pénalités infligées aux deux équipes, dont deux pour Cyril Boss pour faire trébucher et comportement antisportif. Mais Fleurier s'assure la victoire avec un dernier but en cage vide signé Nigel Tissot, assisté par Kenny Huguenin et Florent Marthaler, clôturant le score à 6-3 en faveur du CP Fleurier. Avec cette performance, le CP Fleurier s'offre une victoire précieuse dans la course au classement et démontre une cohésion d’équipe solide. Le prochain match, fixé à samedi 26 octobre, s’annonce d’ores et déjà passionnant pour les supporters fleurisans, qui auront l'occasion de soutenir leur équipe sur leur glace locale.

[timriva-blog]

CD : une absolue découverte, les mélodies de Louis Beydts

De nouveau réuni, le duo Cyrille Dubois & Tristan Raës se lance dans un projet original, une sélection exhaustive de mélodies du compositeur Louis Beydts qui enchanta le répertoire de la première moitié du XXème siècle. Une découverte qui vaut plus qu’un détour, enluminée par la qualité des interprétations du merveilleux ténor et de son talentueux pianiste. Écrit par Jean-Pierre Robert Louis…

[kammartinez]

https://www.washingtonpost.com/books/2023/07/27/rules-for-reading-dirda/

Paperback or hardcover? Used or new? Let’s talk about our book habits.

Michael Dirda

Over time, all readers acquire an array of personal, often bizarrely eccentric rules and routines that govern — or warp — how they interact with the printed word. For example, some people will buy only crisp, new trade paperbacks and wouldn’t touch a used book on a bet. Fear of cooties, perhaps. Do you remove the dust jacket when you sit down with a novel? I always do. Can you read (or write) while listening to music? I find this impossible, which is why you’ll never see me working at a coffee shop. What follows is a list, in no particular order, of some of my other reading habits and “crotchets,” to use an old-fashioned term. Perhaps you will recognize a few of your own.

Hard- vs. softcover

I almost always prefer a hardcover to a paperback and a first edition to a later printing — except in the case of scholarly works, when I want the latest revised or updated version of the text.

Typeface troubles

My heart sinks when I see a desirable book printed in eye-strainingly small type. Publishers must imagine that only eagles will read it.

Books as gifts

I will spend any amount on gift books for my three grandchildren, now ages 8, 6 and 4. Those same grandchildren exploit me mercilessly when we visit Powell’s Books in their hometown, Portland, Ore.

Follow the flag

As a collector, I follow the flag: that is, American editions for American authors, British editions for British authors.

Remainders

I’m deeply irritated by remainder marks — those little red dots, black lines or other insignia with which publishers deface the bottom of a remaindered book’s text block.

Deciding what to read

These days, I expend preposterous amounts of time dillydallying over what to read next. Like Tennessee Williams’s Blanche Dubois, I want magic. It might be found in the enchantments of a novel’s style, the elegance of a scholar’s mind or simply the excitement of learning something new. So I try a few pages of this book and that, restlessly hoping to start one that finally keeps me spellbound.

What I look for in used book shops

In secondhand bookshops, I always look for sharp copies of 1940s and ’50s paperback mysteries, especially Gold Medal titles featuring sexy women on the cover — the best illustrations are by Robert McGinness — or Dell “mapbacks,” which show the scene of the crime on the back.

Plastic covers: No

I find the heavy-duty dust-jacket protectors, commonly used by public libraries, utterly repellent and always remove them whenever I acquire (not often) an ex-library book.

One is never enough

I can’t stop myself from picking up extra copies of favorite books. I own multiple editions of Cyril Connolly’s “The Unquiet Grave,” Joseph Mitchell’s various collections of New Yorker journalism, and E. Nesbit’s novels about the Treasure Seekers and the Bastable family.

Books aren’t commodities

I despise — viscerally, perhaps irrationally — the people one sometimes sees at used book stores scanning every title with a handheld device to check its online price. They regard books strictly as products and usually don’t know anything about them, only caring about what they can buy low and sell high on Amazon or eBay.

Price stickers

Libraries and secondhand dealers sometimes affix ugly labels or price stickers to everything they sell. I soak these excrescences with lighter fluid, so that — with luck — they can be peeled off without abrasion.

The joy of variety

Over the years, I’ve tried to gather the best or most entertaining works in various fields that interest me. That means the literature of almost all genres and time periods, but also books about art, classical music and the history of ideas. As a working-class kid I daydreamed about owning Henry Higgins’s library, as seen in the film version of “My Fair Lady.” While I’ll never have that wonderful room, I now have the books.

Finding a needle in a haystack

I feel insanely chuffed at recognizing scarce and desirable works that have been overlooked or underpriced. I once paid $5 for an inscribed first edition of Zora Neale Hurston’s “Tell My Horse” in a very good dust jacket. Try to find a like copy today.

How many books to pack?

I never climb on a plane or take a trip without at least two books, the second as backup.

Getting kids to love books

Anything that teaches a young child to love reading is fine, including — to speak from experience — superhero comics and Mad Magazine. To my mind, though, high school English classes should avoid works by living authors and instead emphasize canonical “classics.” Young people will gravitate to their contemporaries as a matter of course, but they won’t read Shakespeare or George Eliot or Walt Whitman or Frederick Douglass on their own.

Covers are art

I keep an eye out for pulp magazines with iconic covers. Thus, I own the August 1927 “War of the Worlds” issue of Amazing Stories illustrated by Frank R. Paul, the June 1933 Weird Tales featuring Margaret Brundage’s daring art for Robert E. Howard’s “Black Colossus,” and some wonderful examples of the Shadow, All-Story, Blue Book and Dime Detective magazines. I’m still looking for an attractive, yet affordable, early issue of Black Mask.

Read grammar books

Every year or so, I dip into guides on how to write, and not just William Strunk and E.B. White’s “The Elements of Style.” I regularly fear — perhaps with good reason — that my prose isn’t just sturdy and plain, like Shaker furniture, but actually stale, flat and dull.

Make a mark

Except for beautifully printed or rarely found books, I read almost everything with a pencil in my hand. I mark favorite passages, scribble notes in margins, sometimes even make shopping lists on the end papers. To paraphrase Gibbon on the Roman Emperor Gordian’s 22 acknowledged concubines, my books are for use, not ostentation.

Check the title pages

Rule of thumb: Always check title pages of used books for author signatures or interesting inscriptions. I’ve found first editions autographed by H.G. Wells and Eric Ambler on the $3 carts of secondhand dealers.

Writers as recommenders

Whenever an author I admire mentions a favorite book in an interview or essay, I make a note to look for a copy.

Kondo-ing books

One of my favorite daydreams — I know how pathetic this sounds — is imagining a month in which I do nothing but cull my books, then properly arrange or even catalogue those that remain.

Keep a notebook handy

I regularly copy favorite sentences and passages from my reading into a small notebook I’ve kept since I was in my early 20s. Examples? “Out of the crooked timber of humanity no straight thing was ever made.” — Immanuel Kant. “The primary function of education is to make one maladjusted to ordinary society.” — Northrop Frye. “Love is holy because it is like grace — the worthiness of its object is never really what matters.” — Marilynne Robinson.

Greet old friends

When I’m in a bookstore and notice works by dead authors whom I once counted as friends, I silently say, “Hello, Tom,” “Looking good, John,” “Wish you were here, Alice.”

Buy only what you will read

Mine is a personal library, not a focused collection. I never buy any book I don’t hope to enjoy someday. True collectors, by contrast, aim to be exhaustive and inclusive, gathering all sorts of material they have no intention of ever reading.

One person’s discard …

During my afternoon walks, I always check out Little Free Library boxes and blue recycling bins. I like to see what people have been reading and drinking.

No screens

I’ve never used a Kindle or any type of e-reader. I value books as physical artifacts, each one distinct. Screens impose homogeneity.

Value a home library

I regret that the ideal of a home or family library has pretty much vanished along with door-to-door encyclopedia salesmen and sets of the “Great Books of the Western World.”

Leave old books as they are

Any bowdlerization, “sensitivity editing” or rewriting of older literature is absolutely wrongheaded. Books aren’t something one approves or disapproves of; they are to be understood, interpreted, learned from, shocked by, argued with and enjoyed. Moreover, the evolution of literature and the other arts, their constant renewal over the centuries, has always been fueled by what is now censoriously labeled “cultural appropriation” but which is more properly described as “influence,” “inspiration” or “homage.” Poets, painters, novelists and other artists all borrow, distort and transform. That’s their job; that’s what they do.

Well, I’m a critic

After years as a literary journalist, I no longer feel I’ve really read a book unless I write something about it.

[kamreadsandrecs]

https://www.washingtonpost.com/books/2023/07/27/rules-for-reading-dirda/

Paperback or hardcover? Used or new? Let’s talk about our book habits.

Michael Dirda

Over time, all readers acquire an array of personal, often bizarrely eccentric rules and routines that govern — or warp — how they interact with the printed word. For example, some people will buy only crisp, new trade paperbacks and wouldn’t touch a used book on a bet. Fear of cooties, perhaps. Do you remove the dust jacket when you sit down with a novel? I always do. Can you read (or write) while listening to music? I find this impossible, which is why you’ll never see me working at a coffee shop. What follows is a list, in no particular order, of some of my other reading habits and “crotchets,” to use an old-fashioned term. Perhaps you will recognize a few of your own.

Hard- vs. softcover

I almost always prefer a hardcover to a paperback and a first edition to a later printing — except in the case of scholarly works, when I want the latest revised or updated version of the text.

Typeface troubles

My heart sinks when I see a desirable book printed in eye-strainingly small type. Publishers must imagine that only eagles will read it.

Books as gifts

I will spend any amount on gift books for my three grandchildren, now ages 8, 6 and 4. Those same grandchildren exploit me mercilessly when we visit Powell’s Books in their hometown, Portland, Ore.

Follow the flag

As a collector, I follow the flag: that is, American editions for American authors, British editions for British authors.

Remainders

I’m deeply irritated by remainder marks — those little red dots, black lines or other insignia with which publishers deface the bottom of a remaindered book’s text block.

Deciding what to read

These days, I expend preposterous amounts of time dillydallying over what to read next. Like Tennessee Williams’s Blanche Dubois, I want magic. It might be found in the enchantments of a novel’s style, the elegance of a scholar’s mind or simply the excitement of learning something new. So I try a few pages of this book and that, restlessly hoping to start one that finally keeps me spellbound.

What I look for in used book shops

In secondhand bookshops, I always look for sharp copies of 1940s and ’50s paperback mysteries, especially Gold Medal titles featuring sexy women on the cover — the best illustrations are by Robert McGinness — or Dell “mapbacks,” which show the scene of the crime on the back.

Plastic covers: No

I find the heavy-duty dust-jacket protectors, commonly used by public libraries, utterly repellent and always remove them whenever I acquire (not often) an ex-library book.

One is never enough

I can’t stop myself from picking up extra copies of favorite books. I own multiple editions of Cyril Connolly’s “The Unquiet Grave,” Joseph Mitchell’s various collections of New Yorker journalism, and E. Nesbit’s novels about the Treasure Seekers and the Bastable family.

Books aren’t commodities

I despise — viscerally, perhaps irrationally — the people one sometimes sees at used book stores scanning every title with a handheld device to check its online price. They regard books strictly as products and usually don’t know anything about them, only caring about what they can buy low and sell high on Amazon or eBay.

Price stickers

Libraries and secondhand dealers sometimes affix ugly labels or price stickers to everything they sell. I soak these excrescences with lighter fluid, so that — with luck — they can be peeled off without abrasion.

The joy of variety

Over the years, I’ve tried to gather the best or most entertaining works in various fields that interest me. That means the literature of almost all genres and time periods, but also books about art, classical music and the history of ideas. As a working-class kid I daydreamed about owning Henry Higgins’s library, as seen in the film version of “My Fair Lady.” While I’ll never have that wonderful room, I now have the books.

Finding a needle in a haystack

I feel insanely chuffed at recognizing scarce and desirable works that have been overlooked or underpriced. I once paid $5 for an inscribed first edition of Zora Neale Hurston’s “Tell My Horse” in a very good dust jacket. Try to find a like copy today.

How many books to pack?

I never climb on a plane or take a trip without at least two books, the second as backup.

Getting kids to love books

Anything that teaches a young child to love reading is fine, including — to speak from experience — superhero comics and Mad Magazine. To my mind, though, high school English classes should avoid works by living authors and instead emphasize canonical “classics.” Young people will gravitate to their contemporaries as a matter of course, but they won’t read Shakespeare or George Eliot or Walt Whitman or Frederick Douglass on their own.

Covers are art

I keep an eye out for pulp magazines with iconic covers. Thus, I own the August 1927 “War of the Worlds” issue of Amazing Stories illustrated by Frank R. Paul, the June 1933 Weird Tales featuring Margaret Brundage’s daring art for Robert E. Howard’s “Black Colossus,” and some wonderful examples of the Shadow, All-Story, Blue Book and Dime Detective magazines. I’m still looking for an attractive, yet affordable, early issue of Black Mask.

Read grammar books

Every year or so, I dip into guides on how to write, and not just William Strunk and E.B. White’s “The Elements of Style.” I regularly fear — perhaps with good reason — that my prose isn’t just sturdy and plain, like Shaker furniture, but actually stale, flat and dull.

Make a mark

Except for beautifully printed or rarely found books, I read almost everything with a pencil in my hand. I mark favorite passages, scribble notes in margins, sometimes even make shopping lists on the end papers. To paraphrase Gibbon on the Roman Emperor Gordian’s 22 acknowledged concubines, my books are for use, not ostentation.

Check the title pages

Rule of thumb: Always check title pages of used books for author signatures or interesting inscriptions. I’ve found first editions autographed by H.G. Wells and Eric Ambler on the $3 carts of secondhand dealers.

Writers as recommenders

Whenever an author I admire mentions a favorite book in an interview or essay, I make a note to look for a copy.

Kondo-ing books

One of my favorite daydreams — I know how pathetic this sounds — is imagining a month in which I do nothing but cull my books, then properly arrange or even catalogue those that remain.

Keep a notebook handy

I regularly copy favorite sentences and passages from my reading into a small notebook I’ve kept since I was in my early 20s. Examples? “Out of the crooked timber of humanity no straight thing was ever made.” — Immanuel Kant. “The primary function of education is to make one maladjusted to ordinary society.” — Northrop Frye. “Love is holy because it is like grace — the worthiness of its object is never really what matters.” — Marilynne Robinson.

Greet old friends

When I’m in a bookstore and notice works by dead authors whom I once counted as friends, I silently say, “Hello, Tom,” “Looking good, John,” “Wish you were here, Alice.”

Buy only what you will read

Mine is a personal library, not a focused collection. I never buy any book I don’t hope to enjoy someday. True collectors, by contrast, aim to be exhaustive and inclusive, gathering all sorts of material they have no intention of ever reading.

One person’s discard …

During my afternoon walks, I always check out Little Free Library boxes and blue recycling bins. I like to see what people have been reading and drinking.

No screens

I’ve never used a Kindle or any type of e-reader. I value books as physical artifacts, each one distinct. Screens impose homogeneity.

Value a home library

I regret that the ideal of a home or family library has pretty much vanished along with door-to-door encyclopedia salesmen and sets of the “Great Books of the Western World.”

Leave old books as they are

Any bowdlerization, “sensitivity editing” or rewriting of older literature is absolutely wrongheaded. Books aren’t something one approves or disapproves of; they are to be understood, interpreted, learned from, shocked by, argued with and enjoyed. Moreover, the evolution of literature and the other arts, their constant renewal over the centuries, has always been fueled by what is now censoriously labeled “cultural appropriation” but which is more properly described as “influence,” “inspiration” or “homage.” Poets, painters, novelists and other artists all borrow, distort and transform. That’s their job; that’s what they do.

Well, I’m a critic

After years as a literary journalist, I no longer feel I’ve really read a book unless I write something about it.



[entomoblog]

La dépollution par les plantes, une technique émergente pour décontaminer les sols

La restauration de la qualité des sols et des eaux grâce aux végétaux, notamment dans les anciens sites industriels, devient une alternative sérieuse aux méthodes traditionnelles.

  Par Lola Dubois

Publié aujourd’hui à 04h30, modifié à 06h21

  "Avec l’objectif « zéro artificialisation nette des sols » inscrit dans la loi depuis le 21 juillet, les quelque 10 000 friches industrielles que compte la France apparaissent comme de potentiels eldorados. Autant d’espaces laissés à l’abandon par le déclin industriel, qui pourraient à la fois servir d’îlots de biodiversité, permettant aux municipalités de compenser la bétonisation de leur ville, ou bien de réserves de foncier pour de nouvelles constructions. Reste un problème de taille : la contamination de leurs sols, durablement pollués par l’accumulation de produits chimiques et de métaux lourds."

(...)

  [Image] La zone tampon humide artificielle de Rampillon (Seine-et-Marne), en juin 2014. Les champs alentours sont drainés pour évacuer les eaux de pluie excédentaires. Dispositif naturel, la zone tampon permet d'intercepter les flux de pesticides sur les végétaux, et de les épurer, grâce à l'activité microbienne du milieu. CYRIL FRESILLON / IRSTEA / CNRS IMAGES

[angara-mfrp]

Can you even believe we're already at the end of our second activity check? It feels like not long ago that this group was merely in development...

While we aren't doing the extended reapp period like before, everything else is more or less the same. You'll have until the end of the day on 9/6 (server time) to send us an ask (or a message via our Google Forms submission linked on the contact page). Your character’s app will remain on your mun page and on the masterlist, and their account will remain in the server during this time. However, if this is your second consecutive failed activity check, the muse will be removed from the server and the masterlist, and they will need to be fully re-reserved and reapped. The re-reserve cannot happen any earlier than 9/10.

To reapp (after only one activity check failure), we just need you to reach out to us with a message containing the following:

Letting us know you’d like to reapp

Character name and series (it’s okay to include multiple in the same ask or submission to google)

Date

OOC contact

Please don’t hesitate to reach out to us if you have any questions! The list of muses who didn't pass activity check will be under the cut. Muses who have failed their second check and will need to be fully reapped will be denoted by an asterisk.

Apollo Justice (Owl)

The Doctor (Lore)

Zora Salazar (Lunamor)

Mimiru "Milk" Mielle (Cue/Queen)

Dimitri Alexandre Blaiddyd (Owl)

Shez (F) (Maki)

Rena Ryuugu (Lane/Beatrice)*

Satoru Gojo (Eve)

Roxas (Riku)

Sora (Kidi)

Raychel "Ray" Blackwell (Lunamor)

Partitio Yellowil (Paul)

Kim Dokja (Riku)

A Shooting Star Seen At Midnight (Jay/Julian)

Amalie Cyrille Dubois (Vix)

Aquaries “Ari” Val’Amoldo (Roll)

Jim Cada (Megamaw)

Myrinne Haley-Yuan (Roll)

Nine (Jay/Julian)

Akari (Lore)

Aspen (Nev)

Sonic the Hedgehog (Bone)

Peter Parker/Spider-Man (Hikari)

Kuno Ceres (Nev)

Nicholas D. Wolfwood (Cyan)

Vash the Stampede (Ren)*

Ganondorf (Eve)

If you failed for the first time or even the second, don't worry! We'd love to see you keep your muses or come back. Just make sure to get all of the needed info in by the deadline if you want to keep anyone that doesn't need a full re-reserve. For those who failed their second check in a row, the earliest that you will be able to send in a new reserve is on the 10th of September. Please keep that in mind as you plan to send in your new apps!

As before, we thank you for your participation in Angara Death Zone, and we hope you'll continue to take part in adventures with us!

[mozart-1053]

Fauré : Nell, Op.18-1

Cyrille Dubois (tenor), Tristan Raës (piano)

[carovisetto]

girl help I cant stop listening to this!!

[infinitelytheheartexpands]

anyway this Bops (especially the part starting at 3:26)

[lesser-known-composers]

Alfred Bruneau (1857-1934) - Plein air: No. 4, Le Banc de pierre ·

Jeff Cohen · Cyrille Dubois ·

[gnossienne]

After viewing Florian Zeller's astonishing direction of The Father and Sir Anthony Hopkins' full dramatic genius on display, I returned to this particular rendition of the aria featured in the film, laden with all the exquisite sensitivity and melancholy of the film.

[bttrflyblu]

[Lyric video] Gabriel Fauré: Les Berceaux | Cyrille Dubois & Tristan Raës

[angara-mfrp]

TO WHAT HORIZONS WILL YOU GO?

NORTH

Ruby Rose

EAST

Allan Sugasano

CENTER

Amalie Cyrille Dubois

Yeon Hajun