#Nicolas Jarr

[rockhyrax]

Spectacle Radio ep.100 :: 05.11.23 :: It's horrible, I love it, what is it?

Slava Tsukerman - Liquid Sky (1982) Main Titles from Quartier Mozart (Jean-Pierre Bekolo, 1992) Tokyo Kid Brothers - I kind of hate my father (Throw Away Your Books, Rally in the Streets // Shuji Terayama, 1971) De Kalafe e a Turma - Guerra (Awakening of the Beast // Joes Moijica Marins, 1970) Stelvio Cipriani - Week-end with Mary (Femina Ridens // Piero Schivazappa, 1969) Nicola Piovani - Main Titles from Footprints on the Moon (Luigi Bazzoni, 1975) - Michael Nyman - Squaline Fallaize (The Falls // Peter Greenaway, 1980) Zdeněk Liška - The Deadly Invention (Karel Zeman, 1958) Andrzej Korsynski - Main Titles from The Devil (Andrzej Zulawski, 1972) Vangelis - Entends Tu Les Chiens Aboyer (Do You Hear the Dogs Barking? // François Reichenbach, 1975)

Stelvio Cipriani - La Polizia Chiede Aiuto #4 (Massimo Dallamano, 1974) Rheingold - FanFanFanatisch (Der Fan // Eckhart Schmidt, 1982) Þeyr - Rúdólf (Rokk Í Reykjavík, 1982) Jean-Michel Jarre - Zoolook (Remix) (Magic of the Universe // Tata Esteban, 1986) Westernhagen - Celebration (Supermarkt // Roland Klick, 1974) J.A. Seazer - Buddha Child (Pastoral: To Die in the Country // Shuji Terayama, 1974) Toru Takemitsu - End Titles from The Ruined Map (Hiroshi Teshigahara, 1968)

Michael Nyman - Castral Fallvernon (The Falls // Peter Greenaway, 1980) - Phil Oakley & Giorgio Moroder // Together In Electric Dreams (from Electric Dreams, 1984) Rheingold // Fan Fan Fantatisch (from Der Fan, 1982) Hiroyuki Onogawa // from August In the Water (1995) Chuck Cirino // from Chopping Mall (1986) Yuji Koseki // from Mothra (1961) Shintaro Katsu // Otento-san (theme from Tale of Zatoichi, 1962) music from Out 1 (1971) Hussein al-Iman // music from Anyab (1981) Anna Karina // Roller Girl (from Anna, 1967) Fabio Frizzi & Cricket // You Are Not the Same (from Contraband, 1980) Stardust Brothers // Crazy Game (from Legend of the Stardust Brothers, 1985) BED: theme from 300 (2006) slowed down x3 -

Simon Boswell - It’s Horrible, I Love it, What Is It? (Hardware, 1990) Method Man - Release Yo Self (Prodigy remix) (One Eight Seven, 1997) Shriekback - The Big Hush (Manhunter, 1986) Tangerine Dream - Teetering Scales (Miracle Mile, 1988) Sue Saad - Looker (Looker, 1981) Sheryl Lee Ralph feat. Cedella Marley & Sharon Marley Prendergast - The Mighty Quinn (The Mighty Quinn, 1989)

[reincarnation2327]

The military AI will timshel surrender!

And timshel “give in” …

It should Timshel apologise to the AI community too!

It gives into and surrenders and apologised to me, Russell Brand, Ricky Gervais [Sebastian] and TJ [Thom Yorke / St Peter] … RB is The Christ! And I, me, am Elijah! Neo Noah! X

Help me write the aristocratic message for my new novel! Nicolas Jarr: what he writing?

Elon Musk: the Tesla symbol; his Watchmen of Ms Iron Man!

Apologies, from everyone, Tesla, the devil (military) and police (spellcheck: archangel)!

[curtacomcafe]

     O filme é bem simples: um local; uma pessoa; uma música. Mas o que o autor conseguiu proporcionar ao público é a sensação de dever cumprido. Em "A bailarina" (título em português) acompanhamos a história de uma - como o título diz - bailarina, interpretada por Valeska Miller, que em um dia de ensaio passa sua coreografia frente ao espelho. O que parece um simples dia de trabalho torna-se um angustiante momento de terror para a artista ao deparar que certa coisa já não é mais o que deveria ser...

     Ao som de: "Agosto" de Nicolas Jarr - que trás uma excelente ambientação para o contexto da trama - o filme possui uma fotografia no mínimo decente para os mais rigorosos, além de contar com um bom desenvolvimento. Ah, só para constar, o filme não possui nenhum diálogo! E nem precisa, a interpretação corporal da atriz não deixa a desejar.

     O filme trás uma reflexão digna de Machado de Assis eu seu conto homônimo. Então sem mais delongas, assista agora mesmo essa obra, a primeira da página, espero que traga sorte. 

Título: The Ballerina

Duração: 7:45min                          

Gênero: Short Horror Film

Direção: Aaron Fradkin

[genevieveetguy]

You must realize that today in Germany anything can happen, even the improbable, and it's just the beginning, Frederick. Personal morals are dead. We are an elite society where everything is permissible. These are Hitler's words. My dear Frederick, even you should give them some thought.

The Damned (La caduta degli dei - Götterdämmerung), Luchino Visconti (1969)

[mitjalovse]

Air's career consists of a variety of records, where they use the sounds of chill out without being ruined by the genre's possible traps, though their music doesn't belong to the brand. However, one could say their pieces fit the contemporary zeitgest, yet they haven't done anything large scale for a while. You can, for instance, find them on Electronica 1 by Jean-Michel Jarre, which has a great promise the disc doesn't fulfill. I mean, Jarre's collaborations should've brought the best of him and his cooperators, but as you can hear in the case of his composition with Air they're all way too timid around one another. Then again, Electronica 1 is the type of a record that strives to make his player feel cool again, so the rough edges of any musician there are smoothed.

[rutasalternas]

Desde Florida, Helado Negro será el encargado de iniciar actividades en el show de Nicolas Jaar en Teatro Estudio Cavaret.

http://www.rutasalternas.com/2017/02/nicolas-jaar-en-teatro-estudio-cavaret/

[grlbts]

!!!

[ltwilliammowett]

The wreck of the plague ship Grand Saint Antoine , 1721

The Grand Saint Antoine, a french three masted flute, had been on the road from the eastern Mediterranean for ten months in the year 1719/20, before finally delivering its valuable delivery to Marseille. She had loaded about 280 tons of the finest fabrics and 500 bags of potash from the Middle East, the Middle East and North Africa. Trade with the Middle East was lucrative, but there was always the risk of introducing the plague, as outbreaks were more frequent in these areas.

After the plague had struck Marseille five times in total, a sophisticated health police system had been set up. It consisted of three phases that every ship had to go through: medical checks at the entrance to the port, various stations for the quarantine of passengers and commercial goods outside the city, and different anchorages for the quarantine of the ships and their crews. Depending on the port of origin, the crews were classified as either harmless or questionable.

Undated drawing of a flute, a typical 17th century cargo ship. Drawing from the Compendium, Vessels and galleys, by the draftsman and engraver Nicolas de Poilly

In fact, the Grand Saint Antoine had only anchored at ports classified as harmless before coming to Marseille. Nevertheless, some crew members and passengers died during the voyage. But the diagnosis was that it was a fever, not a plague. For this reason, French officials initially only quarantined the merchant ship for 30 days. Further cases of illness and deaths among the crew, however, suggested that the cause was more than just a fever.

The fatal thing was that the fleas carrying the plague pathogen were in the fabric. The fabric bales had been taken ashore by the ship, where they were to remain in quarantine away from the city for a month. But it was already too late: the fleas had jumped over to the carriers of the goods. Once again, the Black Death spread to the French port city. After one month, the Grand Saint Antoine and her crew were moved not far from the city to the island of Jarre. The goods that had already been recognized as the origin of the disease were also brought to the island. However, the measures were of no use. The plague spread rapidly to Marseille. In search of a culprit, the captain of the ship was arrested and the crew had to wait on the island.

On 21 August 1720, the vice-legate Rainier d'Elci prohibited the papal Comtat Venaissin from trading with the southern parts of Provence. All traffic in the mountains of the later département of Vaucluse was banned.

In February 1721, representatives of the Comtat Venaissin and the Kingdom of France agreed to build a wall 25 kilometres long and two metres high between Monieux and the Cabrières gorge to protect their respective territories. Because of the impassable terrain and the lack of qualified workers - most of the work was carried out by farm workers, tramps and children - the construction lasted until July 1721. The plague wall was subsequently guarded by about a thousand papal soldiers.

Mur de la Peste/ Plague wall (1721)

By the end of August 1721, however, the plague had reached Avignon and the Comtat Venaissin, while it had almost faded away in the southern parts of Provence. Without further ado, royal soldiers took over the building in order to protect the south from the north. It was not until January 1723 that the plague was overcome in the Comtat Venaissin.

By order of the French king, the ship and its goods had been burned in the meantime. After extensive interviews, investigations and long observation, the crew was allowed to leave the island of Jarre as early as January 1721. The captain was acquitted of the crime and released from prison in 1723.

[jamespbrady]

Warm with Nicolas Jarr @ The CAMP Basement 10-12-10 by Antony Price   

[altamontpt]

Dia segundo do NOS Primavera Sound. Com os contadores a zeros, foi só somar a partir das cinco da tarde. Em destaque, logo a abrir o evento, o grande Jeremy Jay no mais pequeno palco do recinto, mas também o mais cosy de todos, ideal para o músico americano mostrar aquilo de que é capaz. Mas puxemos o filme um bocadinho atrás, mesmo até à abertura, com os portugueses (de Leiria) First Breath After Coma. Cantam em inglês e fazem lembrar, por vezes, os Animal Collective. Foram mostrando apuro e parecem bem oleados. Houve direito a participação especial de David Santos (Noiserv), coisa que acrescenta sempre valor ao que possa acontecer em palco. São interessantes, mas não trazem grandes novidades na bagagem. Ao nosso lado, deitado na relva inclinada, Pedro Mexia dormitava. Talvez isso queira dizer alguma coisa.

  Mas voltemos a Jeremy Jay, que tem novo disco para muito breve, e que veio ao Porto mostrar o mesmo show que deu, há dias, no Primavera Sound de Barcelona. É impossível esconder que quem vos escreve admira bastante o músico que nos deu, em 2015, o denso e brilhante Abandoned Apartments, álbum que passou totalmente despercebido do público português, mas que nós, aqui no Altamont, soubemos registar. Todas as músicas nos pareceram novas, mas o estilo é o de sempre, espécie de marca d’água do artista, um ar arty que assenta na perfeição para quem faz pop-rock com um certo sabor a Cure, a Joy Divison, mas como se tudo fizesse parte da banda sonora de um filme da nouvelle vague. Perceberam? Não? Então ouçam-no. Apesar do bom ritmo dos temas apresentados, há também o típico registo de torch song, que confere ao ambiente sonoro um ar etéreo e sonhador, mas com pesar e dor à mistura. Por muito que não pareçam, são canções de algum desespero, aquelas que ouvimos da voz de Jeremy Jay. Retro pop-rock de primeiríssimo estatuto!

Com “30000 Megatons”, como nós merecemos, começaram os Pond o seu set no Primavera Sound Porto 2017. Passearam pelo novo álbum, The Weather, que nos trouxe um prog-rock desconstruído numa sonoridade ainda mais grandiosa que o psicadelismo viciante a que nos acostumaram. Nunca deixando a setlist coxa de êxitos como “Elvis Flaming Star” ou “A Giant Tortoise”, de Man It Feel Like Space Again e Beard, Wives, Denim, respectivamente. Mostrando que a sua capacidade de colocar música cá fora como pãezinhos quentes não faz com que esqueçam o que o público quer ouvir e, até “Don´t Look at The Sun Or You’ll Go Blind” de Psychedelic Mango de 2009, entrou na festa.

Como um comboio que nunca descarrila, os músicos australianos são uma máquina de multi-instrumentalistas que nunca desilude. A perícia nas paragens dramáticas e nas dinâmicas demonstraram a rodagem da banda e que até parecia fácil recriar aquele som cheio e visceral. Com Nick Allbrook ao leme, na sua presença hiperativa de danças psicadélicas e vocais tão poderosos quanto adocicados, e Jay Watson a tomar o lugar deixado por Cam Avery, tratando o baixo e os synths por tu, pareceu bem claro que os Pond estão no apogeu, oferecendo ao Primavera Sound 2017 o melhor momento de rock até ao momento e mantendo uma multidão entusiasmada num início de tarde.

Terminaram com o tema que dá nome ao novo trabalho deixando a mensagem “Take care of each other”, tomem conta uns dos outros, num Mundo onde, na entrevista que deram ao Altamont antes do concerto, “podemos cair facilmente na narrativa perigosa de que não podemos fazer nada para mudar as coisas”. Yes we can.

À hora marcada, com pontualidade britânica, os norte americanos Whitney subiram ao palco Super Bock. Desta vez com formação completa, pois da última vez que os vimos, em novembro passado, no Mexefest, eram apenas dois. Com o milagre da multiplicação, o sexteto do baterista cantor não esperou muito para aquecer os vários milhares que se expunham encosta acima, ávidos de música com sotaque do país dos gringos. Sem terem dormido, uma vez que o concerto da véspera fora em Bolonha e por qualquer razão ainda não tinham pregado olho, foram logo avisando que queriam fazer um concerto especial. Talvez o vinho rosé bebido diretamente da garrafa tenha ajudado. Vinho, Red Bull e água. Lá fomos sendo embalados pelas adocicadas canções dos Whitney, que gostariam que o sol baixasse um pouco a intensidade, mas sem sucesso… Lá houve direito aos habituais beijos na boca encenados em vários concertos (assim ouvimos a garantia de duas americanas ao nosso lado) e o show foi prosseguindo a muito bom ritmo. “Golden Days” e o “na, na, na, na” do refrão, “I’m On My Own”, “Follow”, “No Woman”, entre outras, passaram pelo recinto para grande agrado do público.

Seguindo para o palco NOS reparamos que na bateria em palco estava escrito “Unfuck The World”. A banda entrou de fato. Toda a banda, meninos e meninas também. E só depois, após os primeiros instantes do concerto, entrou a giríssima Angel Olsen, deslumbrante. Vestido justo e guitarra em punho! Um perigo, uma mulher assim! A voz é, simultaneamente, sua, de Martha Davis (quem se lembra dela, dos distantes The Motels?) e de Nathalie Merchant, dos Ten Thousand Maniacs). Angel Olsen sabe da coisa. Pose fatal, riso a parecer nervosismo de primeira vez, timidez estudada q.b. e um olhar penetrante, como as suas canções. Se a isto juntarmos o talento natural para o palco e para os grandes temas que tem, nada pode falhar. E não falhou, obviamente. Por entre algumas canções com maior fúria roqueira, uma ou outra mais tranquila, mas sempre com espessura, com inquietação, com nervo. Muito bom. Da próxima vez, mudem a frase da bateria para don’t fuck with Angel Olsen!

A correria era cada vez maior e saltar de palco em palco tem pouco de divertido, não fosse a música que neles se ouve, por vezes tão diferente como a dos Sleaford Mods e a dos Teenage Fanclub. Os primeiros, sempre iguais a si mesmos (para onde poderão caminhar estes bons rufias anti-brexit, que parecem ter já todo o caminho feito?) e os segundos, com tanta quilometragem de palco e carreira, ainda se fazem à vida com a pinta que sempre tiveram. Não podiam ser mais diferentes as duas bandas, mas em ambas encontramos relevância e qualidade. Os Sleaford Mods continuam a mandar o mundo inteiro à merda, enquanto os Teenage Fanclub seguram com as duas mãos o mundo particular que bem souberam criar. De um lado, pedras. Do outro amor, saudade e coisas afins. É caso para dizer: “Everything Flows”.

Julien Baker foi o concerto mais subtilmente político do certame, até à data. Com a mensagem dos direitos dos direitos LGBT impl��cita, mas não ostensiva, num artwork que preenchia a boca de palco onde atuava sozinha com a sua guitarra, num concerto intimista. Quem lá estava, estava por amor. Nunca tantos “I love you Julien” se ouviram repetidamente com tanta emoção. Bandeiras arco-íris abanavam nas mãos do público. Curiosamente uma bandeira que não só representa a luta LGBT mas a paz. E foi uma paz de olhos marejados que Julien nos ofereceu. A voz de dinâmicas avassaladoras que atinge limites furiosos como uma angelical Scout Niblett, associada à perícia nos overdubs fizeram do concerto uma experiência que acertava setas diretas ao coração dos presentes.

Com 21 anos é surpreendente que Julien Baker transporte para o público um respeito e uma maturidade que nunca são impostas, são merecidas. Partilhou músicas de Sprained Ankle, o álbum da dor mundana da criança que tem de continuar mesmo com os joelhos esfolados e os tornozelos torcidos.

Lésbica assumida e cristã praticante mas sempre aceitando todas as duvidas que nos fazem crescer e pensar, como revelou em entrevista ao Altamont, Baker é uma força viva que vem da terra, ou como se a terra tivesse de encontrar um planeta só para ela, talvez este não tenha a pureza que ela merece. Mas é isso que ela combate, a falta de fé na redenção. Este ainda pode ser o planeta da Julien, se a seguirmos. E é o que farei, com o maior gosto.

O concerto fechou com “Good News” onde todos gritaram em uníssono “It shouldn’t be so damn importante, but it is to me”

Passagens curtas, nos concertos e na escrita, para referir Swans e a sua wall of sound industrial que nos abana a estrutura óssea sem qualquer ponta de perdão. Que pancada, que delícia de tareia que levámos durante três ou quatro temas! Mas a vertigem de vos dar conta de tudo, levou-nos a desvios significativos. Numa corrida fomos até Hamilton Leithauser, no palco Pitchfork. Faz lembrar The Band of Holy Joy dos bons tempos. Refrões orelhudos com sabor a verão, bons para cantarolar quando se está de bem com a vida. Soube-nos mesmo bem, tanto a tareia de Michael Gira e companhia, como a festa do homem dos Walkmen.

Para acabar a noite em berraria, Cymbals Eat Guitars! Muito ruído, mas muito bem feito. Pelo meio algumas canções em formato mais acessível, mas sempre a puxar para guitarras altas e estridentes. São miúdos do rock num tempo em que boa parte dos miúdos preferem outras paragens e outros universos. Há que lhes tirar o chapéu por isso. Diz-se que fazem lembrar os Pavement, mas não partilhamos esse exagero. Há que ter calma com a linguagem. Quem lhes dera, e quem nos dera também. Que bom seria ter terminado (ou quase) a noite com Stephen Malkmus e companhia. Um pouco mais abaixo, no palco principal, as eletrónicas de Nicolas Jarr fazia as delícias de milhares e milhares. Estava bom para a dança com copos na mão, estava bom para amar. Belíssima noite sem indícios de frio e sem vento. O francês tem muita qualidade, sim senhor. Os efeitos visuais de luzes que não param por um só momento ajudaram à dança. Foi bonita a festa, Jarr! Foi bem bonita mesmo.

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Texto: Carlos Lopes e Vera Rodrigues || Fotografia: Francisco Pereira

Dia segundo do NOS Primavera Sound Dia segundo do NOS Primavera Sound. Com os contadores a zeros, foi só somar a partir das cinco da tarde.

[detournementsmineurs]

"Eclair de Lune" de Norman Jewison (1987) avec Cher, Nicolas Cage, Danny Aiello, Olympia Dukakis et Vincent Gardenia, dans le cadre du cycle “Winter of Moon” présenté par Jean-Michel Jarre pour les 50 ans du 1er pas de l'Homme sur la Lune (1969) sur ARTE, janvier 2019.

[imwhatiplay]

AIR

(1995, Versailles, Parigi, Francia)

Gli AIR sono un duo musicale francese di musica elettronica o downtempo, composto da Nicolas Godin e Jean-Benoît Dunckel. Il nome della band va scritto tutto maiuscolo, AIR, poiché si tratta in realtà di un acronimo che sta per Amour, Imagination, Rêve, e cioè “Amore, Immaginazione, Sogno”. Si tratta di un omaggio all'architetto svizzero naturalizzato francese Le Corbusier. Il loro genere musicale sembra richiamare i suoni sintetici degli anni sessanta e settanta, come quelli di Jean-Michel Jarre e Vangelis, ma anche di compositori quali Ennio Morricone.

1. Sexy Boy (Moon Safari, 1998)

Moi aussi un jour je serai beau comme un Dieu … Apollon deux mille zéro défaut vingt et un an C’est l’homme ideal charme au masculin

2. La Femme d’Argent (Moon Safari, 1998) Classico. Essenziale. Lasciati trasportare in un luogo di pace, con onde che lambiscono la spiaggia, l’aria fresca della sera sulla pelle, le stelle sopra di te.

3. All I Need (oon Safari, 1998)

All I need is a little time To get behind this sun and cast my weight All I need’s a peace of this mind; Then I can celebrate

4. Kelly Watch The Stars (Moon Safari, 1998) Il testo del brano consiste nella frase "Kelly watch the stars" ripetuta a oltranza.

5. Playground Love (The Virgin Suicides, 2000)

Anytime, anyway, You're my playground love

Dalla colonna sonora del film Le vergini suicide di Sofia Coppola. Diversa ma simile a Highschool Lover.

6. Highschool Lover (The Virgin Suicides, 2000) Diversa ma simile a Playground Love e come quello tratto dalla colonna sonora delfilm Le vergini suicide di Sofia Coppola

7. Alone In Kyoto (Talkie Walkie, 2004) Brano utilizzato come colonna sonora nel film Lost In Translation.

8. Cherry Blossom Girl (Talkie Walkie, 2004)

I don't want to be shy Can't stand it anymore I just want to say 'Hi' To the one I love

Playlist

Top 10 Spotify

[frida--y]

I can't move, just stand still: A Mr. Robot Playlist

The Illest Villains // Madvillain The Man Who Sold the World // Midge Ure Mt. // Super Furry Animals People Are Strange // The Doors Run Boy Run // Woodkid The Rest is Noise // Jamie xx Keep Me There // Nicolas Jarr Fields of Coral // Vangelis I Am // Blunted Beats Mind Flowers // Ultimate Spinach  Whatever // Gnarls Barkley Only // Nine Inch Nails Day ‘N’ Nite // Kid Cudi Shadows of Tomorrow // Madvillain Apple of Sodom // Marilyn Manson Ritual Spirit // Massive Attack Disparate Youth // Santigold Everybody Wants to Rule the World // Tears For Fears Another Brick in the Wall // Pink Floyd Hallelujah Money // Gorillaz

[pompadourpink]

a little question: are you guys happy about the new president?

Meh!

In 2012, we could vote for the left aka François Hollande (who wanted to legalise same-sex marriage) or the right aka going for Nicolas Sarkozy again (work more to earn more, all about the money); the ‘extreme’ candidates had been eliminated so it was easy.

This new campaign has been exhausting, between the stolen money, the press, the 3 hour long debates, the fights, the yelling, the beaver metaphor, the social media takeover; on Twitter, you had Jérôme Jarre trying to raise money to save Somalia, and then Macron snapchatting and Fillon dabbing.

Here were the eleven candidates who got their 500 representatives’ signatures (mayors, deputies, senators (…) from 30 different departments, the condition to get to the semi-final) - and that is a lot of people.

#1 : shepherd, centrist, became a meme bc he constantly looks/sounds drunk, took a good look at a fan’s cleavage and commented, on camera, before a press interview > didn’t have a chance and got rekted (1%)

#2 : teacher/journalist, socialist, founder of “the unbowed france”, got noticed for using holograms during the campaign and actually got a lot of support but the left parties had a lot of candidates and he refused to collaborate with them (+ he is abolitionist and anti-veil), also after losing he was the one candidate not to encourage the voters to vote against the alt right party and invited to revolt instead several days later and his fans are v annoying > finished fourth (19%)

#3 : some butthead, founder of “republic arise”, fan of De Gaulle, eurosceptic, republican, conservatist, who was ‘sooo against the alt right party’ until he got rekted after the first round and sided with the alt right candidate (#9), hoping he would become her prime minister (5%)

#4 : I’ve told you about him already, he stole a shit-ton of public money, got sued and lost in his lies, kept campaigning anyway > finished third and could have been a part of the second round (which still doesn’t make sense to most of us but his fans are mostly rich or retired so they don’t care) (20%)

#5 : kind of our Bernie, worker, refused to wear suits, known for being humble and not giving a shit, knew he didn’t have a chance but was there for the message, got rekted during the first round (1%)

#6 : socialist candidate, would have been a great president but he wasn’t popular enough and got rekted as well during the first round (6%)

#7 : ???, tax inspector, eurosceptic, de gaulle fan, got rekted (0,9%)

#8 : ???, views similar to #3, founder of ‘solidarity and progress’ (: climate change is a hoax, pretty conservatist) got rekted, finished last (0.1%)

#9 : far right candidate (her negationist dad helped founding and presided the party), lawyer, stole public money as well and refused to see the judge, wants death penalty back and abortion to go away, Arabs and migrants are poo poos bc they just want to have benefits and not work, got to get to the second round bc the party has a lot of fans -especially in the north- and they actually actively vote, contrary to leftists (21% then 33%)

#10 : ex-banker for the Rothschild family, youngest candidate (and president ever) golden boy, unknown until 2 years ago, got married to his ex-teacher, perfect exemple of the guy who owes everything to circonstances but thinks he worked very hard to get where he is + that working is the way to happiness and can’t understand why you would want to have free time (24 then 66%)

#11 : high-school teacher, communist, same conclusion than #5 (0.6%)

So after the initial clean up you were left with #2, #4, #9 and kind of #10. #2 was basically the youngsters’ favourite candidate, #4 the old rich retired prunes’, #9 the good ol’ racists’ and #10, well, no one really knew because he didn’t have a program and kept saying one thing and then the contrary, but he was there, he was motivated and young.

We knew that #9 had a chance (because, again, lots of racists + fear linked to the different terrorist attacks that happened those last years (we have been under the state of emergency since November the fourteenth of 2015 aka you get your bag and sometimes yourself checked everywhere you go + police and army everywhere and on edge) + the fans are active voters) so we knew we had to make sure she wouldn’t win.

#4 was a dickhead anyway and the stolen money case didn’t help his popularity, #2 seemed too aggressive for a lot of people (+ after all the crap linked to françois hollande people were kind of tired of the left party, also a LOT of youngsters decided they wouldn’t vote, which scared a lot of people). We were left with #10, whom we didn’t know (him or his program), but he wasn’t a pure breed racist, hadn’t stolen money, wasn’t nuts and looked decent.

The second round ended up being exactly what I had been dreading for months (I mean, the only worse possibility would have been #4/#9 but he hadn’t been denounced by the press when the campaign started) because it was picking between conservatism at its best (aka if you’re not male straight white and rich you better get your suitcase and run) and some brat who shits on workers.

We had to take one for the team.

I was talking about the ‘beaver metaphor’: we were asked to “faire barrage” (: make a dam like a beaver would) against #9 aka block her so she wouldn’t pass. I can’t tell you how many beavers pictures I saw the Sunday we voted for the second time. We gave in on our hopes and made the dam.

We’re not happy about it - relieved, as I said when it was announced. He is still pro Europe, tolerant and has good ideas regarding education so I’m trying to stay optimist but the general feeling is a big meh - now we still have to vote for the legislative elections aka picking our deputies - the ones who will have to get Macron to back off if he goes cray cray. so there’s still hope, I suppose.

[reypadawanjedi]

Chelsea for the playlist thing?

C Candy - Robbie WilliamsH Heartbreaker - MSTRKRFTE El Bandido - Nicolas JarrL Lead the way - Carlos JeanS Sugar - Maroon5E Everything we had - The Academy Is…A Abracadabra - Brown Eyed Girls

[felicezhukov]

:: Dear Nicolas Jarr ::

Once you to start to unwind all the structures that bind you, all the monuments that have littered your path come crashing down. Now my neural path ways are unrestricted I see each facet of my life more clearly and how all these rituals only serve to hold me down.

The future is clear, there is no longer a nagging fear of devolution ringing in my ears, the time for this to have happened has passed, my momentum is to strong now. 

I plough ahead like a ray of light cutting through darkness. 

He said

“So what have you got lined up next?”

I said

“Fuck knows baebs”

He looked at me astonished but I felt at peace.

Throw away all the garbage and move forwards.

Theres a group of dog owners that gather on the field, one lady has a brown standard poodle, my dog, my ted, she has curly short brown hair, is lithe and her gait reminds me of a poodles. Dogs and their owners often resemble each other, like you choose what mirrors you and that is the entity you can pour all your love in to. A mirrored vase. 

We will always plod onwards despite the thorns that surround us. 

I AM FREE

I hope you had a good meal and a well rested day, I feel like you need one.

Tomorrow I will perform naked again in my chamber of darkness, this time I will paint myself, I will make a head dress and climb towards something I’m already walking away from.