#Barott

[kobikiyama]

Théâtre Maisonneuve / 1967

David, Barott and Boulva

[lesser-known-composers]

Vincent d'Indy (1851-1931) - Madrigal dans le style ancien Op.4

Gilles Fauchard (Baritone) & François Barotte (Piano)

[pikasus-artenews]

Retrospettiva di Jean-Marie Barotte alla Fabbrica del Vapore: un viaggio nell’arte italo-francese

Jean-Marie Barotte: retrospettiva alla Fabbrica del Vapore di Milano

[blogexperiences]

Alla Fabbrica del Vapore di Milano, l’opera di Jean Marie Barotte

La Fabbrica del Vapore di Milano accoglie, dal 4 al 31 ottobre prossimo, la prima importante retrospettiva dedicata all’opera di Jean-Marie Barotte (1954-2021), promossa da Comune di Milano – Cultura e Fonds Barotte Madau con l’associazione T.Art e prodotta da Fonds Barotte Madau e Fabbrica del Vapore. La mostra, allestita nello Spazio Messina al piano terra, è curata da Chiara Gatti e Marco…

[miroir-de-sports]

Un mariage du sport et de la culture

Après sa réouverture le 10 février assortie d’une nouvelle identité visuelle, le MuséoParc inaugure sa mue olympique le week-end du 23 mars : l’exposition "Ô Sport, Des Jeux pour des Dieux" cochera alors toutes les cases des Jeux, antiques et modernes ; immersion sportive dès le hall d’accueil doté d’une piste d’athlétisme, scénographie signée Freaks architectes ; rencontres avec des athlètes antiques, collections d’objets avec le soutien du Musée Olympique de Lausanne. La Forêt Olymphonique de Stéphane Marin fera vibrer le toit-terrasse du musée d’allégories sportives sonores. Pendant les vacances scolaires de Pâques et d’été, il sera possible de découvrir des disciplines sportives antiques. Des ateliers trampoline seront proposés du 9 au 11 mai, à partir de 7 ans et sur réservation. Le 8 juin, le contre la montre par équipes de l’épreuve cycliste Côte d’Or Classic U19, prendra le départ du MuséoParc Alesia. Le vendredi 12 juillet à 12 h 48, sera le temps fort de la saison avec le passage de la Flamme Olympique à l’extérieur du musée et indoor sur la piste d’athlétisme conçue par Gerflor. L’arrivée de la Flamme sera précédée de Sol Invictus, œuvre chorégraphique d’Hervé Koubi, à laquelle la population sera associée dans un flash mob danse de la Flamme à laquelle participeront des jeunes du SCO Dijon.

Après ce moment d’exception, le Musée poursuivra sur sa lancée avec 3 soirées Cinéma à Alesia sur le thème du sport, les mardis 30 juillet, 6 et 13 août, en association avec un club sportif à chaque séance ; du 15 au 18 août, un spectacle de disciplines sportives antiques à base de lutte, pancrace, boxe, lancers, avec le Groupe Acta. Sont également programmées, entre le 23 mars et le 30 novembre, 6 conférences d’ArTeHis sur le thème des Jeux Antiques. Enfin au cours de la saison, en association avec le Conseil Départemental des Jeunes, des thèmes de l’exposition seront exportés hors les murs pour être présentés à des élèves de 6 collèges du département. En projet, un spectacle équestre en collaboration avec les élèves du Lycée La Barotte de Châtillon-sur-Seine.

Célébrez !

Une interprétation de la nouvelle identité visuelle du MuséoParc :

Universalité avec les 5 couleurs des anneaux olympiques et proximité avec les couleurs qui blasonnent la Côte d'Or. Un mariage du sport et de la culture.

[444namesplus]

A'eaa'eyer A'eaz A'eenja A'ees A'eesey A'eildoz A'eomst A'eorbeand A'euez A'ewand A'eyaysno Aaa'eypay Aamane Addezz Aguell Akbdens Akeer Aleevon Alfrégine Alouez Altofom Alvuvaley Anlundz Antay Armandri Arzam Atfonelixon Athoole Auren Aurry Bains Bakykkyz Balivalémi Baptoun Barançoi Barda Barls Barmaramb Barotte Barrobz Bartle Bassa'eomz Bea'euel Bea'eur Benner Blevelets Bneido Bnua'eynran Bnuer Boyzz Brane Briden Briel Briend Bristellote Broth Brudez Bryunt Bryvall Burivardnor Burtong Dageonaln Dagmandavaz Dalers Danson Daves Deettmaxwe Dekkoz Delives Deray Dertrul Dians Dnokez Dnorele Dondsuden Dovell Dsuds Dubno Dundri Dunoatews Dwinrolfun Edfolds Edfon Ediers Edinne Eliney Emadu-low Emesavagnea Emmer Emmongonoy Emmygvains Ewsong Faris Farzoelz Fedilygnein Fieteardill Figgs Fitteera Fleonraza Flerreyfa'e Flobbowe Fondrane Foweiyfy Fra'ealdell Frann Franne Frano Fraylnle Fraymmers Freett Friedo Frish Fritlen Frittlixon Frivaldz Fuele Ga'eues Galde Galdemon Galdson Gandne Gardt Gattones Gerittona Gorewtonn Gornd Gottleyne Granua'ey Gredettepsa Gredfox Greettald Grent Gresbya'eod Grine Gustine Gykktyn Gymkyz Gynezrer Gynona'eon Gyunt Gérène Güntona'eon Halzy Handt Hanielers Hanlundno Harmin Harnsmyrs Hartinnaten Helli Henorrieuez Herenk Herns Hervin Hillia Hogurv Holde Holey Honeron Hoodold Horensoyuf Horiets Houlinez Hounemmyr Housans Hubne Hulke Hulton Huren Ilens Imensyleyts Inson Iresberill Isa'eyashe Jeaetfindo Jealzy Jenner Jesan Johari Johne Jonan Joëlley Julmatre Julton Jusann Jérômefot Karlersong Karse Kauer Kemole Keney Kenée Kerson Klinnelde Knadsandrut Knein Ktybne Ktynmyer Kurtin Kuzalynkine Kwart Kykya'eyt Kymmerth Kymtupynon Kynolf Kynza Kyunrotte Kyurk Kyvuvy Kyzpyu Laingomebe Lanez Laugyu Lenja Leyna Linèsevon Liquiss Logatys Ludria Lukers Lymyonalfyd Lyorge Lyport Ma'eo Ma'ets Maden Magar Malerteston Maleston Manneil Marguy Mariamata Marord Marry Martrods Matyn Matyz Maximens Medge Memor Mildsudez Milley Minedy Modges Mongus-pe Morellaus Morson Moste Mostorks Myois Na'egantz Nalannas Nander Nardie Newtoretent Niquen Nièle Novarisen Noyersteell Nuzya'eyl Nyynk Ollerie Olzgynalws Ongod Osben Osbyashein Ossoniel Owlur Padaine Palws Pareilles Parlest Parlown Patielm Peramb Perhaw Petfula Phieu Phigh Phiteguyer Pieul Poloza Poodgeon Porenes Powellors Pride Prien Pwayuran Pyunter Pyupyaran Queln Raa'eane Raaa'ey Radfo Radfony Radsuss Raletes Ranièver Ratine Raurs Rea'eounzke Reanne Reaza Reeko Rettery Riellmuttom Robbmekuz Robbmey Robete Roessars Roltords Rona'egott Rorndez Rorte Rosan Rosbyynut Rosen Rosey Rosimsend Rostona'e Rowapti Rudealkine Rujia Sa'eeez Sa'een Sa'eod Sa'eyts Sallestuok Samber Sanley Sashell Sea'eestia Senes Shana Shaysig Shelouez Shelsone Simeypynk Simoana Snsophilet Snua'eaelle Snustia Spwalkeris Stelleyer Stephim Stina Stron Strower Stéphydsung Sullie Sulpsa Sunoa'ees Svedanierd Svendent Swade Sylen Syoth Sévest Taa'ey Tello Thenounza Tralm Ttermas Tukelaffy Tynello Tzgersotts Untray Upykon Urnelte Uulip Uvyanong Uvyas Vaa'ean Vaampmes Vaang Valarp Valdz Valpyughile Valvineley Valzkez Vambenée Varper Veldoyu Velga Vestisèler Vidger Voaawkinen Vérins Wadyeste Walma'eo Warawz Wassa'ey Watin Wazquel Welophy Welrievega Wenkin Weron Whila Whilen Whilin Whiller Whilmaldox Whitegynan Whitzgylver Wighel Wight Wilakot Willebhan Willes Willine Wilmarard Winer Wittfulmey Wolgener Wolin Wolphert Woonors Wyerkerriot Wyers Wytdukden Xandon Ya'eea'ey Ya'eo Ymkyne Ymmorner Ymoa'ea'eaz Ymrer Ynfoll Ynfoweb Ynkavyw Ynmanne Ynorns Ynorr Yntin Ynuthepe Yotan Ysimmosinz Ytbyu Yvuen Ztysny Éliandreer Élina Érèneiteyr

[automaticvr]

DESCRIPTION "Welcome to my funeral" addresses the increasingly blurring of the borders between reality and the virtual world. Our dependency on technology has completely changed the way we relate to others and the physical world around us. The virtual world is becoming increasingly more realistic with haptic feedback, artificial intelligence and algorithms learning from human input. These are some of the topics that the performance references through intermediating between playful jabs at the inner logic of the virtual world and the serious threats of social dissociation translated in a physical language. ________________________________________________________________________ BIO Brandon Lagaert worked as a performer for Peeping Tom during 10 years which built his artistic foundation. In 2015 he won the Outstanding Performer Award with his solo "Subdued" at the CICC which initiated the start of his company KAIHO. In 2019 he created "Doggy Rugburn" for Lithuanian dance company Aura. In 2023 the site-specific solo "Abandoned Minds" for Portuguese clown Rui Paixāo premiered followed by "Welcome to my funeral" for Italian dance company Equilibrio Dinamico. Currently the company's working on "AVoid" a new solo for American contortionist Marina Cherry based on hikikomori. ________________________________________________________________________ For more information go to: ________________________________________________________________________ CREDITS Choreography: Brandon Lagaert Artistic assistance: Sara Angelucci Performance and creation: Alessandro Ottaviani, Anabel Barotte Moreno, Olivia Grassot, Tonia Laterza Music: Felix Machtelinckx Light design: Alessandro Caso Costumes: Franco Colamorea Management and executive production: Vincenzo Losito Production assistant: Alessia Cofone Production: Equilibrio Dinamico Co-production: Fondazione Fabbrica Europa, ResExtensa/Centro di produzione della danza Porta d’Oriente with the support of Fondazione Nazionale della Danza/Aterballetto Film and edit: Andrea Mafrica

[fashionbooksmilano]

Jean-Marie Barotte    Nerocenere

a cura di Chiara Gatti, progetto e catalogo di T.ART

SilvanaEditoriale, Cinisello Balsamo 2014, 68 pagine, 50 ill.a colori, brossura, Italiano/Francese,  23 x 28 cm, ISBN  9788836628179

euro 18,00 n/a

email if you want to buy :booksinprogressmilano@yahoo.it

Sul palco o in pittura, per Jean-Marie Barotte (Milano, 1954) l’espressione è soltanto una questione di equilibri, di ritmi, di chiaroscuri, giochi calcolati di presenze e assenze. E lo spazio dell’immagine, proprio come quello dell’azione, è uno spazio aperto, da attraversare con un tratto, un verso, prima di andarsene via. In questo modo, quasi fossero pagine di un copione, si possono leggere le sue opere percorse da segni, apparizioni, tracce che la mano scava nella fuliggine con pettini di fortuna, rami sottili che lasciano impronte di cortecce, rivoli di cera. La materia è cangiante. Il nero non è mai sordo. Ma vibra di luci nuove, lunari. Jean-Marie Barotte: dopo una lunga esperienza come attore teatrale con il gruppo Cricot 2 del regista e pittore Tadeusz Kantor, matura la decisione di dedicarsi alla pittura come sua nuova forma di espressione. Partendo da opere letterarie poetiche e filosofiche la sua pittura prende la forma di una meditazione.

Milano, Fondazione Stelline, gennaio - marzo 2014

12/07/21

orders to:     booksinprogressmilano@yahoo.it

ordini a:        booksinprogressmilano@yahoo.it

twitter:         @fashionbooksmi

instagram:   fashionbooksmilano, designbooksmilano tumblr:          fashionbooksmilano, designbooksmilano

[rabbitcruiser]

Aldred Building, Montréal (No. 2)

This building was designed for Aldred and Company, an international finance company based in New York.  Its design is reminiscent of the Empire State Building and it was built in the same year.  It features a series of setbacks on the 8th, 13th and 16th floors designed to allow more light to flow into Place d'Armes.  Apparently, this was also done to conform with a new Montreal bylaw that allowed buildings that were over 61m in height as long as they were on public squares and featured setbacks. The building sits on a solid concrete base that is 9 feet thick and located two floors below ground level.  On top of that is a steel structure with reinforced concrete floors.  The outside of the building is clad in granite at the base and Indiana Limestone above.  The Wikipedia entry for the Aldred Building describes the interior as follows: “The interior doors are inlaid with white metal, with the exterior gates in bronze. Surrounding the doors and covering the walls and floors of the entrance lobby are a variety of marbles, including Belgian Black, Yellow Sienna, Tinos Greek, St. Genevieve Golden Vein, Verde Antique, and Moutonelle. Flooring above the ground level is made of terrazzo with brass strips. Bronze also makes up the frames for windows of the ground floor bank, and is used in trim throughout the building along with stainless steel.“

Source

[intelligentliving]

Katie Barott of the University of Pennsylvania’s School of Arts & Sciences led a study to see if climate-change resistant corals could grow on battered reefs after transplantation. Her team took corals that survived a severe bleaching event and transplanted them to a new reef where they retained their resilient...

[60b3r]

Refleksi Kritis Setahun Pagebluk #0: Pendahuluan

Telah banyak filsuf dan ahli yang berusaha menjelaskan dan membuat prediksi bagaimana situasi pasca pandemi di dunia dan dampak jangka panjangnya terhadap peradaban manusia. Masalahnya, kita masih tidak bisa mengatakan “pandemi ini telah mengubah kita sebagai umat manusia,” karena dalam kondisi sekarangpun pandemi ini masih sangat jauh dari kata usai. Dengan ancaman gelombang kedua di Eropa dan ketidakpastian hasil uji klinis vaksin di beberapa negara Asia dan Afrika, umat manusia dihadapkan kepada kondisi serba tidak jelas dan tidak tidak pasti. Meskipun telah dihantam oleh berbagai masalah sepanjang sejarah, manusia tetap eksis dan berhasil mempertahankan kedudukannya di puncak piramida makanan dalam hampir semua ekosistem di planet ini. Untuk merayakan (hampir) setahun pandemi COVID-19, saya akan mencoba merangkumkan beberapa hasil perenungan atas masalah-masalah yang nampaknya harus kita hadapi pasca pandemi. Karena cukup panjang, maka tulisan ini akan saya bagi-bagi menjadi 9 bagian, masing-masing 400-500 kata.

Berikut sumber yang saya gunakan untuk penulisan serial ini:

Nassar, Dalia. The conditions of life: Why philosophers are pushing back against the shutdown. ABC Religion and Ethics, Opinion (12 May 2020). https://www.abc.net.au/religion/lessons-from-coronavirus-shutdown-for-the-environmental-movement/12176256.

Redacción MAPFRE. Philosophy and coronavirus, how the pandemic is changing us. MAPFRE Transformation (5 August 2020). https://www.mapfre.com/en/insights/transformation/philosophy-coronavirus-pandemic/.

Marder, Michael. The Coronavirus Is Us. The New York Times, The Stone (3 March 2020). https://www.nytimes.com/2020/03/03/opinion/the-coronavirus-is-us.html.

Asma, Stephen T. Does the Pandemic Have a Purpose? The New York Times, The Stone (16 April 2020). https://www.nytimes.com/2020/04/16/opinion/covid-philosophy.html.

Authers, John. How Coronavirus Is Shaking Up the Moral Universe. Bloomberg Opinion, Technology and Ideas (29 March 2020). https://www.bloomberg.com/opinion/articles/2020-03-29/coronavirus-pandemic-puts-moral-philosophy-to-the-test.

Peters, M.A., 2020. Philosophy and Pandemic in the Postdigital Era: Foucault, Agamben, Žižek. Postdigital Science and Education 1–6. https://doi.org/10.1007/s42438-020-00117-4

Sementara bahan bacaan lanjutan yang bisa kalian baca ada disini:

Dawkins, R., 1991. Viruses of the Mind, in: Dennett and His Critics: Demystifying Mind. Blackwell, Cambridge.

O’Malley, M.A., 2016. The ecological virus. Studies in History and Philosophy of Science Part C: Studies in History and Philosophy of Biological and Biomedical Sciences 59, 71–79. https://doi.org/10.1016/j.shpsc.2016.02.012

Oxford, J., 2004. Nature’s biological weapon. Nature 429, 345–346. https://doi.org/10.1038/429345a

Parikka, J., 2016. Digital contagions: a media archaeology of computer viruses. Peter Lang, New York.

Peters, M.A., Jandrić, P., McLaren, P., 2020a. Viral modernity? epidemics, infodemics, and the ‘bioinformational’ paradigm. Educational Philosophy and Theory 0, 1–23. https://doi.org/10.1080/00131857.2020.1744226

Peters, M.A., McLaren, P., Jandrić, P., 2020b. A viral theory of post-truth. Educational Philosophy and Theory 0, 1–9. https://doi.org/10.1080/00131857.2020.1750090

Pradeu, T., Kostyrka, G., Dupré, J., 2016. Understanding viruses: Philosophical investigations. Studies in History and Philosophy of Science Part C: Studies in History and Philosophy of Biological and Biomedical Sciences 59, 57–63. https://doi.org/10.1016/j.shpsc.2016.02.008

Rohwer, F., Barott, K., 2013. Viral information. Biol Philos 28, 283–297. https://doi.org/10.1007/s10539-012-9344-0

Wasik, B.R., Turner, P.E., 2013. On the Biological Success of Viruses. Annu. Rev. Microbiol. 67, 519–541. https://doi.org/10.1146/annurev-micro-090110-102833

Woolhouse, M., Scott, F., Hudson, Z., Howey, R., Chase-Topping, M., 2012. Human viruses: discovery and emergence. Philosophical Transactions of the Royal Society B: Biological Sciences 367, 2864–2871. https://doi.org/10.1098/rstb.2011.0354

Daftar tulisan-tulisan saya yang lain bisa diakses disini ya.

[lesser-known-composers]

Madrigal de Vincent d'Indy. Baryton: Gilles Fauchard. Piano: François Barotte.

[jobertucchi]

Assignment 4 - Architecture / time of day.

Photo 1 - MONTREAL, QUEBEC – NOVEMBER 04 2018: The Aldred Building at sunset on November 1, 2018 in the Old Port of Montreal, Quebec. The building is located on Place d’Armes square and is the first skyscraper of Montreal. Completed in 1931, the building was designed by Ernest Isbell Barott as an Art deco icon. The Aldred Building is a miniature of the Empire State Building in New York City completed the same year. (Photo by Jonathan Bertucchi / Elements of lighting for VJ Class)

Photo 2 - MONTREAL, QUEBEC – NOVEMBER 04 2018: The Avenue Building at sunset on November 2, 2018 in Downtown Montreal, Quebec. The building is the last skyscraper to have been completed in the city. Page + Steele / IBI Group Architects designed it to be the tallest residential tower in Canada east of Toronto. Completed in 2017, the Avenue Building is a striking example of deconstructivist architecture, movement of postmodern architecture which appeared in the 1980s and is widespread in skyscrapers architecture nowadays. (Photo by Jonathan Bertucchi / Elements of lighting for VJ Class)

Photo 3 - MONTREAL, QUEBEC – NOVEMBER 04 2018: The Jean-Noël Desmarais Pavilion of The Montreal Museum of Fine Arts on November 2, 2018 in Downtown Montreal, Quebec. The building, located on Sherbrooke, was designed by architect  Moshe Safdie and completed in 1991. Very controversial at the time with its modern architecture, it quickly contributed to the expansion and popularity of the museum, as well as its international stature. (Photo by Jonathan Bertucchi / Elements of lighting for VJ Class)

Photo 4 - MONTREAL, QUEBEC – NOVEMBER 04 2018: The Parc station on a rainy afternoon on November 3, 2018 in Montreal, Quebec. The Art deco train station, on the corner of Parc and Jean-Talon, designed by architect Colin Drewitt and operated by the Canadian Pacific Railway opened in 1931. The station was a main stop for railway passengers in Montreal until the early 1950s. It closed in 1984 when operations were transferred to the Montreal Central Station. The building hosts the blue line’s Parc station of the metro since 1987. (Photo by Jonathan Bertucchi / Elements of lighting for VJ Class)

Photo 5 - MONTREAL, QUEBEC – NOVEMBER 04 2018: Overpass of the Palais des Congrès at night on November 1, 2018 in Downtown Montreal, Quebec. A woman is crossing the overpass as cars are driving by on Viger West Ave. (Photo by Jonathan Bertucchi / Elements of lighting for VJ Class)

Photo 6 - MONTREAL, QUEBEC – NOVEMBER 04 2018: Saint-Jacques st at night on November 1, 2018 in the Old Port of Montreal, Quebec. People are waiting to cross the street as cars are driving by. (Photo by Jonathan Bertucchi / Elements of lighting for VJ Class)

Photo 7 - MONTREAL, QUEBEC – NOVEMBER 04 2018: Robert-Bourassa bd at night on November 1, 2018 in Downtown Montreal, Quebec. Traffic of cars and buses driving on the boulevard. (Photo by Jonathan Bertucchi / Elements of lighting for VJ Class)

[if-you-fan-a-fire]

“Pointed Gun at ‘Suspects,’ ‘Good Intention’ Saves Jail,” Toronto Star. November 14, 1940. Page 02. ---- John Robert Croft Fined $100 for Lacking Revolver Permit, $10 for Pointing --- ‘ARE OTHER WAYS’ --- ‘This is a very serious offence. There are other methods of procedure in cases like this instead of going into a place and marching out people at the point of a revolver.’ Magistrate Prentice made this statement when convicting John Robert croft of pointing a revolver at Nicholas Barootes and Samuel Pappas in a north Yonge St. cafe on the early morning of October 31, and for carrying a revolver without a permit. He appeared in No. 2 police court today.

‘Accused perhaps intended all right and is, as the crown points out, no doubt a respectable citizen,’ continued his worship. ‘I am therefore, not going to impose a jail penalty. On the charge of carrying a  revolver without a permit he will be fined $100 or 30 days and for pointing the revolver he will be fined $10 or 10 days.

Marched Cook from Kitchen Barottes testified accused entered his restaurant at about 12:30 a.m. and had walked through the kitchen and persuaded Croft to return to the dining room where he served him soup. Shortly afterwards, Croft, accompanied by two others from his table, again went to the kitchen and a few moments later reappeared marching the cook before him at the point of a revolver.

‘I asked him who he was and what was the trouble and he said something about police,’ testified Barottes, ‘and when I asked him to show his badge he marched me out to the street where I was kept until the police got there.’

‘Was it a gun like this?’ asked Crown Counsel Borins. ‘Yes.’ ‘You are Greek?’ ‘Yes, i have been 36 years in Canada and two years in this city.’

‘How long have you had your chef?’ ‘A few weeks.’

‘Wore Funny Clothes’ ‘He came out into the kitchen dressed in funny clothes and ordered chicken soup and started eating chicken the first time,’ said Pappas. ‘Then he started pushing me around and said something about the mounted police. He said, ‘You are under arrest’ and when I said ‘where is your badge and warrant, he pulled out a gun. I said, ‘If you are not mounted police I am with you.’ He marched me out. I said: ‘We are good people, you can put your gun away.’

‘Did you know the gun was loaded?’ asked the crown. ‘Not then,’ replied Pappas.

‘Was he drunk?’ ‘I don’t know. He had a big dog with him.’

‘Did you argue with him? ‘I never argue with a customer.’

[chemicalperfume]

GRAPH 2013.01: “C’est Maniaque Takarazuka” (Sagiri Seina / Misuzu Aki/ Souno Haruto / Sahana Mako)

It is now September 18th in my part of the world too, so...

Happy Birthday Chigi (ﾉ◕ヮ◕)ﾉ*:・ﾟ✧

In celebration, here is Chigi, Mattsu, Niwa and Kyabii being GIANT zuka nerds, and extremely relatable while doing so. Recommended read for literally everyone (and since this Graph issue is a few months shy of being 5 years old, look at these incredible, pure fan smiles xD)

-Declare your love for XX!-

Misuzu: In this case, I probably want to declare my love for Yan-san (Anju Mira). The reason I seriously fell in love with Takarazuka, was Yan-san. And as an onnayaku too! Usually, otokoyaku Yan-san gives off this “how cool!” vibe, right? But that was completely different, I was like “Who is this person?”

Sagiri: Which production was that?

Misuzu: “The Flash”. During Natsume-san’s (Ooura Mizuki) Top Star era.

Sagiri: Right!

Misuzu: For more details, I talked about it in “C’est Maniaque Takarazuka”, GRAPH 2012.03 issue! *laughs* [1]

Sagiri: *laughs* As for me, I loved the YanMiki combi (Anju Mira & Maya Miki), and what I loved the most about Yan-san is her opening announcements!

Misuzu/Souno/Sahana: Oh really!

Sagiri: I have a thing for opening announcements, and those were some goosebump-inducing ones *laughs*

Souno: Is that so *laughs*

Sagiri: I felt something very grownup there, that spoke to my little heart when I was still a child. The impression I have of Yan-san is her opening announcements *laughs* My favourite plays of hers that constantly compete for the title and switch between 1st and 2nd place are “Sorrowful Cordoba” and “Melancholic Gigolo”.

Misuzu: I was in both of those when they got restaged. [2]

Sagiri: What was it like, performing them? I sometimes think I might be no good if I had to perform in a play I’ve always loved

Misuzu: Yeah. “Melancolic Gigolo” was one of my favourites too and I watched it a lot, so I was at a loss about how I should do it… I had the role of Barotte, but watching it and performing it…

Sagiri: ...they’re totally different things, indeed. You already have this fixed image of the play after all.

Misuzu: Yeah. Once I did it it was an interesting experience, though.

Souno: I loved Kodai Mizuki who used to be in Snow Troupe! Of course, I watched the Top Stars too, but I was paying lots of attention to everyone around them too. I loved striking people with old-school gravitas. I was all about that vibe.

Misuzu: She was so wonderful. I get you! I get that!

Sagiri: She was so cool!

Souno: I would even put portraits of Kodai-san from the Takarazuka magazines inside my pencil board… [3]

Sagiri: Yes! I totally did that too!

Misuzu/Sahana: *laughing*

Souno: I did that during my school years.

Sahana: I had my Takarazuka goods confiscated at school, and got told off very badly!

Misuzu/Souno/Sagiri: Whaaat? Really?

Souno: Was it not allowed?

Sahana: I was called to the teachers’ office twice!

Misuzu/Souno/Sagiri: *cracking up*

Sagiri: What kind of goods was it?

Sahana: Uhm, there used to be those pocket size portrait photos… [4]

Sagiri: Yesyes, those!

Sahana: I had collected lots of them, put them in a box and kept them in bundles

Misuzu/Souno/Sagiri: *explosive laughter*

Sahana: So because I had that with me, it was taken away, and I was summoned to the teachers’ office… Where I said “Please give it back!”

Souno: And did they give it back?

Sahana: *nods*

Souno: But you got reprimanded again?

Sahana: Yes. The second time I told the teacher again to “Please give it back!”. And when they did, they had stuck a note on the box that said “I’m giving it back, but from now on you should grow up, and be pure, proper and beautiful”!

Souno: Aaah, that’s no good!

Sahana: I got so super mad, I ripped off the note right in front of the teacher’s eyes and ate it!

Misuzu/Souno/Sagiri: *in stitches*

Misuzu: She ate it! HAHAHA *laughing*

Sagiri: Why would you eat it? *laughing* But that in itself was a total act of defiance

Sahana: Exactly, I just got so ticked off.

Sagiri: The thing you loved so much was taken away from you, no wonder.

Souno: And to be told such a thing on top of everything, that was the worst, eh?

Sahana: It really was!

Misuzu: Using it against you is really no good. It has the opposite effect.

Sahana: Exactly!

Souno: *laughs* That kind of thing happened to me too. In the morning, when I was sleeping, my mother would come in the room and say “Wake up! Wake up quick!”. Then, my father chimed in with “Kodai-san is calling youuu~”

Misuzu/Sagiri/Sahana: *clapping hands and dying of laughter*

Sagiri: Makes you go “As if she would be!”

Souno: Right!! And on top of that, sometimes he’d mess up and say “Godai-san”

Misuzu/Sagiri/Sahana: *roaring laughter*

Souno: “It’s Kodai-san!!!!” I’d answer, super angrily *laughs*

Sagiri: But you did wake up alright *laughing*

Souno: True. *laughs* But I really didn’t want them to use this against me, for such a thing.

Misuzu: I get it, I do.

Souno: Everyone has a story like this after all! I got really fired up, all of a sudden.

Misuzu/Sagiri/Sahana: *laughing*

Sahana: I guess I’m not declaring love to anyone in particular, I’m declaring my love for portrait photos after all *laughs* I really loved collecting all of them, otokoyaku and musumeyaku photos alike. At the time there weren’t many shops, and -since I’m from Tokyo- I went all the way to Shinjuku to buy them

Souno: I’d also go there to buy video tapes and the like! I wonder if it’s still there? That place under Kinokuniya.　[5]

Sahana: Yes, yes! That’s the place!

Souno: It was a tiny little shop, but once I stepped inside I’d get all light-headed *laughs*

Misuzu/Sagiri: *laugh*

Misuzu: What was the one in Osaka… ah, I guess there was this really tiny store in a corner inside the Hankyu Department Store

Souno: It’s all the tiny ones after all

Sagiri/Sahana: *burst out laughing*

Misuzu: Everything was all cramped up in a tiny bit of space *laughs*

Sagiri: In Nagasaki, no one around me knew about Takarazuka. Therefore, even though I had the pencil board, I’d absolutely get asked “what’s with that?”

Misuzu: What did they think it was?

Sagiri: A relative’s kid once said “that’s a man wearing lipstick!”. I’d explain “that’s not a man, you know”, but they wouldn’t understand, and explaining was a bother. So, I did have a Takarazuka pencil board… but I was too embarrassed to use it… I had that kind of dilemma *laughs*

Souno: Having your stuff seen by people and get all kinds of comments about it, makes you go like, “it’s on a different level!”, so to say

Sagiri: That’s it! Whole different level!

Misuzu: Into the zone of enlightenment? *laughs*

Souno/Sagiri/Sahana: *laugh*

Sagiri: Then, thinking I should finally drop my reservations, write it all down in an essay and announce it publicly, I read out my feelings about Takarazuka during some event like a class meeting

Misuzu/Souno/Sahana: Hu~h!

Sagiri: Once I did, there unexpectedly were people who said “oh, I know that” and others who told me “I have no idea what that is, but I support you in chasing after your dream!”.

Misuzu/Souno/Sahana: Woooo~w!

Misuzu: What a great outcome

Sagiri: Yet even after that, I was still too embarrassed to use the pencil board openly.

Sahana: But you came out of the closet *laughs*

Sagiri: Yes, in public! *laughs*

Souno: Probably at around the same time as Chigi-chan (Sagiri), I gave a speech in English, “I LOVE TAKARAZUKA”

Sagiri: *in stitches*

Souno: Total embarrassment! We both came out, and mine was in English too *laughs*

Misuzu: You’re sooo~ coo~l

Souno: Using up all of my English knowledge at the time, I ended the speech with “I love Takarazuka, forever”

Misuzu/Sagiri/Sahana: *roaring laughter*

Sagiri: You should have played the BGM to that

Misuzu: “Forever Takarazuka”, right *laughs*

Souno: Since then, everyone called me “Takarazuka”

Misuzu/Sagiri/Sahana: *cracking up hard*

-A song you unconsciously start humming-

Misuzu: Ah! For me it’s the theme song from “Spartacus”

Souno/Sagiri/Sahana:  ♪ Itsumo yume mitetaaaa ♪ (I always dreamed a dream)

Misuzu: That one! Also, “Amore Scusami” that Mineoka Nachi sings during the duet dance in the finale

Sagiri/Sahana: Aah!

Misuzu: I couldn’t sing that high, but I loved it so much I always sung it trying to imitate her

Souno: How great is that!

Misuzu: Also, it’s not humming, but I could do the entire prologue of “The Flash”!

Souno/Sagiri/Sahana: Ama~zing!

Sagiri: For me it’s the one that’s like “Commando~!”. Which prologue was that?

Misuzu: What’s that again?

Souno/Sagiri/Sahana:  ♪ Commandooo~ ♪

Sagiri: “Spartacus”, I guess. It was so amazing, they went like *gets up from the chair and performs that scene’s choreography*

Misuzu/Souno/Sagiri: BWAHAHAHAHAHA

Misuzu: I think that was probably in the prologue

Sagiri: Prologue, right. I think while Yan-san or some other star was on stage, Miki-san comes out from somewhere out of the spotlight in the back at stage left *laughs*

Misuzu/Souno/Sahana: *in stitches*

Sagiri: It was like “BOOM”. I really really! Cannot forget that *laughs* Miki-san’s voice climbing up like “Commando~ ⤴”, like she’s shifting pitch maybe

Souno: She did that! So unique.

Sagiri: That really stayed with me *laughs*

Misuzu/Sahana: It does stick, it really does!

Souno: Miki-san always did that, in every song

Misuzu: Uh, there’s also the one that goes “A dandy~, a dandy~” ♪

Sagiri: Yes yes! *laughs*

Souno: That prologue from “Dandyism” was so good

Misuzu/Sagiri/Sahana: So cool!!

-I love this outfit!-

Misuzu: The outfits from the finale grand staircase in “Fancy Touch”, and another one I can’t leave out is Yan-san’s white outfit from the “Spartacus” duet dance. Oh! There’s another one! Yan-san’s beige suit from “Hyper Stage”! [6]

Souno/Sagiri/Sahana: *laugh*

Misuzu: In her farewell speech, Yan-san wasn’t in a hakama, she was wearing that suit. Also, and sorry for mentioning so many *laughs*, the ones during the raid in “Chuushingura”! [7]

Souno/Sagiri/Sahana: Aaah, yes yes!

Sagiri: That was really amazing!

Misuzu: When everyone came down the Grand Staircase in those outfits I was blown away!

Souno/Sagiri/Sahana: Yup, yup.

Sagiri: I thought the outfits from “Hyper Stage”’s prologue were very original, I loved those. Didn’t they also have a mic or something across one cheek?

Sahana: Yes, that’s right!

Misuzu: Back then!

Sagiri: Yes! “Cutting-edge fashion!” I thought *laughs*

Misuzu/Souno/Sahana: I knowww *in stitches*

Sagiri: The choreography went like this!

Everyone: *starts dancing* Hyper Stage! Hyper Stage!

Misuzu: Director Ishida’s prologues are quite cosplay-style

Souno: The onnayaku’s mini skirts were super cute! “TAKE OFF”’s outfits too.

Everyone: *singing loudly* ♪ Take Off! Chikara no kagiri boku wa utau! Kimi no tameee~ ♪ *laugh*

Misuzu: They were wearing gakuran uniforms, right? [8]

Souno: That too, was so cool!

Sahana: Me, I really loved Takane Fubuki’s military uniforms in “Romanesque Mask”. The musumeyaku wore lots of chic dresses, with beautiful texture like velour. But especially Takane-san in that uniform was truly cool!

Misuzu/Souno/Sagiri: Yeah, she was so beautiful!

Sagiri: Like, don’t you think it’s incredible? Even though we used to live in different places, and lead different lives, we all get this fired up over the same theme!

Misuzu/Souno/Sahana: It really, really is!

Sagiri: It’s all of our youth bottled up in there!

Souno: You have a way with words. That’s exactly it.

Sagiri: So full of memories!

Souno: It was so much fun!

Misuzu/Sagiri/Sahana: *laugh*

Souno: I feel like my skin is smooth and glossy now!

Sahana: It really feels like we got rejuvenated!

Everyone: *laughs*

Notes:

[1] the 2012 format of this corner had short blurbs from Takarasiennes and readers alike talking about something that left an impression on them from their fan days. I don’t have the issue Mattsu is referring to, if anyone does and would like to see it translated / added to the post, by all means message me!

[2] Flower Troupe 2008 for “Melancholic Gigolo” and 2009 for “Sorrowful Cordoba, both starring Matobu Sei and Sakurano Ayane

[3] Shitajiki https://en.wikipedia.org/wiki/Pencil_board some shitajiki are made up of two sheets and one can insert flyers or photos inside them

[4]  Also called stills; the headshots taken for each show’s program (example: http://www.tca-pictures.net/quatre/bromide/1704013.html )

[5] probably talking about 柳花堂, it closed in April 2013

[6] Reference Photos:

Fancy Touch:

Beige suit:

[7] Same outfits as the show’s prologue

[8] Reference photo