#and the extended version of mme

[dors-ee]

... Fortiche does art.

Riot does content to consume for money.

(my rambles under the cut bc not everyone wants to see me criticize stuff, and read criticism of stuff, and I did say I wouldn't speak about this further. But it's getting in every timebomb fanfic I read so I cannot stop thinking about it and being annoyed by it -no faults of the writers at all. it's the theme itself, not their writing-. As I already mentioned this also does help me process my thoughts/emotions instead of ruminating on them in my head. And distracts me from real life issues I have.

oh yeah also maybe I should have said that sooner : I do not judge the people that liked the song and the sanctify, glorify etc. stuff. You do you and I am genulnely glad you liked it and it works for you!)

I've been reading some new interpretations of the MV. And daaaamn. My heart, Fortiche, my heart. That thing is art and SO GOOD.

And I have been playing inquisition which had me think of Solavellan a lot ofc. and Solavellan has the "I see the person behind the myth." and "the only one to see the true person behind the myth, the persona, etc." so i inevitably compared with timebomb, due to the recent content addition.

And no, I'm still not over riot turning Ekko into a devoted carpet for Jinx, hollowed out and made flat with the new verse. How they cheapened and flattened the whole ship actually with this "sanctify divinise glorify magnify etc." stuff.

Going from "I see you. The true you. I pick you the true you. I see the person behind and I go at your level and chose you as you are including with your flaws" to "I glorify blablablabla"...

And like... he did hate her. He did put a boundary. He did say "nope that will not fly." at some of the things she did. He will help her get better, can see the good in her, accept her with her past as Jinx yes, but if she had stayed a terrorist uncaring and all? I don't think he would have accepted her. Loved, cared, still yes maybe. But not this whole "I pray to you" stuff. Timebomb is made of this dichotomy of "I hate you but I love you" of this difficulty in reconciling the what she did, her persona, etc. Of the forgiveness of her dark side and how Ekko is not a carpet.

Ekko has values. Ekko says "no" to some shit. That's part of what makes the ship what it is. That makes it so complex and interesting. We do not have a carpet man and his goddess woman. We have Ekko, as he is, with his value and personality and his people, and Jinx, with what she did and her issues and complexity.

This ship has a lot of complexity when you go into it. It is what makes it interesting this ennemies dynamic and how complex and deep it is with the whole forgiveness and I love despite what you did but also what you did was objectively reprehensible. And I do accept you as you are, and recognize you aren't a monster, etc. but the things still have been done. And in all cases, healing will be necessary. And more, I cannot put it all into words, this isn't an exhaustive list.

And I'm repeating myself but... he sees the true her, at the bottom of her pit. - And urgh. My heart. - And yes she did some terrible shit, yes she is also Jinx and not just Powder. She is her, herself. Whatever her name is. And Ekko picked this one. Over the idealized version of the AU.

(And isn't that one of the big things of timebomb that he left the AU and perfect AU Powder for his Jinx?)

Isn't all of that beautiful? Isn't all of that so much deeper than just some "I sanctify you my goddess woman" stuff?

Isn't a Ekko that does not idealize her, does not treat her as a goddess so much deeper and more interesting?

A Ekko that does acknowledge the shit she did, her dark sides too? And that said "no"? A Ekko that is the only one truly seeing the person behind? A Ekko the only one being abel to go through her persona, and the idealized past (idealized Powder of the past), to reach Her? To see her? to go down to help her pick herself up?

an Ekko that holds his ground and is his own person? And not just a devoted carpet? That can and do love her and is patient and kind and accepts her as she is, with her quirks and issue but he is not a carpet.

Isn't their relationship so much deeper and interesting without this divine worship/idealization thing thrown in?

The sanctify etc. stuff makes it all so flat,bland, insipid and uninteresting... it hollows it out, cheapen things.

It's really not for me...

... and tua might have rival in being the object of my hate it seems. (that is a joke. I am criticizing. This is not hate.)

I had stopped thinking about it btw, I truly had stopped. But as I mentioned it's in every fanfic now so I keep being reminded of it.

And i think of what timebomb was before this song, and with the MV, and the original song, and the show and the artbook (so Fortiche).

I think of the content vs art issue, I think of the issues with media literacy, anti intellectualism, anti art, rhe dtate of the entertainment industry, the art industry... of AI. And more.

And it gets me.... disappointed. Just disappointed. Just terribly disappointed.

where are we going without art? I mean, our societies? Where are we going with anti intellectualism? With the growing lack of media literacy and the loss of analysis/critical thinking skills?

I do not like the generalizations usually, the big statemwnts about how no one knows how to read or think anymkre and we're all lazy. So that's not what I am saying. But... there are issues with those things nonetheless.

and they do connect with facism and the rise of it, it's all interconnected...

... how did I end up there coming from "I will complain about the shitty song"?

(as I mentioned already btw there's a difference in between what I like in fanfics, etc. playing with some stuff, and what for me can work or not in canon. And this devotion thingy and turning Ekko into a cardboard carpet? that's a no for canon from me.)

same as usual : english is not my native language, my thoughts are not fixed (I started by only slightly disliking the thing and now I'm starting to abhor it. Who knows what's next?), this is my opinion, I do not judge other people for what they like, etc.

[planetarytransformation]

Tier list of Les Mis characters based on how good it would be if a trans woman played them

---

F tier

Gavroche: Too sad. Also weird that a bunch of students are keeping a nine-year-old trans girl around.

Marius: Eddie Redmayne isn’t allowed to do that shit to us again.

D tier

Cosette: Chaser Marius is funnier than chaser Cosette, but still not that fun. The trans girls I know are getting tied down and spit in, not having saccharine romances with dapper young gentlemen. Fundamentally inhospitable to a trans reading.

Fantine: Oh, how bold. A trans woman gets fired from her job, cuts her hair, becomes a sex worker, then dies of an STI while penniless from child support. I actually got a little sick writing that. Please don’t do this.

Thenardier: Yeah, yeah, what if the evil criminal and child abuser was also a faggot with it. A trans woman would absolutely knock the audience dead with Master of the House, but things just get ugly in the second act as the corpses of these brave little cis boys get picked over by some crossdressing creep. Not as fun as it seems.

C tier

Mme. Thenardier: Only funny because then you get to have Chaser Thenardier, and frankly that suits his character well enough that I want it to happen.

Jean Valjean: I’m tired of trans people having to be self-sacrificing. Jeanne Neovaljeana is the story of a community workhorse being ridden to death, giving up the respectability she spent years clawing back, carrying her cis daughter’s cis boyfriend out through a sewer, and then dying on the wedding day. Stupid!

B tier

Javert: Not a conventional pick, but Javert turns to the law as a source of stability in a morally unsettled universe, and I think that that contradiction would be further complicated by her being transgender. Plus, then her fight with Valjean in Act 1 makes a point about trans women in sports. Honestly, there’s an argument that the character as is has some serious repressor energy – she even kills herself at the end!

The Bishop: Now we’re talking. Extending mercy to a man who robbed you and changing the course of his life is like a sublimated version of what happens to a guy the first time he gets topped. She is the most powerful person in every scene she’s in, and she deserves it. Great pick.

A tier

Enjolras: Come on now, think about it. Leader of the revolutionaries, bohemian philosopher-turned-soldier. Just picture her at the top of that barricade, brown corset over white blouse, curly hair over her shoulders, lipstick matching the red of the French flag as she waves it. I have to stop describing this because I’m getting a little too worked up.

Grantaire: Okay, okay, I get it. You want to do a transgressive casting, but you can’t make the noble revolutionary hero look too AGP. How about his slovenly, lecherous sidekick? Only makes sense that a tgirl in 19th-century France would develop a drinking habit, and she gets some fun lines to boot.

Eponine: Every trans woman I know has fantasized about dying in the arms of her unrequited lover. A Little Fall of Rain already makes me misty; watching one of my sisters sing it would absolutely break me. She even does tactical boymoding at one point; god, the casting writes itself. Phenomenal choice.

Conclusion

Everyone dies in this fucking play, but some people die well and others die badly; fundamentally, the casting must impart dignity. It’s hard to get that as a trans woman in theater. Be brave.

[sihtryggr]

Did I miss something? People whining about MME being ‘milked’ and ‘greedy’ and ‘overdone’. Like where? You’d think there’s been 3 music videos, an acoustic version, a demo release, a live version + several remixes with multiple artists when in reality there’s been… one music video (released a week ago) and an extended edition that hasn’t even come out yet like ?

Also as the most popular song to come out of the series, I’m surprised they hadn’t actually milked the fuck out of it.

[adarkrainbow]

Hello! I've always been fascinated with fairy and folk tales, but I've mostly only read online analyses (and The Book of Lost Things with the commentary at the end). Do you have any beginner book recommendations on fairy tale analysis? I can read in French or in English.

Hello! Well given when it came to truly studying fairytales I did it in the context of French literary fairytales, I will give you some stuff about French literary fairytales... and in French Xp For the rest I don't have any specific reference per se...

But already I can tell you, you can find a lot of academic works online for free - which is truly a life-saver! Maybe you already know of those but I will profit of this ask to talk about it again - there's the Féeries academical review, which is an official publication for thorough and scholarly articles about various literary fairytales of France, from the 17th to the 20th century. And it is fully ENTIRELY online on OpenEditions. Each issue has its own theme, from the Oriental Fairytale , to the humor in fairytales, passing by the intertextual references of the Grimm fairytales and fairytales in cinema.

However Féeries does not explore "folk fairytales" and doesn't have a folkloric approach to fairytales, only a literary one... In general when you go around the Internet, a lot of articles about fairytales are on Persée or on Fabula.org. Like a LOT a lot. Just Google any fairytale within these websites and you have a shit ton of things.

All of that being said, when it comes to books per se... I always recommend starting with a good version of the text with good annotations and nice commentary. When it comes to French literary fairytales, the best ones are the Honoré Champion editions of Charles Perrault's Contes (commented by Tony Gheeraert, who has an entire blog about his analysis of French literary fairytales) and of madame d'Aulnoy's own Contes (commented by Nadine Jasmin). Now, recently an absolute ultimate edition of ALL the French literary fairytales of the "Golden Age" with extended academic commentary was released by Honoré Champion "La Bibliothèque des Génies et des Fées", but it costs a FREAKIN HELL LOT OF MONEY... So the "standard" Honoré Champion editions are quite fine.

Nadine Jasmin also wrote THE big complete academic analysis book about madame d'Aulnoy's fairytales (she is considered the current expert on the domain) - "Naissance du conte féminin. Mots et merveilles: les contes de fées de Mme d'Aulnoy" (again, Honoré Champion.

There's more books I can advise you to check out but I am running a tad bit of time now so I'll add this in a reblog

[melina-mellow]

Miserable and bitter people getting collective amnesia cause why are you mad that MME is getting an alternate version, as if Fantastic, What have they done to us, Enemy and Heavy is the Crown don't also have alt or extended version??? (I'm sure theres more)

Not to mention MME is the most popular song on the soundtrack that has topped charts multiple times by an extremely loved artist ... Like of course they're going to promote.

Like, this is just standard business and marketing practice it isn't even about just a ship like some brain rotted people think it is.

[cometomecosette]

Les Misérables" musical character interpretations: Madame Thénardier

Here are the four main musical characterizations I've seen of a nasty woman we all love to hate.

Whenever I want to shorten her name, I've used "Thénardiess," Charles Wilbour's translation of Hugo's "la Thénardier" ("the Thénardier woman").

The Giantess

            This boisterous, imposing Mme. Thénardier embodies Hugo’s description of the character as a “mastodon,” who “swore splendidly” and could crack nuts with her fist. She’s typically a very large, masculine-looking woman, with a gruff, booming voice, but regardless of what she looks or sounds like, her personality is larger-than-life. She’s loud, coarse, money-grubbing, hard-drinking, and fun-loving, yet with a monstrous temper. Her abuse of Cosette is ferocious: while her bellowing might get laughs just for being so over-the-top, they won’t laugh at the way she grabs, shoves, and threatens to beat the little girl. But apart from this, she tends to be the more comical Thénardier spouse compared to her slimier, more sinister husband, and she gleefully hams up all her comic business: faking sobs at the news of Fantine’s death and over her fake baby in “The Robbery,” slapstick at the wedding, etc. Yet broadly funny though she is, she isn’t stupid. It varies whether she comes across as her husband’s equal partner in crime or a the real “brains of the outfit,” but either way, her brutish exterior hides a scheming mind, and though she bickers nonstop with Thénardier, he couldn’t get by without her. At any rate, he won’t dominate her; this Thénardiess is indominable.

The Witch

         This Mme. Thénardier is less physically imposing than the Giantess, but she’s arguably more sinister. She tends to be thin, angular, and bony, and she likely has big teeth with a gap or two in them. Physically, she’s all sharp edges, more like a stereotypical witch (hence her name) than like Hugo’s “ogress.” Those sharp edges extend into her personality too. Where the Giantess tends to be the more comical of the Thénardiers while her husband has a darker edge, the Witch is the more serious and blatantly ruthless of the two: the embodiment of the villainy her husband hides behind his amiable façade. Her humor is sarcastic and bitter, and while her abuse of Cosette is probably less loud than other Mme. Thénardiers’, it’s more venomous, without playing any lines for laughs. Whether she comes across as her husband’s equal partner in crime or as the one in charge will depend on the portrayal of her husband, but either way, she’s at least just as cunning as he is and likely more so. It’s also likely that within her sharp, sinister demeanor, there’s a hint of mental instability. If the novel’s version of Éponine were to live to middle age, marry a man she didn’t love, and become much less sympathetic, she would probably resemble this version of her mother.

The Oppressed Oppressor

            While still a comic character and still a villain, this Mme. Thénardier is more sympathetic than others. While the Giantess best captures the grotesque and brutal qualities of Hugo’s character, this one captures her pathetic aspects. Like Hugo’s Thénardiess, this one is dominated by her more cunning husband, and he treats her shabbily. Throughout “Master of the House,” he’ll be shown treating her more like a servant than a wife, and when Valjean arrives, Thénardier will direct her every move: when to feign tears, when to stop, when to fish for more money, when to stop so as not to seem greedy, etc. It’s clear that she’s both bitter and utterly exhausted by this life. Yet at the same time, she might convey unrequited love for her husband. (Foreshadowing her daughter’s plight?) During “Master of the House” she might genuinely try to attract him, only for him to repulse her and flirt with younger women. Thus, her string of insults toward him stems from weariness and hurt, and she makes it comical as a coping mechanism. Of course, none of this can excuse her treatment of Cosette (who clearly serves as an outlet for her general frustration), or her willing role in all her husband’s schemes. But whether we like her or not, we understand where she’s coming from.

The Fallen Beauty

            This Mme. Thénardier is very, very different from Hugo’s character, but within the musical, she can be effective. This Thénardiess is neither a brute nor a frump, but a sensual and reasonably attractive woman. Yes, she’s aging, blowsy, and mean, with a gaudy fashion sense, but she was clearly a beauty in her youth, still has charms, and knows it. She specializes in flirting and seducing men to pick their pockets or manipulate her way out of trouble. We’ll see her do this successfully with at least one inn customer during “Master of the House” and later attempt it, not so successfully, with Valjean and Javert too. And the same erotic hold she has over the drunks at the inn she also has over her husband, enhanced by the fact that she’s smarter than he is. While in front of others she lets him talk more and pretend to be in charge, she’s unquestionably the true “master of the house.” Both she and Thénardier enjoy this arrangement. The insults she aims at him are playful: though his blundering exasperates her, she really is happily married. As for the rest of her demeanor, she sometimes shows a temper, but in general she’s an understated schemer, with a distinctly dry, deadpan sense of humor. Hugo’s Thénardiess she’s not, but she’s an interesting comic character in her own right.

[embershroud108]

Reed Netflix announcement exactly 2 weeks after the MME MV and one day before the release of the extended version of MME

🤨

[bobcatmoran]

Today's Les Mis Letters chapter, 1.1.5, "Works Corresponding to Words," only has its first paragraph make it into Arai's manga adaptation (on page 111), though here it's Myriel trying to reach a child's cap that's gotten hung up on a tree branch.

The original Japanese was -

Townsperson: 背は小さくとも懐は大きい、ディーニュにこの人あり！　えらい大人様さ。

Bishop: 大人様もあの木までは届かないよ、すまんが椅子をとってくれないか。

This was translated as-

Townsperson: The Pride of Digne! He may be short of stature…but he is large of heart. He's a giant among men.

Bishop: This "giant" can't reach the lowest branch of that tree. Might someone fetch me a chair?

As I noted back when I unofficially translated this chapter, the characters used for Myriel’s nickname, "daijin-sama" is a term used for someone of great virtue or a giant, i.e. literally a big person (the first character in it means "big" and the second means "person"). The “sama” honorific is one used for those of high social standing.

Just as a translation comparison for that pun, here's the Hapgood used in the emails:

Madame Magloire liked to call him Your Grace [Votre Grandeur]. One day he rose from his armchair, and went to his library in search of a book. This book was on one of the upper shelves. As the bishop was rather short of stature, he could not reach it. “Madame Magloire,” said he, “fetch me a chair. My greatness [grandeur] does not reach as far as that shelf.”

Here's Fahnestock and MacAfee, commonly abbreviated as FMA:

Madame Magloire sometimes called him "Your Highness." One day, rising from his armchair, he went to his library for a book. It was on one of the upper shelves, and as the bishop was rather short, he could not reach it. "Madame Magloire," said he, "bring me a chair. My highness cannot reach that shelf."

and Denny:

Mme Magloire was pleased to address him as Your Greatness. On one occasion he rose from his armchair to get a book which was on a top shelf. He was short in stature and could not reach it. 'Mme Magloire,' he said, 'will you be so good as to fetch a chair. My greatness does not extend so high.'

I also own a Japanese version of the Brick, (ok, it's less of a brick and more 5 separate bound volumes - unabridged as far as I can tell), and in that one, Magloire calls him 上人さま (shounin-sama), which literally translates as "priest," but is made of the characters for "up/above/superior" and "person." So in this version, Myriel's like, "I, the high-up person, am too short to reach this shelf."

[breathinwordsbreathoutknowledge]

Merafong’s Theatre Griot, a master of the craft!

By: Morena Maboe

Recently I had the liberty of sitting down with a gentleman making serious strides in the theatre industry, and as a custodian of arts, sports and culture in Merafong I could not let such talent, consistency and shear tenacity go unrecognized and undocumented. Thabo “Mahavater” Ramaine of Mythology arts foundation is a formidable force to be reckoned with. As I sat down with him, taking all of this down, I saw what remarkable human beings we could all be, by just being passionate with what we do regardless of the obstacles we face.

Thabo’s story with the arts started way back in the year 2000 when he started doing gumboots dancing as an introduction to introduce himself into the arts, in the following year he joined a dance crew that was doing Sbotjwa and drama named Mazibuye Theatre productions based in Khutsong, this is where he also got his acting influence. With Mazibuye, Thabo or “Mahavatar” as he is mysteriously known by his fans and disciples, went on to compete in the North West Cultural Calabash, which was the first competitive theatre and dance festival he attended. The crew went on to compete in the Achimotar Festival that was hosted in Zamdela in Sasolburg, for two years in a row. T, in the same place they also took part in the Bill Cosby arts Festival, here the focus for Thabo was more on Theatre and perfecting the craft. They won the first trophy in the preliminary rounds and also went on to win the ultimate trophy in the finals.

As part of the festival, they had a social which was separated from theatre, named the candlelight poetry session, where each crew had to pick one group member to recite a poem that is not from their original plays. Mahavatar was the lucky guy, but despite trying hard he could only jot down 4 lines, when he got to the stage he dropped 4 lines. Unaware that in poetry there is a category for a 4 stanza poems, he went on to write more of those and his writing skill improved.

Mahavatar went on to join a group named T.K Cultural group and after that Simunye Cultural group, which influenced his love for dancing, they did categories ranging from street dance, Sbotjwa and gumboots dancing.

Upon joining what S’thibo terms as “the best school” in Joburg when it comes to theatre, the Afrika Cultural Centre (A.C.C) in Newtown, falling in the ever so capable hands of Benjy Francis, the Khutsong raised lad fall in love with a new style of dancing termed as contemporary.

His first professional production was done in 2008, at the A.C.C. written by renowned play writer Zakes Mofokeng produced and directed by Benjy Francis named “the Train”. Other plays he took part in include “The Vicious circle” by Benjy Francis which was part of the annual student production at A.C.C, “the calling” written & directed by Sello Modisadife, “Visions” also by Modisadife and “The Cult” played at the Cultural Calabash also from the same writer. Upon leaving at A.C.C he played in a production while residing in Soweto, Protea North called “Sa Mme”. Thabo later learned was selected to go for training in Denmark but he had already returned home and had phone problems, so he could not be reached.

When he explains it he describes contemporary as breaking the rules of classical ballet but still keeping to the underlying philosophy of classical ballet dancing, however he was more fascinated by the feeling that came with contemporary style of dance. Under the mentorship of Benjyi Francis, he became more aware of the physical side of theatre, which includes basic techniques, understanding how the body moves and blending that with self-expression. On a second level, in he came in contact with the depth that came with theatre that is using your imagination and feelings. This is where he transitioned as an actor and also developed his own signature style.

Mahavatar’s recent work include Komeng by the legendary Sello Maake Ka-Ncube that they played in all 9 provinces for a period of 8 months in 2018. After auditioning at the Market Theater in November of 2018, hosted by the Luthando Arts Academy, he played in Amawethu dance theatre production in 2019 produced by Luyanda Sediya. One of the highlights of S’thibo’s career was playing in “Buwa” a musical written by the iconic South African composer and musician Caiphas Semenya in 1986 about the injustices of apartheid. Directed by Sello Maake Ka-Ncube and music director Tshepo Mngoma the music extravaganza celebrated Mr Semenya’s 80th birthday in style at the Market Theatre. Mahavatar exclaims that the experience was great as he got a chance to work with some of the best actors and musicians in the country, the likes of Sipho “Hotsticks” Mabuza, Zwai Bala and the legendary Tshepo Tshola, ‘the experience was great because once you work with the greats it means you are great, and you catch impartations from observing how they do things, how they produce and to see the whole process’ Thabo explained.

He played a pivotal role in the play because of the character he was portraying. Thabo played Paulus De Villiers, the minister of Defence during the apartheid era, from the National Party (NP) government, he had to portray a hardcore apartheid white man role, played in a Boar accent. The play takes setting in a conference room scene. Thabo explains that he had to bring his A-game as the show reeked in audiences from across the country, including the likes of politician Julius Malema, it was sold out three days before the actual musical.

Mahavatar’s own productions include the award winning “Mount Havilla” piece which won both Best Actor award and Best Production, in 2015 and 2016 respectively, at the Spear Arts Festival hosted in Ekhurhuleni. Thabo says the play was inspired by the journey of spiritual growth, it came from also reading and researching a lot about different spiritual leaders and being introduced to meditation and dealing with himself. He also started writing about the key to self-transcendence and spiritual searching everywhere only to find the key within yourself. The path to “Mount Havila” is not to be taken as a physical journey but a raw metaphor, its abstract theater mixed with experimental theater.

His Own productions

In 2017 he produced a play called “Black Smith” which started out as a one man show, he later decided to franchise and create and extended version of the paly and called it “the Archives” which was a 4 hander piece that was set in nice library setting. He performed it in 2018, there was more demand for it outside of Merafong. He was approached by The Archives center in Krugersdorp to render the play there, at the center people around the Gauteng area can track their family lineage, and it also keeps records and archives from apartheid land dispositions, upon opening Gauteng Premier, David Makhura was quoted saying “The facility will help us preserve societal memorabilia of historical value of Gauteng and its people. It will store official public documents that are 20 years or older from various entities including government, NGOs, and learning and research institutions. This will eliminate cases of distorted history told by different people from different angles,” The center has been in operation since 2017 and has already received records and information from departments like the Sedibeng District Municipality, Emfuleni Municipality, City of Johannesburg, Cooperative Governance and Traditional Affairs, Transport, Sport, Arts and Culture, and Recreation https://krugersdorpnews.co.za/368190/new-archives-centre-will-keep-our-history-safe/ As a result he had to display an industrial theater piece that was more educational .

Mahavatar went on to write “The Proposal”, which he feels is very different from his signature style of theater. The play was about the plight against Gender Based Violence, the lack of ‘mental hygiene’ from guys. In the play he portrays this guy that uses a marriage proposal to control his woman and keep them obedient, traits he learned from his father. The piece aims to focus more on men, the journey to violence, how men perceive themselves and their emotional intelligence. Tackles how we can cleanse ourselves and to redefine ourselves, standing up to our demons as men.

Beyond Clandestine which Mahavatar explained as meaning an “inner core truth” is a YouTube film series that was born during the corona lockdown with all the news and conspiracy theories and seeing people’s response, also seeing how the systems has us under their thrall and manipulates us. In the series the lead actor goes on a journey to uncover the truth beyond what we are given and uses a militant approach, but later realizes there are other ways to fight the system.

After completing a 6 weeks course in filming in Cape Town, he used his skills to produce these series, set up in his garage is a large green screen which is used to create the location in the background of the videos, and he uses Computer generated images (C.G.I) to edit and not an actual tangible location. With the training budget from the company he is currently working for he did this digital film, the vision with this project going forward is to grow, cast more actors, gather more resources and take the work mainstream while creating a profile. https://www.youtube.com/watch?v=XzywGzaMWgk

The production of the Nomads was not planned, it was a default film born from the 48 hour film project 2020. It is an adrenalin race for who can produce a film in 48 hours with the given directives from the competition hosts. You are provided with certain elements that you should add in your film, like a prop, a character name, and a line that must be said somewhere in the film from 2 genres either a silent film or action. They were nominated for best costume, best produced film, best musical composition as the music used in the film was self-produced by them, and lastly best cinematography. All this work that was to be produced in 48 hours was submitted 12 hours before deadline meeting all requirements.

It was screened at Sterkinekor Theater at mall of Africa on the 23rd of October 2020 to a full house. They plan to reshoot for a 2021 screening, with the aim to later merge it with “Beyond Clandestine”

Beyond Clandestine, an “inner core truth”

Mahavatar aims to finish season 1 of “Beyond Clandestine” with episode six, and start season 2 with a bit more resources. In theater he plans to do “The Archives” and a new version of Mount Havila done in a musical fashion named “Lere la Moya”.

The Nomads; a “race for time” film

[dors-ee]

I know I said I wasn't gonna talk about this anymore... but this, what i'm gonna develop, just hit me. And I want to get it out too. I've been trying to articulate why the whole "glorify", "sanctify", etc. nis bothering me so much, and how exactly it was contradicting what have been established with timebomb, and it hit me.

-I do think I'll be able to let it go and really this time not speak of it anymore after that.-

The whole "glorify you" and "sanctify you"" for me really cheapens and dismisses the whole "he accepts her as she is now" (that the MV confirmed).

It also I think kind of re introduces the fact/idea that he is hung up on Powder, and would only love Jinx in how similar to Powder she is instead of for who she truly is.

It really goes against him taking her as she is in the main universe, with her dark side and past actions. In particular the "glorifies".

does he sees her as she is and truly accepts her? Truly gives her love and acceptance?

Or does he only see the glorified version he wants? loves her only as she could become this glorified version he sees/wants?

I don't like that. The whole "he accepts her as she is and offers her love for who she is and gets down on her level and welcomes her and loves her and meets her where she is at right now" was dear to me. Very dear. It is a pillar of timebomb in Main Universe for me this side of "Ok. I fully accept you for you are now. I will try to forgive you. And we will build something new together yes and find the good in you yes but I accept you as you are. You are not just the monster I thought you were." Like he isn't only into "she can be super good" it isn't "I only love this super good ideal she could become".

like... what's the point if he actually only loves her for a glorified version of her?

... for what she could become only?

So if she fails to meet his glorified version... what happens?

like I'm not saying if she becomes super violent and all again he should be with her, I know it's a hard line for him. But there's a world in between "glorified super good version" and "bloodthirsty killer that does not care about people at all".

and if what he cares about is only the glorified version then, if she falls short of that (without going into the other extreme) what happens?

That's interesting for angst, and interesting to explore in stories yes, but shit for the ship as a whole. Cheapens it a lot imo.

(Also the other reason it bothers me is really bc for me it leans into the reduction of Ekko's character as only being all for Jinx. Only as a love interest.

He has more to do with his life, more things he care about. And I speak as a shipper.

Also, following the idea that it kind of reintroduces him being so hung up on Powder, it would go against his development in being the person that learns to let go of the past.

Vi is the one still super hunged up on Powder and a glorified version of her and the past as it was.

And Ekko supposedly learns to let go of the past. His whole thing is learning to let go of it and things holding him back amd that he gave up on stuff etc. That Powder is still in Jinx yes, but that he has to take her as she is. Powder or Jinx, just her, his "meilleure ennemie" and that he does love her as she is. And to go forward with her as she is.)

Like...for my entertainment and pleasure, in fanfiction I have read and wrote about him being super devoted like in the verse, being super hung up on her, etc.

Like I do not dislike the trope in itself and playing with it, exploring it, how it could work, etc. in fan work...

But I dislike it in canon. I dislike it for what it does to Ekko's character, and how it goes against the established stuff for timebomb going as far seriously cheapening the ship, in my opinion.

Oooook now I'm fully done I think.

(same as yesterday tho, I'm basing myself only on the verse I read. The one with scylla and sanctify and cie.)

now... maybe i am stupid and/or needs to relearn english and how to read and I misunderstood and the verse actually basically says "man you shouldn't glorify her". But that's not what I understood reading it.

i really understood it as him well currently rn saying he sanctifies and glorifies her and all. Not as a warning "do not do that.". But as a "this is what I am doing.".

[mortimers-cross]

LND Post 2 of 3

For this post, my aim is to give a play-by-play of the "highlights" of the production, as nearly as I can remember. I've been ridiculously overthinking how to write about such a widely-despised (with plenty of good reason) show, so I'm endeavouring to forget all of that and just describe the experience like one would about any other show. I went in expecting more or less a carbon copy of the revamped Australian production that was filmed and released on DVD a few years ago. Little did I know it had been revamped yet again for the Hamburg production! So, a mixture of those two is what we're getting in the US Tour, and I must say it works. There are still significant areas of weakness, ones that have been present from the beginning and, quite frankly, there's little left that can be done about it. This will be long, and there will be spoilers for the two people on earth who don't already know the entire plot.

With that in mind...

Act I

Prologue

"'Til I Hear You Sing"

I don't know that I'll ever grow used to this song being the first in the show. However, it's certainly better than Mme Giry wandering around Deserted Phantasma and Fleck's cheesy transition into the main narrative: "Remember how it was? Remember??? (HINT HINT The rest of the show will be a Flashback, I hope you understand clearly now, I CLEARLY said the keywords Was and Remember!)." Still, having spent eight years being used to Ramin's rendition, it's difficult hearing anyone Not-Ramin perform this song right off the bat, before spending the whole show growing accustomed to their voice. Still, Gardar Thor Cortes was wonderful.

Scene 1: Coney Island 1907

"The Coney Island Waltz"

The Trio (Fleck, Squelch, Gangle) were phenomenal throughout - voices, faces, goofy antics, everything. Their tight harmonies on the eerie-sounding trio-bits...YES. Apart from the few lines sung by the Trio, this scene remains mainly instrumental. And it's where The Set is first revealed in all its monstrous, shiny, spectacular spectacle. I can't remember exactly at what point in the music this happens, but the stage suddenly bursts into life - carnival lights come on, the ensemble wander about dressed as various performers and hawkers, and my favourite bit, The Carousel (one of the animals is a White Boar, probably actually a warthog, but I am calling it a Whyte Boar because King Richard. End of story.). The Carousel is the first (if I remember correctly) set piece to showcase the Turntable, which will be present throughout the show (and at times make me very nervous for the performers' safety).

It was this scene that indicated to me that, although my friend and I were in theory only watching this show for the music and weren't expecting much otherwise, this was going to be a much more exciting production than we'd anticipated.

Scene 2: Onstage at Phantasma

"Only For You"

This, of course, is one of the cheesy 'Erik's Cheap Vaudeville Trash' scenes/songs from which one doesn't expect much to begin with. But it is the first time you hear Meg's voice. Mary Michael Patterson is amazing (get used to it, they were all amazing) - come to think of it, she may have been my favourite voice in the entire cast. Maybe. And it's hard not to at least be entertained by the stunts and antics in this scene.

Scene 3: Madame Giry's Office

"Mother, Did You See?"

This is one scene whose Aussie Revamp Changes disappointed, and still disappoint me. It probably does flow better this way, with Giry griping about Erik behind his back rather than actually to his face (though she'd probably not be afraid in the least to complain to his face). Hmm, come to think of it, it's more like Erik wouldn't bother hanging around with the Girys all that much except when necessary. Still, I liked this scene as Giry Confronts The Phantom, because it meant more Erik-solos. They took away Erik-solos and gave them to the Girys. Boring.

"Christine Disembarks"

No idea why the Playbill has this listed under "Giry's Office," when, uh...she clearly didn't walk right off a ship into Giry's office. Oh, well.

This scene is always entertaining with all the reporters running around throwing out so many wellknown names...and then there's "CHRISTINE!!" Dramatic Lights...reminds me of Norma Desmond's "YOU there..." entrance, except there is of course NO comparison, please don't kill me.

It's also sad because you see Raoul and Christine for the first time and notice all is not well with them.

Scene 4: Pier 69

"Arrival of the Trio"

"The Journey to Coney Island"

Not much to add. See "Christine Disembarks." Oh, and love Erik's shameless "Come to me, Angel of Music" plug just before transitioning to the hotel.

Scene 5: The Hotel

"What a Dreadful Town!"

The (short) transition from "Journey to Coney Island" to this remains one of the show's most epic moments. Any and all opportunities to showcase that amazing orchestra, feature specific instruments, etc - take them all! We'll eat it up!

Cue Raoul's first big Showcase My Voice moment. Sean Thompson is perfection. Unfortunately the song indicates Raoul has become a hardened, angry man with a bent for too much drinking. But, but but - here comes one of those wonderful changes - he actually relents and sits with Gustave to look at the toy music box, and even attempts making conversation about said music box. It's only for a few seconds and gets interrupted by someone at the door, but it was a much appreciated few seconds. What They Did to Raoul (or, I suppose, what Forsyth did to Raoul) remains one of the show's most upsetting aspects.

"Look With Your Heart"

Have never cared for this song, and still don't. But the scene itself is sweet.

"Beneath a Moonless Sky"

There's no helping this song. It needs to go. It tried to be another "Point of No Return," and failed miserably and embarrassingly.

"Once Upon Another Time"

Not the deepest or most profound lyrics ever written, but those tight harmonies! "We love, we live..." sends shivers down my spine every time. And Gardar and Meghan's voices complement each other so well!

"Mother, Please, I'm Scared"

This bit is meant to be nerve-wracking on so many levels... Erik's first time meeting Gustave, Erik threatening to make him "disappear" if Christine won't sing for him... But in reality this scene makes me collapse into hysterical giggles.

Erik setting Gustave up on the railing and Christine freaking out that he's going to fall - classic Mum and Dad right there.

But this is the best bit: "Who ARE YOU?!" "IIIiiiiiiiii am your ANNNNNNGEL of MUUUUSIC, and I am DYINNGGGGGG, Christine!!!!!1111oneoneone.” There's really no way to deliver these lines and NOT sound cheesy, so poor Meghan and Gardar did their best. But his delivery of this silly line showed one of his great qualities - he's very expressive with his arms. He's running towards her with arms extended zombie-style while crying "Iii am your angel of music..." It's hard to describe, but it was brilliantly amusing.

Scene 6: Backstage

"Bathing Beauty Rehearsal"

"Dear Old Friend"

Not much to say here... This song is always entertaining. Raoul's "I need a DRINK" line gets me every time.

Scene 7: The Lair

"Beautiful"

So, so so many surprises happened in this final scene of Act 1. I had no idea there had been any significant changes here. Gustave is singing "Beautiful," when all at once he begins playing the ending of "The Phantom of the Opera." And then proceeds to sing some of it. I began hyperventilating here and didn't really stop until intermission.

"The Beauty Underneath"

Admittedly, the transition from New-Beautiful to Beauty Underneath isn't the smoothest transition in the world, but it hardly matters.

New-Beauty Underneath is...wow. Although I have a certain fondness for the original London version, it always seemed rather out-of-place. This version fit so well, and the whole scene overall is one incredible, if overwhelming, spectacle. My only real complaint is that it's so "chaotic" it's hard to follow at times. I think, though, that's sort of the point.

Here is a scene where the Turntable seriously stressed me out. Gardar, crouched down with his hands on Casey's shoulders, does this backward-crouching-walk on the Turntable going the opposite direction. It feels like this walk lasts forever (in reality it's probably not long at all) and he seems to be walking so fast and the whole time you just think he's going to end up falling on his rear, bringing Casey down with him, and getting trampled. Yes, yes, I'm sure they had everything under control. But it was nerve-wracking to watch.

"The Phantom Confronts Christine"

I've loved this scene since the original cast album, and still do. I like how they've added Erik asking for forgiveness and giving Christine permission to leave, but her choosing to promise him that she'll sing first (foolish as that promise may have been). And the bit about Gustave being his "saving grace" - one of the only good things about the entire plot.

"Ten Long Years"

I always thought this was a bizarre way to end the act, but it seemed to work here. It helps that Karen Mason is a Powerhouse of a voice.

To Be Continued

[disx2000-blog]

REFORD GARDENS | VERTICAL LINE GARDEN | 2019 | REFORD GARDENS | LES JARDINS DE METIS | METIS | GASPESIE | QUEBEC | CANADA

5109 REFORD GARDENS | LES JARDINS DE METIS

Spectacular view associated with wind gust.

Beautiful flowers at Reford Gardens.

Visit : www.refordgardens.com/

VERTICAL LINE GARDEN 2019

Julia Jamrozik, Coryn Kempster

Buffalo, United States.

Visit: www.ck-jj.com

From the plaque:

Drawing on the formal language of historical garden design, and the contemporary means of mass-produced safety and construction material, the project is a strong graphic intervention that aims to produce an abstract field.

Defining a geometric zone out of tightly spaced parallel lines of stretched commercial barrier tape , the installation introduces ordered man-made elements into the cultivated natural environment of the Reford Gardens. Through this juxtaposition, a dialogue between the two spheres is created based on the shared theme of protection and necessary safe-guarding while questioning the definition of what is truly natural.

As one approaches and then walks around and through the installation the changing viewpoint will allow the shifting of the tape lines in space and thus varied views of the overall composition. Further the movement of the lines with the changing of the climate, the wind and the sun will ensure a dynamic optical and auditory engagement for the audience. As visitors enter and inhabit the space by occupying the provided loungers, the fluctuating appearance of the installation is further enhanced.

In the 2015 version of the garden, we have decided to alter the colours of the field and provide and to provide canpy elements which will not only provide shade but also give a different experiential perspective of the banner tape.

————————————————————————————–

Texte de la plaque:

S’appuyant sur le langage formel de la conception du jardin historique, sur des moyens modernes de sécurité et sur des matériaux de construction produits en massa, le projet se veut une intervention graphique cherchant à créer un champs abstrait.

Des lignes parallèles de rubans de sécurité étroitement espacés définissent une zone géométrique. Cette installation d’éléments ordonnés prend place dans un milieu d’aspect naturel. Par cette juxtaposition, un dialogue entre les deux se crée basé sur le thème commun de la protection et de la sauvegarde , tout en s’interrogeant sur la définition de ce qui est vraiment naturel.

En s’approchant, en marchant autour et au travers le jardin, le point de vue change, ce qui permet le déplacement des lignes dans l’espace pour offrir de nouvelles perspectives sur la composition globale. Outre le mouvement des lignes, les changements de climat, le vent et le soleil procurent aux visiteurs des expériences visuelles et auditives dynamiques. Lorsque les visiteurs entrent et habitent l’espace en s’assoyant sur les chaises, l’aspect fluctuant de l’installation est renforcé.

Dans la version 2015 du jardin, les couleurs des rubans sont différentes et trois canopées ont été ajoutés. Ce qui va non seulement fournir de l’ombre mais aussi offrir une perspective expérientielle différente sur les rubans de sécurité.

——————————————————————————————

Visit : www.refordgardens.com/

From Wikipedia:

Elsie Stephen Meighen – born January 22, 1872, Perth, Ontario – and Robert Wilson Reford – born in 1867, Montreal – got married on June 12, 1894.

Elsie Reford was a pioneer of Canadian horticulture, creating one of the largest private gardens in Canada on her estate, Estevan Lodge in eastern Québec. Located in Grand-Métis on the south shore of the St. Lawrence River, her gardens have been open to the public since 1962 and operate under the name Les Jardins de Métis and Reford Gardens.

Born January 22, 1872 at Perth, Ontario, Elsie Reford was the eldest of three children born to Robert Meighen and Elsie Stephen. Coming from modest backgrounds themselves, Elsie’s parents ensured that their children received a good education. After being educated in Montreal, she was sent to finishing school in Dresden and Paris, returning to Montreal fluent in both German and French, and ready to take her place in society.

She married Robert Wilson Reford on June 12, 1894. She gave birth to two sons, Bruce in 1895 and Eric in 1900. Robert and Elsie Reford were, by many accounts, an ideal couple. In 1902, they built a house on Drummond Street in Montreal. They both loved the outdoors and they spend several weeks a year in a log cabin they built at Lac Caribou, south of Rimouski. In the autumn they hunted for caribou, deer, and ducks. They returned in winter to ski and snowshoe. Elsie Reford also liked to ride. She had learned as a girl and spent many hours riding on the slopes of Mount Royal. And of course, there was salmon-fishing – a sport at which she excelled.

In her day, she was known for her civic, social, and political activism. She was engaged in philanthropic activities, particularly for the Montreal Maternity Hospital and she was also the moving force behind the creation of the Women’s Canadian Club of Montreal, the first women club in Canada. She believed it important that the women become involved in debates over the great issues of the day, « something beyond the local gossip of the hour ». Her acquaintance with Lord Grey, the Governor-General of Canada from 1904 to 1911, led to her involvement in organizing, in 1908, Québec City’s tercentennial celebrations. The event was one of many to which she devoted herself in building bridges with French-Canadian community.

During the First World War, she joined her two sons in England and did volunteer work at the War Office, translating documents from German into English. After the war, she was active in the Victorian Order of Nurses, the Montreal Council of Social Agencies, and the National Association of Conservative Women.

In 1925 at the age of 53 years, Elsie Reford was operated for appendicitis and during her convalescence, her doctor counselled against fishing, fearing that she did not have the strength to return to the river.”Why not take up gardening?” he said, thinking this a more suitable pastime for a convalescent woman of a certain age. That is why she began laying out the gardens and supervising their construction. The gardens would take ten years to build, and would extend over more than twenty acres.

Elsie Reford had to overcome many difficulties in bringing her garden to life. First among them were the allergies that sometimes left her bedridden for days on end. The second obstacle was the property itself. Estevan was first and foremost a fishing lodge. The site was chosen because of its proximity to a salmon river and its dramatic views – not for the quality of the soil.

To counter-act nature’s deficiencies, she created soil for each of the plants she had selected, bringing peat and sand from nearby farms. This exchange was fortuitous to the local farmers, suffering through the Great Depression. Then, as now, the gardens provided much-needed work to an area with high unemployment. Elsie Reford’s genius as a gardener was born of the knowledge she developed of the needs of plants. Over the course of her long life, she became an expert plantsman. By the end of her life, Elsie Reford was able to counsel other gardeners, writing in the journals of the Royal Horticultural Society and the North American Lily Society. Elsie Reford was not a landscape architect and had no training of any kind as a garden designer. While she collected and appreciated art, she claimed no talents as an artist.

Elsie Stephen Reford died at her Drummond Street home on November 8, 1967 in her ninety-sixth year.

In 1995, the Reford Gardens ("Jardins de Métis") in Grand-Métis were designated a National Historic Site of Canada, as being an excellent Canadian example of the English-inspired garden.(Wikipedia)

Visit : en.wikipedia.org/wiki/Elsie_Reford

Visit : www.refordgardens.com/

LES JARDINS DE MÉTIS

Créés par Elsie Reford de 1926 à 1958, ces jardins témoignent de façon remarquable de l’art paysager à l’anglaise. Disposés dans un cadre naturel, un ensemble de jardins exhibent fleurs vivaces, arbres et arbustes. Le jardin des pommetiers, les rocailles et l’Allée royale évoquent l’œuvre de cette dame passionnée d’horticulture. Agrémenté d’un ruisseau et de sentiers sinueux, ce site jouit d’un microclimat favorable à la croissance d’espèces uniques au Canada. Les pavots bleus et les lis, privilégiés par Mme Reford, y fleurissent toujours et contribuent , avec d’autres plantes exotiques et indigènes, à l’harmonie de ces lieux.

Created by Elsie Reford between 1926 and 1958, these gardens are an inspired example of the English art of the garden. Woven into a natural setting, a series of gardens display perennials, trees and shrubs. A crab-apple orchard, a rock garden, and the Long Walk are also the legacy of this dedicated horticulturist. A microclimate favours the growth of species found nowhere else in Canada, while the stream and winding paths add to the charm. Elsie Reford’s beloved blue poppies and lilies still bloom and contribute, with other exotic and indigenous plants, to the harmony of the site.

Commission des lieux et monuments historiques du Canada

Historic Sites and Monuments Board of Canada.

Gouvernement du Canada – Government of Canada

© Copyright

This photo and all those in my Photostream are protected by copyright. No one may reproduce, copy, transmit or manipulate them without my written permission.

Posted by C C Gosselin on 2019-08-04 21:25:00

Tagged: , REFORD , GARDENS , | , VERTICAL , LINE , GARDEN , 2019 , LES , JARDINS , DE , METIS , GASPESIE , QUEBEC , CANADA , CANON , 7D , 7DMARKII , REBEL , T2i , CANONREBELT2i , EOS , CANON7D , MARKII , REBELT2i , CANONREBEL , CANONT2i , EOST2i , EOS7D , EOS7DMARKII , MARK , 2 , MARK2 , EOS7DMARK2 , CANON7DMARKII , II , CANONEOSREBELT2i , CANONEOS7D , CANONEOS , ph:camera=canon

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[screechingpeanutcloud]

P. Lion - Happy Children (Extended Version)

La guerre est déclarée contre ma pute de mère: MMe Michelle EL HAÏJ née BERNARD BERNARDET qui veut emmener tout l’argent avec elle dans sa tombe et au passage m’ aenfermée avec son PD de frère: BERNARD BERNARDET Henri : “ça lui fera du bien “.

En taule, ces mongols , ces tâches.

[rayman-25]

Podcast 5 "Episode 3 Mystique des mutants"

Résumé:

Je tien à vous préciser que les personnages appartient à leur propriétaire sauf de Jean, Marc et Alice

Raine - Tales of Symphonia Music Extended

Dans la maison des Podcast, Jean jouait à Crash Bandicoot N Sane Thriology dans sa chambre, Sara lit sa bande dessinée du Dr Zone. Marc parla avec Raph au téléphone : « et donc, tu as un truc ce soir, parce que demain, je vais au lycée pour mon exercice » dit Marc.

« Oui t’inquiète. Ce soir, on va aller au parc de Piedmont pour faire ton truc » dit Raph

« Quel turc ? »

« Tu m’avais dit que ce soir, je vais t’apprendre une des inventions de Donnie, ensuite on joue au football américain »

« A oui d’accord. Donc on se dit à ce soir alors ? »

« A ce soir. On se dit à quelle heure ? »

« 18h »

« Très bien, rendez-vous ce soir à 18h. Et si tu as le temps, on pourra manger des pizza »

« Non grec, ça ira »

« C’est comme tu veux, mon pote. Aller, à ce soir. »

Et ils décrochèrent tous les deux en même temps. Jean sortie de sa chambre regarda son frère. Il lui dit : « hé avec qui tu parler au téléphone ? »

« Euh… à April » répondit Marc.

Jean regarda son frère puis il partit chez Dipper et Mabel

LAKEY INSPIRED – Celebration

Dans la maison des Pines, Mabel regarda sa série préféré « Miraculous » tandis que Dipper lit un journal à propos de la chasse au monstre. Soudain quelqu’un sonna à la porte « quelqu’un pour aller ouvrit ? » cria Lily Pines.

« Je m’en occupe, maman » dit Dipper. Il ouvrit la porte et il vit April avec une étrange créature qui ressembler à un chien « tien, salut April, tu veux nous voir ? Et c’est quoi cette créature ? On dirait un chien » dit Dipper

« Dipper, je te présente Mayhen, un chien mutant donc je m’occupe » dit April.

Jean en passant chez Dipper leur dit « salut les gars je… » Il regarda Mayhen « tien, c’est quoi ce chat ? » Demanda Jean.

« Ce n’est pas un chat, c’est un chien mutant. Il s’appelé Mayhen » dit April.

Sara le chien Marc et Alice alla Jean pour si il va bien. Mais en chemin, ils virent une étrange créature qui ressembler à un chien « salut les gars ! Mais c’est quoi ce chien ? » Demanda Sara

« April a dit que ce chien c’est un mutant du nom de Mayhen, pas vrai April ? » demanda Jean à April.

« Oui c’est ça et si je vous montre la démonstration ce qui peut faire Mayhen dans la chambre de Dipper »

« Si tu veux » dit Dipper.

Mais avant qu’April, Jean, Marc, Sarah, le chien et April entrèrent dans la maison de Dipper, Brad, Thomas, Emma, Bea, Nancy et Lucas regardèrent April avec une créature étrange dans la maison.

Classic (Loudness & Clarity EP) by Joakim Karud (official)

Dipper fait la visite de sa chambre à Mahyen « voilà ma chambre » dit Dipper.

« Ben dis donc, toi tu as une 3DS, des valises pour des vacances d’été etc. » dit Jean.

April regarda la photo de l’oncle de Dipper et Mabel, un gros monsieur et une jeune fille « c’est Wendy ? Pas étonnant que ce soit la petite amie de Dipper » pensa April.

« Pourquoi ta pas pris la 3DS ? Parce qu’il n’y a pas de prise d’électricité la bas ? » Demanda Jean.

« Je n’ai pas envie de ramener ma 3DS la bas, Jean » dit Dipper.

« Bon aller quant est que Mayhen va montrer un truc ? » Demanda nerveusement Sara.

Soudain on frappa à la porte, Dipper ouvrit et il vit Brad, Thomas, Emma, Bea, Nancy, Mabel Dandinou, Sasha et Lucas qui regardèrent Mayehn « Dis donc, Dipper c’est quoi ce chien ? Tu l’as eu où ? » Demanda Mabel à son frère jumeau.

« Les gars, je vous présente Mayhen, un chien mutant d’April » dit Dipper.

« Bon, Mayhen, tu peu leur montrer ton pouvoir ? » Dit Marc. Le chien mutant se téléporta ailleurs. Puis il apparait devant Dandinou, Sasha et le chien. Sara était impressionnée. Dipper regarda le chien mutant. Il n’avait jamais vue un chien qui peut se téléporter dans un endroit pareil à Piedmont, alors qu’à Gravity Falls, il à vue des choses la bas. Soudain, Quelqu’un frappa à la porte.

« Vous voulez des cookies avec du lait chaud les enfants » demanda Lily.

« Merci, Mme Pines » dit Thomas.

Puis elle vit une étrange créature « c’est quoi cette créature ? un chat ? » Demanda Lily.

« Non, maman, c’est un chien. Il s’appelle Mayhen » dit Dipper

« Et c’est à qui ? »

« C’est à moi, madame Pines » dit April.

« Et ou l’a tu trouver ? »

« Je l’ai trouvé, dans une poubelle et je l’ai adopté chez moi »

« Oh, très bien, je vous laisse je vais faire une sieste. Ne fait pas trop de bruit les enfants »

Et elle s’en aille dans sa chambre

THE GIRL IS MINE / 99 SOULS FT. DESTINY'S CHILD & BRANDY

« C’est très bien, April » dit Dipper en félicitant sa nouvelle p’tite amie.

« Pourquoi tu ne l’aurais pas dit ? » Demanda Lucas.

« Lui dire quoi ? » demanda April.

« Que Mayhen est un chien mutant et qu’il peut se téléporter partout, comme Goku dans DBZ »

« On ne peut pas dirent à ma mère que Mayhen est un mutants, sinon elle ne va pas comprendre »

« T’as oublié le mot téléporter aussi » dit Jean.

« Si tu le dis, Jean »

« Mais c’est comme avec les amis d’April. On ne sait pas à quoi il ressemble, bien que Mayhen ne compte pas comme animal de compagnie mutant qui a le pouvoir de ce téléporter » dit Sarah aux autres

Alors que les enfants mangèrent des cookies et boire du lait chaud, Marc regarda son portable « encore 3h heures » pensa Marc. Jean et Sara le regardèrent.

Joakim Karud – Longing

Dans la maison des Podcast, Marc prépara ses affaires pour aller rejoindre Raph au parc de Piedmont. Mais Jean regarda son frère demanda « tu vas où frangin ? »

« Je vais aller voir Raph au par cet je ne reviens pas tard je te promets » dit Marc.

« Et une seconde, qui est Raph ? »

« C’est l’un des amis d’April »

« Tu veux que je t’accompagne ? »

« Euh non, j’préfère que tu restes ici. De toute façon, tu as des devoirs, tes jeux vidéo et tes vidéos à faire sur YouTube »

« Très bien, mais à une condition, tu vas devoir me dire à quoi il ressemble ce Raph »

« T’en fais pas je vais te le dire à quoi il ressemble ce Raph. (Ou pas) » Pensa Marc

Arrivée au parc, Marc fait signe de pizza à Raph « Salut Marc, tu es prêt à l’invention de mon frère ? » demanda Raph.

« Oui j’suis prêt, mais… » Dit Marc avec un visage nerveuse.

« Qu’est ce qui ce passe ? »

« Tu voies c’est mon frère et ses amis, ils n’arrêtent pas de parler de toi et tes frères. Ils nous demandèrent la même chose à quoi vous vous ressembler toi et tes frères.

« Peut-être un de ses jour, on pourra se présenter »

« Oui c’est ça le problème, si je te présente, il va s’en doute appelle la police et t‘envoyer dans laboratoire, tu comprends »

« Je sais que nous les tortues mutants, on doit rester dans l’ombre. Bon tu veux que je te montre l’invention de Donnie ? »

« Oui va s’y »

Raph montra un casque de moto rouge « Marc, voici le casque de Donatello. Met le pour voir » dit Raph. Marc mit le casque puis il vit un ordinateur allumé

Bonjour, Marc Christivoirien, je suis le casque de Raphaël. Que puis-je faire pour toi ? » Demanda le casque parlant.

« Je ne sais pas quoi dire Raph. Ordinateur tu peux mettre l’apparence de Raph en version humain dans l’ordi de mon frère »

« Transférer l’apparence de Raphael en version humain en cour… transférer terminé »

« Bon tu veux faire quoi ? Football américain ? »

« Et comment » dit Marc

School Days OST - Classmate (Extended)

Le matin suivant à l’école de Piedmont Dipper raconta les évènements d’hier soir à Irving et Jane « trop bizarre le chien d’April qui se téléporte partout » dit Irving.

« Si tu veux, ce soir on pourra aller chez elle et le fait présenter » dit Thomas. Puis la sonnerie commença à faire du bruit.

Dans la classe Mme Sancoeur annonça une bonne nouvelle, une mauvaise nouvelle pour Irving « les enfant j’ai une bonne nouvelle à vous annoncer. Mercredi, on va tous au musée de Piedmont. Vous prendrez, un sac de pique-nique pour manger après la visite » dit Sara

Devant la fenêtre de l’extérieur, un Oozesquito espionna la salle de classe de Dipper et Mabel et il partit ailleurs.

A la cantine, Dipper se posa une question à propos d’hier soir chez lui avec Mayhen. Comment ce mutant à-t-il rencontré April ? « Je pense que je vais la rendre visite jeudi soir » pensa Dipper.

« Bon, les gars. On va encore chasser les monstres en ville mardi soir ? » Demanda Jean.

« Si tu le dis, Jean » dit Sara Murphy.

De l’autre côté de la table avec Marc, Dipper et Irving discutèrent pour les amis d’April. Dipper leur dit « Marc ne peut plus nous en parler. C’est comme s’il avait fait ses devoir au moins de cinq minute. Comment ça se fait ? »

« Ben parce qu’il a fait une vidéo sur internet » dit Irving

Hé, je vous entends les gars ! dit Marc.

« Désolé, on va parler ailleurs » dit Irivng. Dipper et Irving s’asseyaient avec Brad et Thomas.

« Dégage de la, casserole ! » cria Brad.

« Chhht, tu vas nous faire repérer » dit Dipper en parlant moins fort.

« Pourquoi tu dis ça ? »

«  Et bien Marc à un comportement bizarre après les cours ce matin à 10h30 » dit Irving.

« Ah bon ? » dit Brad « dit moi un peu plus »

Et Irving commença à raconter l’histoire

Clouds by Joakim Karud (official)

Un mardi soir dans le chantier de Piedmont, Les Podcast (sans Marc) sont en train de chercher les monstres de Piedmont.

Sara inquiète à ses amis elle leur demanda : « je trouve que c’est une mauvaise idée pour capturer des monstres. On devrait pas… je ne sais pas moi… rentrer à la maison  pour jouer à la ps4, la Switch, les la Gamecube. Regarder les films les série »

« Sara » dit Jean « on devrais trouver ces monstres pour gagner de l’argent »

« Ta pensais à la fille de ton l’idole, Kirb et l’école ? »

« Ecoute Sara, il est dix-huit heures. Et puis, il n’y a pas ma mère, Cassie, Takeda, Kirb ou la police » dit Albert.

Mais une chose ce qu’ils ne savent pas, quelque dragon noir sont apparue et ils sont eux aussi à la recherche des monstres.

« Topaze tu passes par-là, quant à renard, tu restes ici. Monte la garde. Personnes ne dois intervenir, ni les travailleurs du chantier » dit le chef.

« C’est par vrai les Dragons noirs. Putain ils font chier » pensa Jean.

« J’ai l’impression qu’ils sont eux aussi à la recherche des montres » dit Alice.

« Eux, les gars » dit Squeezie en voyant une personne venant arrivée devant un des voyous.

« C’est qui lui ? » dit Alice.

« Toi l’homme masqué » dit l’homme avec un pull rouge avec un chien marron « tu devrais te pousser »

« A ouais ? Et pourquoi devrai-je t’obéir ? Tu ne sais pas qui je suis ? » Dit le dragon noir.

« Non et je m’en moque » dit-il. Soudain une étrange lumière brilla sur l’homme avec des étranges boule violet apparait. L’homme avec un pull rouge fait des mouvements étranges. Les boules violettes font un grand cercle et l’homme se transforma en créature monstrueuse, et en va de même pour le petit chien qu’il sait transformer en en montures de bataille.

« C’est quoi ce… » Et il utilise son talkie-walkie « chef, chef ! Il y a un homme qui… » Mais le monstre l’assomma.

Derrière le sable, les Podcast regardèrent la créature « c’est… quoi… ce… » Dit Sara

« Vous avez vu ce gars ? Comment il a fait ça ? » Demanda Jean.

« Je ne sais pas, mais une chose est sure, ce type n’est pas un vrai humain » dit Albert. Ce dernier réfléchi : « je crois trouver une solution »

Le chien quant à lui, couru pour voir cette créature de plus près « non le chien revient ! » cria Sara.

Le monstre s’approcha du mur et il utilisa sa main pour faire apparaitre une porte. Mais au moment où il entra dans le portail, cinq membres des dragons noirs arrivèrent devant le monstre.

« Bouge pas de là, connard » dit le voyou.

Mais le monstre les ignore. Le premier voyou couru vers lui pour le tuer, mais ce dernier esquiva et le dragon noir tomba dans le portail. Le seconde lui sauta dessus, mais lui aussi tomba dans le portail. Le monstres s’approcha des voyous et couru devant eux et il utilise ses pouvoir pour tuer trois membres des dragons noir. Sara, Jean, le chien, Albert et Alice derrière le mur, vit des spectacles horrifiant. Le montre, après avoir terminé son combat dit : « personnes ne peux plus m’intervenir. Maintenant je vais… »

« Jack, renard, Topaze. Toi là ! Tu as fait quoi aux autres ? » Demanda l’un des voyou. Le monstre vit maintenant six membres des dragons noirs

« Ce n’est pas vrai il y en a combien parmi vous ? » demanda le monstre.

Les dragons noir utilisèrent leurs armes à feu et tirèrent sur le monstre. Ce dernier utilisa ses pouvoir pour faire apparaitre un élise d’hélicoptère et élimina tous les cinq dragons pourpre, sauf le chef qui essaye de contacter quelqu’un « chef ! Vous me recevez ?! Il y a un monstre dans le chantier ! Venez vite… » Le montre tranche le ventre et ils marchèrent devant le portail. Sara couru vers le portail pour attraper le monstre

« Sara non ! » cria Jean.

Le portail se ferma devant Jean. Ce dernier donna un coup de poing devant le portail. Le monstre se tourna lentement. Albert prit la main de Jean et lui et Alice se cachèrent derrière le mur. Le monstre commença à ouvrir le portail à nouveau. Mais lorsque qu’il essaye d’entré dans le portail, quelque sbires de Jeremy et coururent vers lui tandis que certain d’eux descendirent de l’hélico.

« Toi le monstre, tu es en êtas d’arrestation » dit l’un des sbires de Jeremy.

Derrière le mur, Jean expliqua son plan à Albert, le chien et Alice : « il faut qu’ont descends en dessous sans l’attiré l’intention et sauver Sara sans mourir » expliqua Jean.

Jean, le chien, Albert et Alice coururent vers le portail et descendirent en bas. Le monstre, de son côté, utilisa son pouvoir pour éliminer quelque soldas. Dans l’hélico, le pilote tira sur le monstre. Malheureusement, le monstre avait utilisé un bouclier. Ce dernier utilisa son pouvoir pour détruire l’hélico.

« Franchement, ils sont faible ces humain » dit le monstre. Il ouvrit le portail. Mais avant qu’il entre, il regarda en face, à droit et à gauche. Et il entra dans le portail.

Rocks Like This - For Technology Tree Act 1 - Sonic: After the Sequel

Deux heures plus tôt dans le repère des tortues, Raph, Leo, Mikey et Donnie font leur activité tandis que Splinter regarda son émission préféré. Dipper, Marc, Thomas et Irving entrèrent pour voir leurs tortues favorites.

« Attendez, ou est Mabel » demanda Donnie aux enfants.

« Oh tu sais elle avec Sasha, Dandinou et April en train de regarder sa série favori » dit Thomas.

« Quel série ? » demanda Mikey.

« Tu sais la fille qui se transforme en cocinellegirl avec chatboy. Comment elle s’appelle la série ? Miraculous ? » Demanda Irving.

« C’est ça » répondit Donnie à Irving.

« Dites les amis, ça vous dirais d’aller chez les Pines ? » Demanda Thomas.

Les tortues ne considèrent que le choix semblé être difficile. Raph regarda Thomas en lui disant : « Ecoute mon pote, sortir le jour ça va être très dure, mais sortir la nuit, on peut aller chez les Pines »

« C’est une excellente idée, Raph, mais le seul problème, dans la maison des Pines, il y a les parents de Dipper qui sont là-bas, dans la maison d’Irving sa mère et Albert sont aussi là-bas et dans ma maison Kirb, Cassie et Takeda » dit Marc « sinon, vous pouvez aller tous les deux les tortues sauf toi Raph. Alors qui est partant chez les Pines ? »

« J’suis partant, moi » dit Donnie.

« J’ai hâtes de voir à quoi ressemble la chambre de Dipper » dit Mikey, hésité.

« Très bien. Pendant que vous allez chez les Pines, je vais rester ici avec Léo et Raph » dit Marc.

Stellar Lights - For Technology Tree Act 2 - Sonic: After the Sequel Music Extended

En sortant des égouts sauf Donnie et Mikey, Dipper, Irving et Thomas virent la maison de Dipper. Mais le hic, c’est que la mère de Dipper va causer des problèmes en voyant des tortues géantes. Mais heureusement, Irving avait une idée.

A l’entrée de la maison, Mabel monta dans sa chambre pour jouer avec Dandinou et Sasha, April quant à elle, rentra chez elle. Lily essaya de faire un dessin pour son cour d’art. Dipper, Irving et Thomas entrèrent devant l’entrée de la maison avec un sac. Lily en voyant son fils et ses amis leur dit « vous avez fait quoi les enfants ? » et il regarda le sac « vous transporter quoi ? » demanda.

« Euh… un jeux vidéo… qu’ont l’as volé » dit Dipper à sa mère.

« On est des criminel vous est en danger de mort, madame Pines ! » cria Irving.

« Il est temps de caché notre jeu »

Alors que les enfants sont en train de monter le sac, Lily avait entendu des bruits venant du sac, mais elle l’ignore.

School Days OST - Classmate (Extended)

Dipper Thomas et Irving entrèrent dans la chambre de Mabel. Cette dernière en voyant leur sac leur dit : « vous avez apporté quoi les garçons, des cd de la musique classique, un livre sur les cupcakes, un jeu vidéo ? »

« Tu vas être joyeux » dit Dipper et il ouvrit le sac. Mabel vit Donnie et Mikey.

« On est ou là » demanda Donnie aux enfants.

« Les gars, voici ma chambre et celui de Mabel » dit Dipper aux tortues

Mikey en voyant la photo des personnes demanda à Dipper et Mabel : « dites-moi : qui sont c’est personnes ce sont vos amis d’été ? »

« Qui ça eux ? bien sûr, sauf le vieux c’est notre grand-oncle Stanley Pines. Mais on l’appelle oncle Stan. Mais une chose ce que tu ne sais pas, il y a aussi mon deuxième oncle du nom de Stanford. Mais lui aussi on l’appelle oncle Ford » expliqua Mabel à Mikey.

Donnie regarda lui aussi l’image. Mais ce qui lui intéresse c’est la fille au cheveu roue « Dipper, qui est cette fille » demanda Donnie.

Dipper en voyant la photo de Wendy lui dit : « ah heu… celle-ci c’est personnes »

Donnie en regardant Dipper lui fait un Begin « tu es sur ? Tu ne peux pas me dire que ta petite amie est une… »

« D’accord, d’accord, D’accord, tu as gagné. Cette fille s’appelle Wendy Corduroy elle à 15 ans et elle avait échangé ma casquette contre la sienne. Si tu veux, je peux te le montré » Dipper trouva la casquette da son ami et la montra à Donnie.

« Alors, elle est bucheronne ? » demanda Donnie.

« Non tu dis n’importe quoi. C’est son père qui est bucheron »

« Et sa mère ? »

« Elle est morte »

« Oh, vraiment ? C’est triste »

« Je sais. Mais j’évite de lui poser cette question »

Donnie regarda la photo de Wendy. Soudain quelqu’un frappa à la porte les tortues se cachèrent dans un placard. Lily entra et vit que les enfants ce comporte bizarrement : « vous aller bien les enfants » demanda Lily.

« Oui maman en pleine forme » dit sa fille.

« Aujourd’hui, je vais aller montrer ma peinture pour mon travail. Vous voulez quelque chose les enfants ? »

« Non ça va. Allez voir votre patron tandis que nous, on va regarder un film. Bonne chance pour votre peintre, Mme Pines » dit Thomas.

Lily ferma la porte de la chambre et Dipper et Mabel regardèrent le placard : « c’est bon, elle est parti, vous pouvez sortir les gars » cria Dipper.

Donnie et Mikey sortirent de leur cachette. Mabel avait une idée : « Les gars, je sais ce qu’on va faire aujourd’hui, on va regarder un film et ce soir tout le monde rentre chez eux »

« Et qu’est-ce que tu vas apporter comme nourriture, des pizzas » demanda Donnie.

« Non pas de pizza pendant les films, pour moi il y a des cupcakes et des boissons » dit Mabel à Donnie.

Joakim Karud – Longing

Pendant ce temps, chez les tortues, Marc fait du basket. Mais après quelque panier Splinter vint le voir : « Tu es doué pour le sport, gamin » dit Splinter.

Mais Marc après avoir terminé de jouer dit à Splinter : « Dites-moi Splinter, pourquoi vous avez choisis Dipper comme chef d’équipe et pas moi ? Pourtant, Raph est le chef du groupe »

« Je l’ai choisis parce qu’il avait suivi sa propre voix »

« Vous voulez dire que ses parent l’as envoyé à Gravity Falls et que vous voyez l’avenir de Dipper ? Et qu’un jour quand il sera grand, il pourra découvrir des mystères dans cette ? »

Non, c’est Raph qui l’avait choisi parce que… »

Après deux minutes de discussion, Marc commença à comprendre : « Je vois. Donc, votre fils avait choisis Dipper parce que lui et ses frères l’on rencontré »

« Tu as compris, jeune disciple » dit Splinter. Mais heureusement, il avait une idée « tu sais, tu peux t’entrainer et devenir un vrai ninja »

Marc réfléchi une minute et accepta de s’entrainer avec un des fils de Splinter : « très bien. Je vais m’entrainer avec Raph. Merci, maître » Marc couru vers la chambre de Raph et il lui demanda de lui entrainer.

Raph accepta de s’entrainer si il veut bien lui garder un petit quelque chose en cas de besoin. Léo lui donna ses anciennes armes. Mais Marc, refusa de les prendre. Alors, Raph lui donna deux saïs en cas où il sera en danger : « merci, Raph »

« Très bien. Il est temps maintenant de s’entrainer et après, on va manger des pizzas et regarder une vidéo sur l’ordi de Donnie » dit Raph

« Ouais » crièrent Leo et Marc.

Derrière la chambre de Raph, Splinter les observent.

A suivre

[tuake]

four main types of love

Stendhal sets out to bridge “the deeply sensitive and coolly analytical,” beginning with a taxonomy of the four main types of love:

There are four different kinds of love:

1. Passionate Love. This was the love of the Portuguese nun, that of Heloïce for Abelard, of the captain of Vésel, and of the gendarme of Cento.

2. Mannered Love, which flourished in Paris about 1760, and which is to be found in the memoirs and novels of the period; for example those of Crébillon, Lauzun, Duclos, Marmontel, Chamfort, and Mme d’Epinay…

A stylized painting, this, where the rosy hues extend into the shadows, where there is no place for anything at all unpleasant – for that would be a breach of etiquette, of good taste, of delicacy, and so forth. A man of breeding will know in advance all the rituals he must meet and observe in the various stages of this kind of love, which often achieves greater refinement than real love, since there is nothing passionate or unpredictable about it, and it is always witty. It is a cold, pretty miniature as against an oil painting by one of the Carrachi; and while passionate love carries us away against our real interests, mannered love as invariably respects those interests. Admittedly, if you take away vanity, there is very little left of mannered love, and the poor weakened invalid can hardly drag itself along.

3. Physical Love. You are hunting; you come across a handsome young peasant girl who takes to her heels through the woods. Everyone knows the love that springs from this kind of pleasure, and however desiccated and miserable you may be, this is where your Love-life begins at sixteen.

4. Vanity-Love. The great majority of men, especially in France, both desire and possess a fashionable woman, much in the way one might own a fine horse – as a luxury befitting a young man. Vanity, a little flattered and a little piqued, leads to enthusiasm. Sometimes there is physical love, but not always; often even physical pleasure is lacking. ‘A duchess is never more than thirty in the eyes of a bourgeois,’ said the Duchesse de Chaulnes, and the courtiers of that just king Louis of Holland cheerfully recall even now a pretty woman from The Hague who was quite unable to resist the charms of anyone who happened to be a duke or a prince. But true to hierarchical principles, as soon as a prince came to court she would send her duke packing. She was rather like an emblem of seniority in the diplomatic corps!

The happiest version of this insipid relationship is where physical pleasure grows with habit. Then memories produce a semblance of love; there is the pricking at your pride and the sadness in satisfaction; the atmosphere of romantic fiction catches you by the throat, and you believe yourself lovesick and melancholy, for vanity will always pretend to be grand passion. One thing is certain though: whichever kind of love produces the pleasures, they only become vivid, and their recollection compelling, from the moment of inspiration. In love, unlike most other passions, the recollection of what you have had and lost is always better than what you can hope for in the future.

Occasionally in vanity-love, habit, or despair of finding something better, results in a friendship of the least attractive sort, which will even boast of its stability, and so on.

Although physical pleasure, being natural, is known to all, it is only of secondary importance to sensitive, passionate people. If such people are derided in drawing rooms or made unhappy by the intrigues of the worldly, they possess in compensation a knowledge of pleasures utterly inaccessible to those moved only by vanity or money.

Some virtuous and sensitive women are almost unaware of the idea of physical pleasure; they have so rarely, if I may hazard an expression, exposed themselves to it, and in fact the raptures of passionate love have practically effaced the memory of bodily delights.

There are some men who are the victims and instruments of a hellish pride, a pride like that of Alfieri. These men, who are cruel perhaps because like Nero they are always afraid, judge everyone after their own pattern, and can achieve physical pleasure only when they indulge their pride by practicing cruelties upon the companion of their pleasures. … Only in this way can they find a sense of security.

Instead of defining four kinds of love, one might well admit eight or ten distinctions. There are perhaps as many different ways of feeling as there are of seeing, but differences of terminology do not affect the arguments which follow. Every variety of love mentioned henceforth is born, lives, dies, or attains immortality in accordance with the same laws.

[ixiacom]

Ixia Launches New LTE Test Solution for Cellular IoT

Ixia Launches New LTE Test Solution for Cellular IoT

New IxLoad-Wireless to be showcased at Mobile World Congress Americas 2017

CALABASAS, CA – August 28, 2017 – Ixia, a leading provider of network testing, visibility, and security solutions, today announced IxLoad-Wireless, a high-performance Long Term Evolution (LTE) test solution for cellular IoT enhanced Machine-Type Communication (eMTC) and Narrowband IoT (NB-IoT) technologies.  These technologies are new 3rd Generation Partnership Project (3GPP)-defined and will help manage the density expected with IoT and lay the foundation for 5G.

Cellular IoT provides wireless communications for devices and applications that need low-power and wide-range communication connectivity, and have infrequent data transmission. A low volume of such devices would have a minimal impact on today’s LTE networks. However, according to Ericsson’s Internet of Things Forecast, 70 percent of wide-area IoT devices will use cellular technology in 2022, and the number of cellular IoT devices will surpass mobile phones in 2018.

Setting the Stage for 5G

To address this, the 3GPP consortium now requires that standards being developed for 5G must support a connection density of 1 million devices per square kilometer. Until 5G is ready, LTE carriers need to head off the avalanche of new cellular use with software upgrades that enable them to employ existing base stations for IoT connectivity.

IxLoad-Wireless generates real-world traffic enabling network equipment makers and carriers to fully test the performance of LTE components and networks. IxLoad-Wireless supports multiple Cellular IoT interfaces including S1-Lite, a modified version of the existing S1-MME interface used for the control plane to signal or control messages, and the user plane the data being transferred between users, plus S11u for small data transmission.  This allows IxLoad to emulate both the network and IoT user equipment (UE) to test IoT network nodes in isolation or the entire IoT ecosystem.

To effectively validate the performance of devices and networks in the lab, emulated test traffic must closely mimic real network traffic. IxLoad accomplishes this by simulating IoT network traffic details such as the signaling and messaging for Power-Save Mode and eDRX (extended Discontinuous Reception), where a UE stays inactive for set periods of time to extend battery life.

Test performance is critical to validating the expected density of IoT devices. Offering both hardware and virtual test platforms, Ixia solutions feature best in class performance and meet the capacity scale needed by service providers.

See IxLoad-Wireless at Mobile World Congress Americas

MWC Americas will debut September 12-14, 2017 in San Francisco at the Moscone Center.  At the event, Keysight Technologies will showcase powerful and flexible measurement solutions that enable accurate engineering designs and secure networks across the mobile ecosystem of 5G, Cellular IoT, LTE, and WiFi, including the new IxLoad-Wireless for Cellular IoT from Ixia at Hall North Stand N.1246.

About Ixia

Ixia, now part of Keysight Technologies, provides testing, visibility, and security solutions to strengthen networks and cloud environments for enterprises, service providers, and network equipment manufacturers. Ixia offers companies trusted environments in which to develop, deploy, and operate. Customers worldwide rely on Ixia to verify their designs, optimize their performance, and ensure protection of their networks and cloud environments. Learn more at www.ixiacom.com.

About Keysight Technologies

Keysight Technologies is a leading technology company that helps its engineering, enterprise and service provider customers optimize networks and bring electronic products to market faster and at a lower cost. Keysight's solutions go where the electronic signal goes, from design simulation, to prototype validation, to manufacturing test, to optimization in networks and cloud environments. Customers span the worldwide communications ecosystem, aerospace and defense, automotive, energy, semiconductor and general electronics end markets. Keysight generated revenues of $2.9B in fiscal year 2016. In April 2017, Keysight acquired Ixia, a leader in network test, visibility, and security. More information is available at www.keysight.com.

Ixia, the Ixia logo, and IxLoad, are trademarks or registered trademarks of Ixia in the United States and other jurisdictions. All other trademarks used herein are the property of their respective owners.

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Ixia Media Contact: Denise Idone, Director of Corporate Communications Email: didone@ixiacom.com Office: (631) 849-3500 Mobile: (516) 659-7049

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