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Reload OPUS card, or how disgusting Mixed feelings buyer

If you did not understand, I need to fart my boat. To make a flow of milk. To eat committee of technological innovation for supper. Brief I'm cursed against the very new and not very reliable system for obtaining monthly fare cards on the OPUS card of the Société de transport de Montréal.

OPUS I acquired my card in an exchange of tickets this summer. I like the principle of the RFID chip. It must still be careful because of horror stories kind of missing titles between purchase and first use are, without being common, fairly common. So far, on this point, I'm very lucky. By cons, to $ 68.50, subway stops and frequent service bus schedules in my corner to cut to free the vehicle and obtained elsewhere to reduce the time of passage of another line already very efficient from 10 to 8 minutes ( as we pass a bus every half hour to an hour for the bus route that serves only in an east-west residential area ), I wonder if the transaction is the purchase painlessly as possible.

Is that too much to ask?

It seems so to STM. It is very difficult to reload the card in the same subway system.

Obviously, this summer, points of purchase were not numerous. You had to go in some stations equipped to do so, until gradually the other service points are open. Finally, in September, they came to connect the dispenser to my station. I was also told that the points of sale in shops would soon be equipped, without being able to give me dates. The last time I asked my usual point of sale, either in late October he was still waiting System for loading. So I resigned myself to not buy my fill passages in a subway station when I passed. Apart from two occasions when the machine was useless at my station entrance ( I could buy at the outlet ), I had no real problems until January.

In January, I experienced the sweetness of failures of equipment. In late December, I went to my subway station to charge my card in the very beautiful and big orange and blue machine in front of the very beautiful and glass houses changer. Usually, I used my card flow. But this December day, I had to withdraw cash, and rather than make then a second transaction to the subway, I withdrew the cash amount for my ticket. What I did not know is that, given there, yet the brand new $ 5 and $ 20 brand new also have stubbornly refused to enter the "swallower of money." This gave them me spit out consistently, even after two, three, five, ten, fifteen attempts.

Then, as I tried to retype the tiny crease in one corner of the tickets, the transaction was canceled. I slightly panicked at the idea behind mega "TRANSACTION CANCELLED" on the screen hiding MY $ 40 ... until kecling keclang kecling keclang ... my 40 dollars landed in beautiful container receipts and currency ... twenty beautiful $ 2 coins dropped "lousse. My eyes were as round as each piece, it goes without saying. I was boiling inside, so try with two grocery bags full well, gloves and purses open twenty pieces to pick up without an escape and counting them, then go with the all the houses located in contrast to the position of the big machine rotten. Boil like that, I could whistle like a good old "Kettle".

Finally, after 10 attempts changer ( poor man, not given to everyone to be comfortable with computers and Gossage in menus, so imagine when your boss that you care about tool between the teeth) and then recounting a count of money, I got my title on my card. Arriving home, I called the STM to understand what was happening. Imagine, then, that it is normal that the tickets do not come always in the system "gobage" which is the same as the machines to make change. A little too old, a trick, anything can ensure that the ticket is dismissed. What is the answer, "I requested. Use the debit card, though here too the system can fail, Madam, or go directly to the lodge changer ... Uh ... it's me or the machine would REDUCE the job changer and make purchasing more efficient? Yes, ma'am. Really.

This month, I decided that I will not make a fuss. I did not have to withdraw money, then I go to the old system throughput. Short walk to my station, I arrived at the beautiful and gigantic machine ... a very "Sorry, out of use" is inscribed on the blue screen painfully recalling "Blue Screen of Death." Ben coudon ... we'll go see the beautiful throne Changeux in the box. Travelling distance, doubt assails me. And it is confirmed: the question "do you Interac?", 100% of the interviewed Changeux gave "No" answer. His solution to my displeasure? "Bah there, look, there is a stop just behind Mrs." ... Yeah, it's safe and sure I'll use a nice ATM to give me $ 80 (for strong tickets windows that are still only $ 20 bills ), I extort $ 2 to 5 $ cost ( part of which goes directly to the farmer renting the machine ) while providing my bank to withdraw an amount almost equivalent for services rendered.

Do I want my ticket cost me almost $ 80 more than the fact that the surplus of $ 11.50 will not be in my bank account when will my pre-authorized payments? Nah! So I took the road to the next station, crossing their fingers that the beautiful and big machine will be functional. It was. Result of the operation: a matter of 20 minutes plus 5 minutes walk transaction will take 20 minutes of waiting and travel underground since, obviously, subway passes you on the nose always in moments of intense ferment against their ESTIF system, in both directions. Check

home, call the service OPUS card. I was told to complain that I need to call the other line ... which of course leads to a nice message "Please note that Saturday and Sunday our offices are not open." Grrrr. Reminder Service OPUS, omitting the word complaint. I explained the problem and asked why the boxes have not Interac. The friendly lady who seems to have said that his trip is because the boxes have never been Interac. Wow, great reason, I thought, saying, actually, before they enter the operating system and the machines they have, I can understand. But now it takes only connect the wire and Interac (on behalf of the STM) already entering the station's box, why did not they, especially the intelligence service on OPUS said that the flow was the best way to get the refill? It makes me as an answer to call customer service. I told him that it was closed on weekends, what she said I could write a review on the site of the OPUS card and you meet me. This answer made me react: eeeeuh ... and people of the Internet site information OPUS will, themselves, can answer me here with you over the phone? Yes. Ah well ... coudon. Cheers efficiency! Thank you, Madam!

Grrrrr ...

Certainly call Monday ( if I find time ) to complain of their ineffectiveness. Meanwhile, there is hope for the coming months. In a flash of genius, I recalled my point of sale, a nice pharmacy. I then heard from the lips of a pretty ( tone of voice, she is young and pretty good! ) and friendly cashier they had the system to recharge the cards and that everything is not paid on One of the finest machines in the STM, but on their fund sympathetic to them!

live humans at the controls!

Long live the STM buying the mega system second hand and wholesale prices does not even get a reliable service thereof to its customers in its own network!

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Obama awaited.

No way to escape. Right hand raised, the other resting on the Bible: the photo of Barack Obama, the new president of the United States taking the oath, is in all your newspapers this morning. "Barack Obama promises to rebuild America" as soberly business daily Les Echos . More incisive the Humanity : "Obama America against storms" .

"Reconstruction," "Promise," "challenges": these words come back to length of columns in the press this morning. And if all the editors welcome the inauguration of President Obama, evoke some skepticism. "Finally, the difficulties begin" , launches and Mougeotte in Figaro . "Americans have elected Obama to avert the crisis, revive the economy, save their homes, protect their pensions, improve Medicare, defend their environment." short, concludes the editorialist, "Still Will it be that Barack Obama has the means to keep its promises."

Moreover, as The Tribune , "for Obama, the recovery begins today" . On the menu that first day at the White House: the withdrawal from Iraq, closing Guantanamo and the anti-crisis plan. "The first day in power sets the tone for a presidency" recalls some.

Millions of people seized by the "Obamania"

press returns course details on the inauguration ceremony which was attended yesterday nearly two million people on the Mall in Washington. Le Parisien-Aujourd'hui en France traces "movie day" when the ceremony millimeter Figaro tells how "all night, danced in Washington cocktail parties and crowded."

Liberation offers a gallery of portraits of these Americans "who have crossed the country to see Obama." "This is a day of joy, not only for blacks but for everyone, we have only to look around and we see a real patchwork of people from different cultures who came attend this incredible event. "

" Time for a ceremony in the freezing cold, Obamania has warmed the entire planet "enthuses Hervé Cannet in The New Republic of Center.

In France, too, we celebrated the inauguration of Obama. As in Aubervilliers, Seine-Saint-Denis. Asked by Le Parisien , a dozen young people tell their evening. Glued to their TV, they have not lost one bit of the ceremony. And the inaugural speech for Obama.

"A discourse of crisis"

The inaugural speech was just discussed at length. Some newspapers, like Liberation or Figaro , publish the text in its entirety . For release, Obama landed president crisis opening the "era of responsibility" . "No great flight, no rhetorical purpose in raising the crowd," said Laurent Joffrin in its editorial. "Barack Obama delivered a speech sober, thoughtful, far from the hypnotic charisma that allowed him to launch his campaign."

For Michel Lépinay of Paris Normandy , Obama "has done the exercise with eloquence , summarizing all the positions developed during his election campaign. " Even in tone Press Channel: the speech was "generous, unifying, pacifying" . Obama "embodies the end of a nightmare, segregation and racism" writes Jean Levallois.

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Suppose you do not exist, and be free

You have no power over today tomorrow

Anxiety tomorrow is unnecessary.

If your heart is not foolish, do not even care about this;

Do you know what worth the days you have left to live?

Extract "Quatrains" of Omar Khayyam

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Besson gun When the immigration policy of Sarkozy

battery two years ago, Eric Besson, probable future Minister of Immigration Nicolas Sarkozy attacked - then interior minister - in a book entitled The disturbing failures of Mr Sarkozy.

Each paragraph of the chapter Immigration bear titles speak for themselves: "the immigration laws or the insured production of illegal immigrants," the law of 26 November 2003 or acknowledged failure in mid-word, "the law of 24 July 2006 or the false alibi chosen immigration ".

Throughout the pages, Besson engaged in shelling in good standing of the immigration policy of Sarkozy.

Excerpts: "By eliminating or severely restricting the main features of adjustment Nicolas Sarkozy is deprived of tools for adjustment of over water and avoiding mass regularization. In other words, Nicolas Sarkozy makes undocumented claims that his fight against illegal immigration! "

Another piece selected:" The law of 26 November 2003 had two goals as the Interior Minister: "alter the double jeopardy" and "stop the drift flow of immigration established by Act of Chevenement 1998" by giving the State "real tools to fight against illegal immigration". " "We can now measure the failure of each of these two ambitions," says Besson.

Finally, about the 2006 law that aimed to focus on immigration "chosen" immigration cons "enforced" by creating such map skills and talents "We can first question the relevance of such a policy is to encourage the installation work in France of foreign graduates of at least equal to the master and granting a residence permit "skills and talents", "Besson wrote. Instead of facilitating the movement of foreigners by granting multiple entry visas, the policy encourages permanent settlement in France and participated in the looting of the elites in developing countries. "

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Vain, fake modest, rude ... Sarkozy has sent his greetings to the members.

L e same. That sarkophiles not worry: in the first days of 2009, the great man not changed. It is just a little bit happier with himself than usual even. At the Elysee, which was held yesterday the Council of Ministers (with the traditional exchange of greetings from the Government) then a greeting ceremony grouped parliamentary and presidential council of Paris, Nicolas Sarkozy appeared dressed in his best finery face assistance dumbfounded: conceited, fake modest, rough with his predecessor Jacques Chirac (treated - without naming him explicitly of course - "idle king") and best audience of his jokes annealed.

During this chore more than three quarters of an hour, MEP Jean-Marie Le Pen went twice to the bathroom to relieve himself of the village hall. The mayor of Paris, Bertrand Delanoe, has seemed unable to boil inside interrupt him head of state using the "Bertrand" to better the ridicule on "Greater Paris" or to lecture him on what should be the opposition. As for the parliamentary majority, they still wonder what they came to the Palace. Because every time they are summoned, they were entitled to their lectures (with digressions force) on the financial crisis and the role just great - to hear it - played by their president to avert disaster ... both nationally and globally. With these ungrateful members who had inflicted a blow with the text on the work on Sunday, Nicolas Sarkozy has handled the irony in citing "lack of affection for his" sense of "feeling in his own minority family ". Adding: "I do not say that about me."

For the rest, he promised a extension to banks and welcomed them as having taken a good deal for the state, he said: "Is there one among you who has put his savings at 9%?" Then came the verses over and over so many times on the evil capitalists and their bonuses, the relevance of stimulus plan (see page 17) and his so-called "monarchical drift": "They say" omni ". I prefer to tell it that "idle king". We knew. "Finally, the crisis in Gaza, where the head of state welcomed (in the absence of leadership U.S., "he said) to have obtained with Egypt the outline of a daily three-hour truce between the belligerents. The year 2009 promises to Sarkozy as a grand cru.

Antoine Guiral (Liberation)

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Egoprésident

By Laurent Fabius

I think I was One of the first, immediately after his election to qualify Mr Sarkozy's omni. I was right and I was wrong.

Reason, because his presidency is indeed characterized by a concentration of unprecedented power. A good word geek has had this pithy and relevant, "he decides everything, all alone, all the time." And it is true that the Prime Minister and ministers have been turned into collaborators, the parliament despite the constitutional reform is destined to become a rubber stamp, that judicial independence is under daily threat. As for the power media, although many journalists brave, everything is done, especially these days, to make it tractable.

However, the term omni does not exhaust the subject's background. For the true nature of Sarkozyism is not only in this monopolization of power, but in the fact that it has the purpose itself. In domestic and foreign policy, in economic affairs as social or cultural, the main purpose of Mr. Sarkozy proved to be ... Mr. Sarkozy. Each head of state, with its qualities and faults, has dedicated his term to a large idea. De Gaulle, "a certain idea of France". President Pompidou, industrial development. Giscard, the modernization of society. Mitterrand, Chirac and the European Pact Republican. The brainchild of Mr Sarkozy seems to be especially himself. The omni is primarily a égoprésident.

This does not mean we should deny the energy he shows interest. Nor that his presidency can meet here and there the public interest. But its energy is mainly devoted to his own promotion. By adding a codicil: the interests of his family are never far away.

If in doubt, so that analysis on a month's decisions, actions, words of the person through this reading of égoprésidence: everything becomes clear.

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Dante with Abd Al Malik, Romeo and Juliet. All this "it's heavy" The enemy

After the undeniable success of her album sold in Gibraltar more than 250 000 copies, Abd Al Malik comes back even stronger with his 3rd album: Dante. Rapper signs words of the 13 tracks on this album is spiritual set to music by Gerard Jouannet and Bilal for melodies. Alain Goraguer meanwhile, arranger history of many albums of Serge Gainsbourg, it also raises his mark "with the old arrangements."

Generally we give an album title for the name of a song, the name of a song on the album. This album is called "Dante". Why?

This album is called "Dante" because it is above all a state of mind, a way of being in the world and a desire to redefine something. In this case I would say, proportionately and in all humility, that the idea is to bring something different to break down in music. And that it is essential to get out of our ghettos. The relationship between Dante and popular culture, in my view, when Dante is going from Latin to Tuscany by writing "The Divine Comedy." Knowledge that is reserved for an elite is brought to the greatest number. In a way
, it may be an anachronism, but it creates a democratization of knowledge. I feel that every artist does the same manner.

This album is always a rap album, an album of slam, songs, nothing else, an album of another kind?
This album is simply a rap album. I am convinced that this is the rapper who rap and not the reverse.

You have in this record is once again appeal to people who are references to the song "classic." You have a duet with Juliette Greco. You appealed to Gerard Jouannest to compose half of the album. You used to Alain Goraguer, arranger and composer history of French song. Why this appeal to those great seniors ?
By working with these great elders, the fact of working with Juliette Greco, Gerard and Alain Jouannest Goraguer is to say that in France we have a wonderful artistic and cultural heritage. The idea is to cultivate and preserve the heritage of modernity. There is this idea really is. All these great artists should not end up in a museum. We must be able to feed energy, their dynamics and be able to bring something today, and almost tomorrow. If you want to do something relevant and rich, can not act as if nothing had happened, as if it happened suddenly. That's interesting. My fathers rappers in the U.S. eat their heritage, soul music ... I think our heritage we are equally rich. The idea is to show the link and it is our duty to be in the momentum generated by these heroes, these artists. This is how I believe we can do something relevant, that makes sense and is in line with France as it is today.

Will you tell us how you work with Gerard Jouannest, and how you worked with Alain Goraguer studio?
My way of working with Gerard Jouannest is fairly simple. It is a method that was started in my previous album "Gibraltar". Gerard Jouannest turns at the piano, he plays things. And I say "Hey, that was good. Do what you can replay it? He replays the loop and I take a pen, a sheet and write. His music brings the words, it comes straight out. We proceeded in that way. Then when I had honed my writing and I have the model, that is to say, piano and vocals, we gave everything to Alain Goraguer. He has added the arrangements, all the work around to give this magnitude that I wanted to give. It has been fairly smooth and simple. Everything was natural. It's as if all three had worked together previously. In this case, two of them had worked together. Besides, it's me Gerard Jouannest reported that the first person he
have provided work in the trade was Alain Goraguer there are more than fifty years.

In the studio, how did it go? They recorded the orchestra and you raised your voice above? How it happened?
In the studio, it was done to the old. The musicians are there. Alain Goraguer conductor is on the panel and directs the orchestra. Jouannest is at the piano, me behind a microphone. It looks, one two three, and recorded. There was this idea of something living. There are things that happen in their eyes is wonderful. Again, it went very smoothly. Taken two at most, no more. Two taken and the matter was settled on each piece.

That means that, as there are six songs recorded with the orchestra, two each taken, you were two days in the studio to save half of the album?
No, there were two or three hours, half of the album. After it was flat patterns but it was very fast. It was a day in the studio and there were actually two hours. By the time the musicians settled, microphones ... Once we started recording, it went very quickly. Alain Goraguer told me that everyone worked like this before. They made albums in two days, recorded and mixed the next day. It was that fast at the time. Today with technology can be
more things but strangely, it still takes more time. I enjoyed myself doing the former.

You had already worked with the old, with direct contact with the orchestra? You have so far worked mainly as do all people in the rap recording studio in length. What makes it work so quickly to the voice, the expression?
Working as quickly it brings a certain spontaneity and something natural. In terms of emotion, there is something new that circulates. It is like capturing with the same energy as a live but with all the arrangements you can do with a recording studio. It is this kind of power that emerges in terms of emotion
. It is especially at this level. In terms of emotion, there is something much stronger. Obviously, I work upstream and they also blow it facilitates. Mais il ya quelque chose de l'ordre de la spontanéité, de la fraicheur et de l'inédit. Magic, a spark that someone like me, who has long worked in a conventional manner with the bands, can not find. Something not found. A little bit something different.

Is that working with these people, you sense to continue a tradition, a work? Do you feel there is no gap between the likes of Brel, Gainsbourg, who worked with
Goraguer and you, what you're doing?
I feel when I work with Alain and Gerard Jouannest Goraguer continue something, to be a tradition, but without any pretension. The idea is that these great artists who came before us gave us something in relay. I have this feeling at all cases. What they gave us in relay, I think that this is not to leave it in a museum or view it as something insurmountable. This is just to be in the same energy in this desire, in this same spirit that is both artistic and, to quote Jacques Brel, "also not be
to sell." Just be an artist. Again, I say this without any pretension. This is not to exceed or be at their level. It is to be oneself. I feel that is what they tell us, the singularity. The fact of not being afraid to be itself. It's wonderful if we can feed on their work, this wonderful heritage
and each brings its particularity. That's what interests me.

In "Gibraltar", there was this direct homage to Jacques Brel. In this album, there are direct allusions and homages to other great artists of the French chanson. There is "but Paris", which is an obvious reference to Claude Nougaro. Nougaro is an important figure for you?
Nougaro is a character I found. There is even a story. Of NAP with Bilal, who composed the other part of the album and NAP with me ever since we was in concert in Toulouse and our guide was a crazy Nougaro. We knew Nougaro and without him we said "Nougaro Nougaro ...." Bilal said he would go and buy the anthology Nougaro to have done. It starts with the anthology, he listens and he called to say "You know, Nougaro's really good, there are things to do." It makes me listen to music and it's wonderful. It is true that for me Nougaro is a monument but not a
artist to which I would naturally. I discovered, I told myself it was wonderful and had to do something. I did "But Paris" in reference to his "But Paris, the same way I did the others on the reference of Jacques Brel. This is to honor and bring down today, and show that what is wonderful about art in general is the possibility of timelessness. The emotion through time and through the ages. Bilal and I was paying homage to Nougaro in that way.

ago as a tribute to Aimé Césaire. Aime Cesaire died while you were trying to write and produce the album. It is a tribute to him very hard as you go. For you, that is Aime Cesaire, the theorist of negritude or primarily a poet, a politician?
On Aime Cesaire, the story is this. Aimé Césaire is dead, that's what I'm talking about in the text. I'm in Morocco, I zap the TV and I see the various tributes that he makes. It speaks of him as a politician, as a theorist of negritude ... And I feel that this is not enough, it is not only that. I feel that to truly pay tribute to Aimé Césaire's spoken discourse on colonialism and the great poet he is. The fact that he is the theorist of negritude, or politician, it was an accident due to the background. If he were born today or a century later, it was the same poet, that it was not an accident. For me, it is to know to truly honor his poems, known as a great poet he was. Huge French poet. I told myself I would humbly say what is
intellectually, ideologically, philosophically Cesaire to me and say that all this does not matter. That's why at the end of the text I say we go to what belongs to Césaire Césaire and I said one of his poems. For me to pay tribute to Cesaire's it.

The cover, the packaging of the album is extremely neat. It is currently a trend for major artists to make records very neat. You take a lot to be CD? You accustom to the fact that the discs for many people are only Digital? I really love
disk object. Not so much because we are in the download, or in the virtual today. For me it is equally important and I always made sure to have something neat. For me, a beautiful paper gift omen of a gift.

A shock to listen to your album is "The Tale of Alsace." You rap in French and suddenly you start rapping Alsatian language. Why? How did this happen?
In "The Tale of Alsace", the rapper made in Alsace was a desire for a very long time. But he lacked music. I was with Gerard Jouannest, I play something and I said 'That's it! . It is this piece that I've been waiting a long time to put in Alsatian. It is a sort of Alsatian waltz and it came naturally
. In "The Tale of Alsace," I talk about the history of my family, my parents. What interested me is the paradox that is not in one. My parents are from Congo Brazzaville, they arrived in Alsace and they made their lives in Alsace. I wanted to show that appropriates land when our heart beats in unison with the earth, with this people. But parents, myself and all of us, it feels really Alsatian. At the same time, our African roots and Congolese had and still count a lot. I wanted to put this story on the complexity
Alsatian. It was natural to speak Alsatian.

This disc talks a lot of France, of French identity, the French culture, the French flag. Is what you might say you're some kind of patriot?
Totally. I dare say and I say it loud: I am a patriot. My whole artistic process is an extension of that. I explain it artistically, the fact from my point of view, everything has its origins in the culture. It is culture that gives the flamboyance. I dare say I am a patriot. And I really feel that there is a French genius, something that gives us something special. There is something that the world puts us in a particular way. What is wonderful is that the richness and diversity of the national community gives more strength to the French genius. It adds even more richness to the French genius. That's what I want to do with my music, wear the flag.

Is this a hard policy ?
is a very political record, it's a hard citizen. This is not a hard political sense politicking. It's a hard activist Sartrean sense of the term, and at the same time a disc eminently spiritual.

You refer in your drive to many writers, Dante, Deleuze, Sartre, Aime Cesaire. When we say that Malik is a nerd, you agree?
I say that Malik Malik is just as it is. Everyone has their own label but I'm just me. After it is a matter of perspective. The music I make, I feel and I saw him it can save lives. Without any pretension. Me when I was a kid, there are artists who made me want to read books, to me
asked about myself, who participated in the fact that I say. I want to be one of those. I think an artist is not there to bring the facility but the complexity. It is my view and I'm here for, to bring the complexity.

You say you want to bring complexity. It turns out that the world we live in is also increasingly complex. Will it not be easier to do as much others and give simple solutions, with slogans. Sometimes you have a courageous stand, difficult, challenging. Do not you sometimes tempted to keep it simple with big slogans?
An artist does not live next to or on the periphery of society. An artist is traversed by eddies, society movements and the world. From my point of view, an artist is a kind of oracle or oracle. Sometimes we say things beyond us, things we saw. From there, we going to say will necessarily be linked with the everyday concerns of the people, people. So I can not force me to do something simple and different. I'm just me. I suffer with everyone, I have concerns everybody, I'm going to say and write
be connected to each other's concerns. It will be connected to my own concerns. I can not pretend. I have a bounden duty to be me.

Will you tell us about your duet with Juliette Greco?
I have long wanted to work with a rapper. Since the beginning I told myself that I worked with the rapper number one in France. And this singer named Juliette Greco. I had this great honor to work with her. That's what I can say.

You also worked as a couple, you've written and recorded with Wallen. How did it happen?
Working with Wallen's always very simple. We do not prepare. She has her career and I have mine, there is a kind of emulation, we look at each other's work. In the studio, it came when we did "Paris but, she listens, she said" you could do it in chorus, turning the chorus like that .... " I told her she can do
and she does. It happens like this, like I see it in the studio. In the song "Tell me Madagh" I told him: "If you had to write something, in both music and lyrics, what would you do? . One day she told me to come to the studio and she has something. On this piece, we are big fans of the work of Thom Yorke. It's a bit inspired by that.

There is a way that our friends south will inevitably point out is "The Marseilles", a song staggering. Marseille Marseille and spirit is important for man and rapper Malik?
Marseille is doubly important for me. It is important for man Malik because I have friends in Marseille. My manager is from the area, it made me know and love this area. It is important for the artist Malik because every time I did a concert, there is a kind reception and special warmth. They received me as if I were one of them and that's wonderful. And there's this story I tell in "Le Marseilles". It is a Marseille who came to our house in Alsace in Strasbourg. I tell his story. He spoke to us of Marseille. Marseille for me was something wonderful. The day I saw Marseille truly I saw and I knew he was right, Marseille has a particular spirit. A similar spirit, different but close to the Alsatian soul. My impression is that particularism is one thing, but inside there is something that connects. There is a strong identity which we find ourselves. I found myself in Marseille, as when I'm home in Alsace. The city resounds especially for me.

Interview by Bertrand Dicale

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My youth was a dark storm
Crossed now and then by brilliant suns
Thunder and rain have caused such havoc,
it remains in my garden very few ripe fruits.

That I touched the fall of ideas
And that should be used shovels and rakes
To bring to nine the wetlands, where water
digs holes as large as tombs.

And who knows if the new flowers I dream
find in this soil washed like a strike
The mystical food that would force them?

- Alas! O pain! Time eats life
And Dark Enemy who gnaws at the heart
the blood we lose grows and strengthens!

Charles Baudelaire

Red Dates And Pregnancy

I like this expression. I prefer the mixed nuts by cons.

It describes pretty much what I feel now. Yes, I can not wait to start working. I look forward to going to a class, review sparks, active and feel useful, to teach and help students who need them. For cons, the rush also means that I will redo the ballet classes, the armory of the substitution, the racket calls, rollercoasters tape, clowning course changes of decisions. That, I feel like it less. And yet, if I was on call as 95% of the alternates, it could be 100 times worse with the uncertainty of calls and pay. Them, I sympathize with them, it must truly hurt the morale of being treated as less than nothing.

Of course I took this contract knowingly. In desperation. In hopes of issue; I wish things change a little. But no, the varlopage continues, the "bullshitage" continues the musical chairs of guidance and responsibility as well. Ask for explanations, improvements to complain or leads nowhere, I go for I am whiner certain, and it eats me more energy there results. It only remains for me to hang myself that I have left my profession is the need for and pride in doing my work and to advance the children even for a day or two of attendance. I still also the appreciation from colleagues, principals, kind words of the children I meet, the joy in their eyes seeing me back (even among those who remember having tasted my medicine).

And I still write, to vent a little what I feel like tonight.

Welcome back to all those who return tomorrow!

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AND IF OBAMA WAS AFRICAN? Dorsal

hopeful note of Clotaire TL, Douala, Cameroon

Africans jubilee with victory Obama. I am one of them. After a sleepless night in the twilight of dawn unreal, tears gushed from my eyes when he delivered his victory speech. I too won. Happiness had already invaded when Nelson Mandela was released and the new statesman would consolidate a path of dignity for Africa.

the night of November 5, 2008, the new U.S. president was not only a man who spoke was the muffled voice of hope that rose again, free, in all of us. My heart had voted. Used to ask little, I celebrated a victory disproportionate. When I went out into the street, my town was like transported to Chicago, black and white breathing, uniting in a single surprise happiness. For Obama's victory was not the victory dune "race" over another: without the massive participation of Americans of all colors, including the white majority, the United States of America do we have not given why so much hope.

In the days that followed this victory, I heard the euphoric reactions from all corners of our continent, anonymous people, ordinary citizens wanted to show their happiness. At the same time, I noted with some caution, messages of solidarity from almost all African leaders who called Obama "our brother". All these leaders Were they really sincere? Is Obama related to so many people so different politically? I have some doubts in our excitement in seeing that prejudice in others, we are not able indeed to see our own feelings and our racist xenophobia. In our urgency to condemn the West, we forget to accept the lessons that come to us from across the world.

If Obama was African, one of his competitors would introduce a constitutional amendment to extend his tenure beyond the term fixed for his and our Obama should wait many years to be able to run again. If we take into account the effect of tenure in power in Africa by the same president, that is nothing less than 41 years in Gabon, Libya in 39 years, 28 years in Zimbabwe, 28 years in Angola, 27 years in Egypt, 26 Cameroon years ... Anyway, a couple of presidents in power on our continent for over 20 consecutive years! Mugabe, for example, has 90 years when he finishes his current term. Mandate it has imposed in defiance of the popular verdict!

If Obama was African, he probably would be the candidate of an opposition party and even then would not be able to campaign. Things would be like in Zimbabwe and Cameroon. It would physically and psychologically abused, he could be imprisoned and at the same time he would withdraw his passport. Small "Bush" Africans do not tolerate opposition, does not tolerate democracy.

From all this, the truth is that Obama is not African, the truth is that Africans, ordinary people, anonymous workers commemorated their whole soul Obama's victory. But I do not think that dictators and corrupt countries in Africa have the right to invite to this party. The same day that Obama has confirmed his victory in the international media, bad news Africa continued to pile up: Africa continued to be a victim of war, mismanagement, of greedy ambition of politicians. After murdering the policy in some cases there is only war, in other abandonment and cynicism.

There is only way to celebrate the victory of Obama in African countries, is striving for that new signs of hope can be born here on our continent is striving for that Obama Africans can also emerge as winners and that we Africans of all ethnicities with these vainquions Obama then and can celebrate with us as we celebrate this Today among others.

Cross Dressers Short Skirt

bossale

there are volcanoes that die
there are volcanoes that remain
there are volcanoes that are just for the wind there are volcanoes
crazy
ago volcanoes drunk adrift
there are volcanoes whose mouth emerges occasionally
real dogfish
there are volcanoes that veil their faces in the clouds always

there are volcanoes like wallowing rhinoceros whose tired
you can feel the pocket galactic
there are volcanoes piles raising monuments to people missing
there are volcanoes volcanoes vigilant
barking
standing guard at the threshold of Kraal
people sleeping there are fantastic volcanoes that appear and disappear
(these are games lemurs)
we must not forget those who are not the smallest volcanoes
no backbone and has never identified with the night grudges are built
there are volcanoes whose mouth is an accurate measure of the ancient tear.

Aime Cesaire.