Podcasts about chatterton

Une femme en kimono sortant d'un métro parisien : quelle est sa vie ? Vit-elle à Paris ? Pourquoi cette femme a-t-elle décidé de venir vivre en France ? Est-elle mariée à un Français ? Qui sont ses amis ? Que mange-t-elle ? Autant de questions à l'origine du livre de Dorothée Perkins, photographe, autrice et imprégnée de culture japonaise. De rencontres en rencontres, riches, entre Paris et Tokyo, elle a découvert un monde, et discerné les sources de la romance qu'entretiennent le Japon et la France depuis près de 2 siècles. Pour notre émission, le rendez-vous avait été donné chez Kiko et Tsuyu, mère et fille, toute deux artistes, peintre et plasticienne installées dans le 14ème arrondissement de Paris -un merveilleux ilot japonais- chez deux amies de 20 ans de Dorothée Perkins. Une rencontre suspendue, hors du temps, autour de la préparation d'un repas, observer les gestes, la confection de l'incontournable bouillon dashi, se découvrir, échanger, et au fil du repas confirmer l'attirance et le lien si doux entre nos cultures. Avec la peintre Kiko Shimizu, sa fille : l'artiste plasticienne Tsuyu Bridwell, Koto sa petite fille et Dorothée Perkins, photographe et autrice de « Paris Tokyo mon amour », paru aux éditions La Martinière. Un voyage dans le monde entre Paris et Tokyo, et des adresses de cœur y sont partagées comme chuchotées à l'oreille, ce livre est un cadeau. Dorothée Perkins est aussi l'autrice de « La foi, la fourche, la fourchette » avec Perrine Bulgheroni, aux éditions Hachette. Sur les réseaux. Pour découvrir le travail de Tsuyu Bridwell.   EN IMAGES   Pour aller plus loin - Épiceries Kioko, la première et la plus ancienne, 46 rue des Petits-Champs, Paris 2ème - Irasshai : 4-8 rue du Louvre, 75001 Paris - Dans l'émission, nous découvrons l'école hôtelière Tsuji dans le Beaujolais - L'association de Kimonos, de Yuki Eiffeil - Le parc de Sceaux pour observer les cerisiers en fleurs - Kunitoraya rue Sainte Anne à Paris - Les ramen chez Ippudo - Mika et Xavier Pensec à Brest, véritable sushi-ya, la cuisine de Xavier est un art : Hinoki - Le café Verlet à Paris  - L'association Quartier Japon - La maison du Japon  - Maison du Moji  - Nukadoko : légumes lactofermentés au son de riz - La banque de Tokyo, rue Sainte Anne, a laissé sa place aujourd'hui au supermarché coréen K-Mart - Cuisine japonaise maison, de Maori Murota - Dictionnaire gourmand du Japon de Chihiro Masui, éditions Flammarion - Les livres de Ryoko Sekiguchi notamment Nagori, aux éditions P.O.L - Paul Claudel l'oiseau noir dans le soleil levant, aux éditions NRF - Perfect Days, de Wim Wenders.   Programmation musicale : Allons voir, de Feu ! Chatterton.

Une femme en kimono sortant d'un métro parisien : quelle est sa vie ? Vit-elle à Paris ? Pourquoi cette femme a-t-elle décidé de venir vivre en France ? Est-elle mariée à un Français ? Qui sont ses amis ? Que mange-t-elle ? Autant de questions à l'origine du livre de Dorothée Perkins, photographe, autrice et imprégnée de culture japonaise. De rencontres en rencontres, riches, entre Paris et Tokyo, elle a découvert un monde, et discerné les sources de la romance qu'entretiennent le Japon et la France depuis près de 2 siècles. Pour notre émission, le rendez-vous avait été donné chez Kiko et Tsuyu, mère et fille, toute deux artistes, peintre et plasticienne installées dans le 14ème arrondissement de Paris -un merveilleux ilot japonais- chez deux amies de 20 ans de Dorothée Perkins. Une rencontre suspendue, hors du temps, autour de la préparation d'un repas, observer les gestes, la confection de l'incontournable bouillon dashi, se découvrir, échanger, et au fil du repas confirmer l'attirance et le lien si doux entre nos cultures. Avec la peintre Kiko Shimizu, sa fille : l'artiste plasticienne Tsuyu Bridwell, Koto sa petite fille et Dorothée Perkins, photographe et autrice de « Paris Tokyo mon amour », paru aux éditions La Martinière. Un voyage dans le monde entre Paris et Tokyo, et des adresses de cœur y sont partagées comme chuchotées à l'oreille, ce livre est un cadeau. Dorothée Perkins est aussi l'autrice de « La foi, la fourche, la fourchette » avec Perrine Bulgheroni, aux éditions Hachette. Sur les réseaux. Pour découvrir le travail de Tsuyu Bridwell.   EN IMAGES   Pour aller plus loin - Épiceries Kioko, la première et la plus ancienne, 46 rue des Petits-Champs, Paris 2ème - Irasshai : 4-8 rue du Louvre, 75001 Paris - Dans l'émission, nous découvrons l'école hôtelière Tsuji dans le Beaujolais - L'association de Kimonos, de Yuki Eiffeil - Le parc de Sceaux pour observer les cerisiers en fleurs - Kunitoraya rue Sainte Anne à Paris - Les ramen chez Ippudo - Mika et Xavier Pensec à Brest, véritable sushi-ya, la cuisine de Xavier est un art : Hinoki - Le café Verlet à Paris  - L'association Quartier Japon - La maison du Japon  - Maison du Moji  - Nukadoko : légumes lactofermentés au son de riz - La banque de Tokyo, rue Sainte Anne, a laissé sa place aujourd'hui au supermarché coréen K-Mart - Cuisine japonaise maison, de Maori Murota - Dictionnaire gourmand du Japon de Chihiro Masui, éditions Flammarion - Les livres de Ryoko Sekiguchi notamment Nagori, aux éditions P.O.L - Paul Claudel l'oiseau noir dans le soleil levant, aux éditions NRF - Perfect Days, de Wim Wenders.   Programmation musicale : Allons voir, de Feu ! Chatterton.

durée : 00:11:05 - France Culture va plus loin (l'Invité(e) des Matins d'été) - par : Astrid de Villaines, Stéphanie Villeneuve, Sarah Masson - Le groupe Feu! Chatterton a annoncé que son quatrième album studio, “Labyrinthe”, serait disponible le 12 septembre prochain. En attendant, le premier single de l'album, “Allons voir”, est déjà disponible, et il annonce l'esprit joyeux et plein d'espoir de l'album à venir... - réalisation : Félicie Faugère - invités : Arthur Teboul Chanteur; Sébastien Wolf Musicien, compositeur; Feu! Chatterton Groupe français de rock et pop, originaire de Paris

durée : 02:05:30 - Les Matins d'été - par : Astrid de Villaines, Stéphanie Villeneuve, Sarah Masson - . - réalisation : Félicie Faugère - invités : Yohann Michel Analyste de recherche pour la défense et l'analyse militaire à l'IISS, The International Institute for Strategic Studies; Amélie Férey Politiste, responsable du laboratoire de recherche sur la défense de l'IFRI; Laetitia Bucaille Professeure de sociologie politique à l'Inalco; Feu! Chatterton Groupe français de rock et pop, originaire de Paris

Beth Chatterton, McDonough County 4-H Program Coordinator with the University of Illinois Extension, gives a look into the 2025 McDonough County Fair.

Frances Wilson has written biographies of Dorothy Wordsworth, Thomas De Quincey, D.H. Lawrence, and, most recently, Muriel Spark. I thought Electric Spark was excellent. In my review, I wrote: “Wilson has done far more than string the facts together. She has created a strange and vivid portrait of one of the most curious of twentieth century novelists.” In this interview, we covered questions like why Thomas De Quincey is more widely read, why D.H. Lawrence's best books aren't his novels, Frances's conversion to spookiness, what she thinks about a whole range of modern biographers, literature and parasocial relationships, Elizabeth Bowen, George Meredith, and plenty about Muriel Spark.Here are two brief extracts. There is a full transcript below.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?And.Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now.TranscriptHenry: Today, I am talking to Frances Wilson. Frances is a biographer. Her latest book, Electric Spark, is a biography of the novelist Muriel Spark, but she has also written about Dorothy Wordsworth, Thomas De Quincey, DH Lawrence and others. Frances, welcome.Frances Wilson: Thank you so much for having me on.Henry: Why don't more people read Thomas De Quincey's work?Frances: [laughs] Oh, God. We're going right into the deep end.[laughter]Frances: I think because there's too much of it. When I chose to write about Thomas De Quincey, I just followed one thread in his writing because Thomas De Quincey was an addict. One of the things he was addicted to was writing. He wrote far, far, far too much. He was a professional hack. He was a transcendental hack, if you like, because all of his writing he did while on opium, which made the sentences too long and too high and very, very hard to read.When I wrote about him, I just followed his interest in murder. He was fascinated by murder as a fine art. The title of one of his best essays is On Murder as One of the Fine Arts. I was also interested in his relationship with Wordsworth. I twinned those together, which meant cutting out about 97% of the rest of his work. I think people do read his Confessions of an English Opium-Eater. I think that's a cult text. It was the memoir, if you want to call it a memoir, that kick-started the whole pharmaceutical memoir business on drugs.It was also the first addict's memoir and the first recovery memoir, and I'd say also the first misery memoir. He's very much at the root of English literary culture. We're all De Quincey-an without knowing it, is my argument.Henry: Oh, no, I fully agree. That's what surprises me, that they don't read him more often.Frances: I know it's a shame, isn't it? Of all the Romantic Circle, he's the one who's the most exciting to read. Also, Lamb is wonderfully exciting to read as well, but Lamb's a tiny little bit more grounded than De Quincey, who was literally not grounded. He's floating in an opium haze above you.[laughter]Henry: What I liked about your book was the way you emphasized the book addiction, not just the opium addiction. It is shocking the way he piled up chests full of books and notebooks, and couldn't get into the room because there were too many books in there. He was [crosstalk].Frances: Yes. He had this in common with Muriel Spark. He was a hoarder, but in a much more chaotic way than Spark, because, as you say, he piled up rooms with papers and books until he couldn't get into the room, and so just rented another room. He was someone who had no money at all. The no money he had went on paying rent for rooms, storing what we would be giving to Oxfam, or putting in the recycling bin. Then he'd forget that he was paying rent on all these rooms filled with his mountains of paper. The man was chaos.Henry: What is D.H. Lawrence's best book?Frances: Oh, my argument about Lawrence is that we've gone very badly wrong in our reading of him, in seeing him primarily as a novelist and only secondarily as an essayist and critic and short story writer, and poet. This is because of F.R. Leavis writing that celebration of him called D.H. Lawrence: Novelist, because novels are not the best of Lawrence. I think the best of his novels is absolutely, without doubt, Sons and Lovers. I think we should put the novels in the margins and put in the centre, the poems, travel writing.Absolutely at the centre of the centre should be his studies in classic American literature. His criticism was- We still haven't come to terms with it. It was so good. We haven't heard all of Lawrence's various voices yet. When Lawrence was writing, contemporaries didn't think of Lawrence as a novelist at all. It was anyone's guess what he was going to come out with next. Sometimes it was a novel [laughs] and it was usually a rant about-- sometimes it was a prophecy. Posterity has not treated Lawrence well in any way, but I think where we've been most savage to him is in marginalizing his best writing.Henry: The short fiction is truly extraordinary.Frances: Isn't it?Henry: I always thought Lawrence was someone I didn't want to read, and then I read the short fiction, and I was just obsessed.Frances: It's because in the short fiction, he doesn't have time to go wrong. I think brevity was his perfect length. Give him too much space, and you know he's going to get on his soapbox and start ranting, start mansplaining. He was a terrible mansplainer. Mansplaining his versions of what had gone wrong in the world. It is like a drunk at the end of a too-long dinner party, and you really want to just bundle him out. Give him only a tiny bit of space, and he comes out with the perfection that is his writing.Henry: De Quincey and Lawrence were the people you wrote about before Muriel Spark, and even though they seem like three very different people, but in their own way, they're all a little bit mad, aren't they?Frances: Yes, that is, I think, something that they have in common. It's something that I'm drawn to. I like writing about difficult people. I don't think I could write about anyone who wasn't difficult. I like difficult people in general. I like the fact that they pose a puzzle and they're hard to crack, and that their difficulty is laid out in their work and as a code. I like tackling really, really stubborn personalities as well. Yes, they were all a bit mad. The madness was what fuelled their journeys without doubt.Henry: This must make it very hard as a biographer. Is there always a code to be cracked, or are you sometimes dealing with someone who is slippery and protean and uncrackable?Frances: I think that the way I approach biography is that there is a code to crack, but I'm not necessarily concerned with whether I crack it or not. I think it's just recognizing that there's a hell of a lot going on in the writing and that, in certain cases and not in every case at all, the best way of exploring the psyche of the writer and the complexity of the life is through the writing, which is a argument for psycho biography, which isn't something I necessarily would argue for, because it can be very, very crude.I think with the writers I choose, there is no option. Muriel Spark argued for this as well. She said in her own work as a biographer, which was really very, very strong. She was a biographer before she became a novelist. She thought hard about biography and absolutely in advance of anyone else who thought about biography, she said, "Of course, the only way we can approach the minds of writers is through their work, and the writer's life is encoded in the concerns of their work."When I was writing about Muriel Spark, I followed, as much as I could, to the letter, her own theories of biography, believing that that was part of the code that she left. She said very, very strong and very definitive things about what biography was about and how to write a biography. I tried to follow those rules.Henry: Can we play a little game where I say the names of some biographers and you tell me what you think of them?Frances: Oh my goodness. Okay.Henry: We're not trying to get you into trouble. We just want some quick opinions. A.N. Wilson.Frances: I think he's wonderful as a biographer. I think he's unzipped and he's enthusiastic and he's unpredictable and he's often off the rails. I think his Goethe biography-- Have you read the Goethe biography?Henry: Yes, I thought that was great.Frances: It's just great, isn't it? It's so exciting. I like the way that when he writes about someone, it's almost as if he's memorized the whole of their work.Henry: Yes.Frances: You don't imagine him sitting at a desk piled with books and having to score through his marginalia. It sits in his head, and he just pours it down on a page. I'm always excited by an A.N. Wilson biography. He is one of the few biographers who I would read regardless of who the subject was.Henry: Yes.Frances: I just want to read him.Henry: He does have good range.Frances: He absolutely does have good range.Henry: Selina Hastings.Frances: I was thinking about Selina Hastings this morning, funnily enough, because I had been talking to people over the weekend about her Sybil Bedford biography and why that hadn't lifted. She wrote a very excitingly good life of Nancy Mitford and then a very unexcitingly not good life of Sybil Bedford. I was interested in why the Sybil Bedford simply hadn't worked. I met people this weekend who were saying the same thing, that she was a very good biographer who had just failed [laughs] to give us anything about Sybil Bedford.I think what went wrong in that biography was that she just could not give us her opinions. It's as if she just withdrew from her subject as if she was writing a Wikipedia entry. There were no opinions at all. What the friends I was talking to said was that she just fell out with her subject during the book. That's what happened. She stopped being interested in her. She fell out with her and therefore couldn't be bothered. That's what went wrong.Henry: Interesting. I think her Evelyn Waugh biography is superb.Frances: Yes, I absolutely agree. She was on fire until this last one.Henry: That's one of the best books on Waugh, I think.Frances: Yes.Henry: Absolutely magical.Frances: I also remember, it's a very rare thing, of reading a review of it by Hilary Mantel saying that she had not read a biography that had been as good, ever, as Selina Hastings' on Evelyn Waugh. My goodness, that's high praise, isn't it?Henry: Yes, it is. It is. I'm always trying to push that book on people. Richard Holmes.Frances: He's my favourite. He's the reason that I'm a biographer at all. I think his Coleridge, especially the first volume of the two-volume Coleridge, is one of the great books. It left me breathless when I read it. It was devastating. I also think that his Johnson and Savage book is one of the great books. I love Footsteps as well, his account of the books he didn't write in Footsteps. I think he has a strange magic. When Muriel Spark talked about certain writers and critics having a sixth literary sense, which meant that they tuned into language and thought in a way that the rest of us don't, I think that Richard Holmes does have that. I think he absolutely has it in relation to Coleridge. I'm longing for his Tennyson to come out.Henry: Oh, I know. I know.Frances: Oh, I just can't wait. I'm holding off on reading Tennyson until I've got Holmes to help me read him. Yes, he is quite extraordinary.Henry: I would have given my finger to write the Johnson and Savage book.Frances: Yes, I know. I agree. How often do you return to it?Henry: Oh, all the time. All the time.Frances: Me too.Henry: Michael Holroyd.Frances: Oh, that's interesting, Michael Holroyd, because I think he's one of the great unreads. I think he's in this strange position of being known as a greatest living biographer, but nobody's read him on Augustus John. [laughs] I haven't read his biographies cover to cover because they're too long and it's not in my subject area, but I do look in them, and they're novelistic in their wit and complexity. His sentences are very, very, very entertaining, and there's a lot of freight in each paragraph. I hope that he keeps selling.I love his essays as well, and also, I think that he has been a wonderful ambassador for biography. He's very, very supportive of younger biographers, which not every biographer is, but I know he's been very supportive of younger biographers and is incredibly approachable.Henry: Let's do a few Muriel Spark questions. Why was the Book of Job so important to Muriel Spark?Frances: I think she liked it because it was rogue, because it was the only book of the Bible that wasn't based on any evidence, it wasn't based on any truth. It was a fictional book, and she liked fiction sitting in the middle of fact. That was one of her main things, as all Spark lovers know. She liked the fact that there was this work of pure imagination and extraordinarily powerful imagination sitting in the middle of the Old Testament, and also, she thought it was an absolutely magnificent poem.She saw herself primarily as a poet, and she responded to it as a poem, which, of course, it is. Also, she liked God in it. She described Him as the Incredible Hulk [laughs] and she liked His boastfulness. She enjoyed, as I do, difficult personalities, and she liked the fact that God had such an incredibly difficult personality. She liked the fact that God boasted and boasted and boasted, "I made this and I made that," to Job, but also I think she liked the fact that you hear God's voice.She was much more interested in voices than she was in faces. The fact that God's voice comes out of the burning bush, I think it was an image for her of early radio, this voice speaking, and she liked the fact that what the voice said was tricksy and touchy and impossibly arrogant. He gives Moses all these instructions to lead the Israelites, and Moses says, "But who shall I say sent me? Who are you?" He says, "I am who I am." [laughs] She thought that was completely wonderful. She quotes that all the time about herself. She says, "I know it's a bit large quoting God, but I am who I am." [laughs]Henry: That disembodied voice is very important to her fiction.Frances: Yes.Henry: It's the telephone in Memento Mori.Frances: Yes.Henry: Also, to some extent, tell me what you think of this, the narrator often acts like that.Frances: Like this disembodied voice?Henry: Yes, like you're supposed to feel like you're not quite sure who's telling you this or where you're being told it from. That's why it gets, like in The Ballad of Peckham Rye or something, very weird.Frances: Yes. I'm waiting for the PhD on Muriel Sparks' narrators. Maybe it's being done as we speak, but she's very, very interested in narrators and the difference between first-person and third-person. She was very keen on not having warm narrators, to put it mildly. She makes a strong argument throughout her work for the absence of the seductive narrative. Her narratives are, as we know, unbelievably seductive, but not because we are being flattered as readers and not because the narrator makes herself or himself pretty. The narrator says what they feel like saying, withholds most of what you would like them to say, plays with us, like in a Spark expression, describing her ideal narrator like a cat with a bird [laughs].Henry: I like that. Could she have been a novelist if she had not become a Catholic?Frances: No, she couldn't. The two things happened at the same time. I wonder, actually, whether she became a Catholic in order to become a novelist. It wasn't that becoming a novelist was an accidental effect of being a Catholic. The conversion was, I think, from being a biographer to a novelist rather than from being an Anglican to a Catholic. What happened is a tremendous interest. I think it's the most interesting moment in any life that I've ever written about is the moment of Sparks' conversion because it did break her life in two.She converted when she was in her mid-30s, and several things happened at once. She converted to Catholicism, she became a Catholic, she became a novelist, but she also had this breakdown. The breakdown was very much part of that conversion package. The breakdown was brought on, she says, by taking Dexys. There was slimming pills, amphetamines. She wanted to lose weight. She put on weight very easily, and her weight went up and down throughout her life.She wanted to take these diet pills, but I think she was also taking the pills because she needed to do all-nighters, because she never, ever, ever stopped working. She was addicted to writing, but also she was impoverished and she had to sell her work, and she worked all night. She was in a rush to get her writing done because she'd wasted so much of her life in her early 20s, in a bad marriage trapped in Africa. She needed to buy herself time. She was on these pills, which have terrible side effects, one of which is hallucinations.I think there were other reasons for her breakdown as well. She was very, very sensitive and I think psychologically fragile. Her mother lived in a state of mental fragility, too. She had a crash when she finished her book. She became depressed. Of course, a breakdown isn't the same as depression, but what happened to her in her breakdown was a paranoid attack rather than a breakdown. She didn't crack into nothing and then have to rebuild herself. She just became very paranoid. That paranoia was always there.Again, it's what's exciting about her writing. She was drawn to paranoia in other writers. She liked Cardinal Newman's paranoia. She liked Charlotte Brontë's paranoia, and she had paranoia. During her paranoid attack, she felt very, very interestingly, because nothing that happened in her life was not interesting, that T.S. Eliot was sending her coded messages. He was encoding these messages in his play, The Confidential Clerk, in the program notes to the play, but also in the blurbs he wrote for Faber and Faber, where he was an editor. These messages were very malign and they were encoded in anagrams.The word lived, for example, became devil. I wonder whether one of the things that happened during her breakdown wasn't that she discovered God, but that she met the devil. I don't think that that's unusual as a conversion experience. In fact, the only conversion experience she ever describes, you'll remember, is in The Girls of Slender Means, when she's describing Nicholas Farrington's conversion. That's the only conversion experience she ever describes. She says that his conversion is when he sees one of the girls leaving the burning building, holding a Schiaparelli dress. Suddenly, he's converted because he's seen a vision of evil.She says, "Conversion can be as a result of a recognition of evil, rather than a recognition of good." I think that what might have happened in this big cocktail of things that happened to her during her breakdown/conversion, is that a writer whom she had idolized, T.S. Eliot, who taught her everything that she needed to know about the impersonality of art. Her narrative coldness comes from Eliot, who thought that emotions had no place in art because they were messy, and art should be clean.I think a writer whom she had idolized, she suddenly felt was her enemy because she was converting from his church, because he was an Anglo-Catholic. He was a high Anglican, and she was leaving Anglo-Catholicism to go through the Rubicon, to cross the Rubicon into Catholicism. She felt very strongly that that is something he would not have approved of.Henry: She's also leaving poetry to become a prose writer.Frances: She was leaving his world of poetry. That's absolutely right.Henry: This is a very curious parallel because the same thing exactly happens to De Quincey with his worship of Wordsworth.Frances: You're right.Henry: They have the same obsessive mania. Then this, as you say, not quite a breakdown, but a kind of explosive mania in the break. De Quincey goes out and destroys that mossy hut or whatever it is in the orchard, doesn't he?Frances: Yes, that disgusting hut in the orchard. Yes, you're completely right. What fascinated me about De Quincey, and this was at the heart of the De Quincey book, was how he had been guided his whole life by Wordsworth. He discovered Wordsworth as a boy when he read We Are Seven, that very creepy poem about a little girl sitting on her sibling's grave, describing the sibling as still alive. For De Quincey, who had lost his very adored sister, he felt that Wordsworth had seen into his soul and that Wordsworth was his mentor and his lodestar.He worshipped Wordsworth as someone who understood him and stalked Wordsworth, pursued and stalked him. When he met him, what he discovered was a man without any redeeming qualities at all. He thought he was a dry monster, but it didn't stop him loving the work. In fact, he loved the work more and more. What threw De Quincey completely was that there was such a difference between Wordsworth, the man who had no genius, and Wordsworth, the poet who had nothing but.Eliot described it, the difference between the man who suffers and the mind which creates. What De Quincey was trying to deal with was the fact that he adulated the work, but was absolutely appalled by the man. Yes, you're right, this same experience happened to spark when she began to feel that T.S. Eliot, whom she had never met, was a malign person, but the work was still not only of immense importance to her, but the work had formed her.Henry: You see the Wasteland all over her own work and the shared Dante obsession.Frances: Yes.Henry: It's remarkably strong. She got to the point of thinking that T.S. Eliot was breaking into her house.Frances: Yes. As I said, she had this paranoid imagination, but also what fired her imagination and what repeated itself again and again in the imaginative scenarios that recur in her fiction and nonfiction is the idea of the intruder. It was the image of someone rifling around in cupboards, drawers, looking at manuscripts. This image, you first find it in a piece she wrote about finding herself completely coincidentally, staying the night during the war in the poet Louis MacNeice's house. She didn't know it was Louis MacNeice's house, but he was a poet who was very, very important to her.Spark's coming back from visiting her parents in Edinburgh in 1944. She gets talking to an au pair on the train. By the time they pull into Houston, there's an air raid, and the au pair says, "Come and spend the night at mine. My employers are away and they live nearby in St. John's Wood." Spark goes to this house and sees it's packed with books and papers, and she's fascinated by the quality of the material she finds there.She looks in all the books. She goes into the attic, and she looks at all the papers, and she asks the au pair whose house it is, and the au pair said, "Oh, he's a professor called Professor Louis MacNeice." Spark had just been reading Whitney. He's one of her favourite poets. She retells this story four times in four different forms, as non-fiction, as fiction, as a broadcast, as reflections, but the image that keeps coming back, what she can't get rid of, is the idea of herself as snooping around in this poet's study.She describes herself, in one of the versions, as trying to draw from his papers his power as a writer. She says she sniffs his pens, she puts her hands over his papers, telling herself, "I must become a writer. I must become a writer." Then she makes this weird anonymous phone call. She loved the phone because it was the most strange form of electrical device. She makes a weird anonymous phone call to an agent, saying, "I'm ringing from Louis MacNeice's house, would you like to see my manuscript?" She doesn't give her name, and the agent says yes.Now I don't believe this phone call took place. I think it's part of Sparks' imagination. This idea of someone snooping around in someone else's room was very, very powerful to her. Then she transposed it in her paranoid attack about T.S. Eliot. She transposed the image that Eliot was now in her house, but not going through her papers, but going through her food cupboards. [laughs] In her food cupboards, all she actually had was baked beans because she was a terrible cook. Part of her unwellness at that point was malnutrition. No, she thought that T.S. Eliot was spying on her. She was obsessed with spies. Spies, snoopers, blackmailers.Henry: T.S. Eliot is Stealing My Baked Beans would have been a very good title for a memoir.Frances: It actually would, wouldn't it?Henry: Yes, it'd be great.[laughter]Henry: People listening will be able to tell that Spark is a very spooky person in several different ways. She had what I suppose we would call spiritual beliefs to do with ghosts and other sorts of things. You had a sort of conversion of your own while writing this book, didn't you?Frances: Yes, I did. [laughs] Every time I write a biography, I become very, very, very immersed in who I'm writing about. I learned this from Richard Holmes, who I see as a method biographer. He Footsteps his subjects. He becomes his subjects. I think I recognized when I first read Holmes's Coleridge, when I was a student, that this was how I also wanted to live. I wanted to live inside the minds of the people that I wrote about, because it was very preferable to live inside my own mind. Why not live inside the mind of someone really, really exciting, one with genius?What I felt with Spark wasn't so much that I was immersed by-- I wasn't immersed by her. I felt actually possessed by her. I think this is the Spark effect. I think a lot of her friends felt like this. I think that her lovers possibly felt like this. There is an extraordinary force to her character, which absolutely lives on, even though she's dead, but only recently dead. The conversion I felt, I think, was that I have always been a very enlightenment thinker, very rational, very scientific, very Freudian in my approach to-- I will acknowledge the unconscious but no more.By the time I finished with Spark, I'm pure woo-woo now. Anything can happen. This is one of the reasons Spark was attracted to Catholicism because anything can happen, because it legitimizes the supernatural. I felt so strongly that the supernatural experiences that Spark had were real, that what Spark was describing as the spookiness of our own life were things that actually happened.One of the things I found very, very unsettling about her was that everything that happened to her, she had written about first. She didn't describe her experiences in retrospect. She described them as in foresight. For example, her first single authored published book, because she wrote for a while in collaboration with her lover, Derek Stanford, but her first single authored book was a biography of Mary Shelley.Henry: Great book.Frances: An absolutely wonderful book, which really should be better than any of the other Mary Shelley biographies. She completely got to Mary Shelley. Everything she described in Mary Shelley's life would then happen to Spark. For example, she described Mary Shelley as having her love letters sold. Her lover sold Mary Shelley's love letters, and Mary Shelley was then blackmailed by the person who bought them. This happened to Spark. She described Mary Shelley's closest friends all becoming incredibly jealous of her literary talent. This happened to Spark. She described trusting people who betrayed her. This happened to Spark.Spark was the first person to write about Frankenstein seriously, to treat Frankenstein as a masterpiece rather than as a one-off weird novel that is actually just the screenplay for a Hammer Horror film. This was 1951, remember. Everything she described in Frankenstein as its power is a hybrid text, described the powerful hybrid text that she would later write about. What fascinated her in Frankenstein was the relationship between the creator and the monster, and which one was the monster. This is exactly the story of her own life. I think where she is. She was really interested in art monsters and in the fact that the only powerful writers out there, the only writers who make a dent, are monsters.If you're not a monster, you're just not competing. I think Spark has always spoken about as having a monster-like quality. She says at the end of one of her short stories, Bang-bang You're Dead, "Am I an intellectual woman, or am I a monster?" It's the question that is frequently asked of Spark. I think she worked so hard to monsterize herself. Again, she learnt this from Elliot. She learnt her coldness from Elliot. She learnt indifference from Elliot. There's a very good letter where she's writing to a friend, Shirley Hazzard, in New York.It's after she discovers that her lover, Derek Stanford, has sold her love letters, 70 love letters, which describe two very, very painfully raw, very tender love letters. She describes to Shirley Hazzard this terrible betrayal. She says, "But, I'm over it. I'm over it now. Now I'm just going to be indifferent." She's telling herself to just be indifferent about this. You watch her tutoring herself into the indifference that she needed in order to become the artist that she knew she was.Henry: Is this why she's attracted to mediocrities, because she can possess them and monsterize them, and they're good feeding for her artistic programme?Frances: Her attraction to mediocrities is completely baffling, and it makes writing her biography, a comedy, because the men she was surrounded by were so speck-like. Saw themselves as so important, but were, in fact, so speck-like that you have to laugh, and it was one after another after another. I'd never come across, in my life, so many men I'd never heard of. This was the literary world that she was surrounded by. It's odd, I don't know whether, at the time, she knew how mediocre these mediocrities were.She certainly recognised it in her novels where they're all put together into one corporate personality called the pisseur de copie in A Far Cry from Kensington, where every single literary mediocrity is in that critic who she describes as pissing and vomiting out copy. With Derek Stanford, who was obviously no one's ever heard of now, because he wrote nothing that was memorable, he was her partner from the end of the 40s until-- They ceased their sexual relationship when she started to be interested in becoming a Catholic in 1953, but she was devoted to him up until 1958. She seemed to be completely incapable of recognising that she had the genius and he had none.Her letters to him deferred to him, all the time, as having literary powers that she hadn't got, as having insights that she hadn't got, he's better read than she was. She was such an amazingly good critic. Why could she not see when she looked at his baggy, bad prose that it wasn't good enough? She rated him so highly. When she was co-authoring books with him, which was how she started her literary career, they would occasionally write alternative sentences. Some of her sentences are always absolutely-- they're sharp, lean, sparkling, and witty, and his are way too long and really baggy and they don't say anything. Obviously, you can see that she's irritated by it.She still doesn't say, "Look, I'm going now." It was only when she became a novelist that she said, "I want my mind to myself." She puts, "I want my mind to myself." She didn't want to be in a double act with him. Doubles were important to her. She didn't want to be in a double act with him anymore. He obviously had bought into her adulation of him and hadn't recognised that she had this terrifying power as a writer. It was now his turn to have the breakdown. Spark had the mental breakdown in 1950, '45. When her first novel came out in 1957, it was Stanford who had the breakdown because he couldn't take on board who she was as a novelist.What he didn't know about her as a novelist was her comic sense, how that would fuel the fiction, but also, he didn't recognize because he reviewed her books badly. He didn't recognise that the woman who had been so tender, vulnerable, and loving with him could be this novelist who had nothing to say about tenderness or love. In his reviews, he says, "Why are her characters so cold?" because he thought that she should be writing from the core of her as a human being rather than the core of her as an intellect.Henry: What are her best novels?Frances: Every one I read, I think this has to be the best.[laughter]This is particularly the case in the early novels, where I'm dazzled by The Comforters and think there cannot have been a better first novel of the 20th century or even the 21st century so far. The Comforters. Then read Robinson, her second novel, and think, "Oh God, no, that is her best novel. Then Memento Mori, I think, "Actually, that must be the best novel of the 20th century." [laughs] Then you move on to The Ballad of Peckham Rye, I think, "No, that's even better."The novels landed. It's one of the strange things about her; it took her so long to become a novelist. When she had become one, the novels just landed. Once in one year, two novels landed. In 1959, she had, it was The Bachelors and The Ballad of Peckham Rye, both just completely extraordinary. The novels had been the storing up, and then they just fell on the page. They're different, but samey. They're samey in as much as they're very, very, very clever. They're clever about Catholicism, and they have the same narrative wit. My God, do the plots work in different ways. She was wonderful at plots. She was a great plotter. She liked plots in both senses of the world.She liked the idea of plotting against someone, also laying a plot. She was, at the same time, absolutely horrified by being caught inside someone's plot. That's what The Comforters is about, a young writer called Caroline Rose, who has a breakdown, it's a dramatisation of Sparks' own breakdown, who has a breakdown, and believes that she is caught inside someone else's story. She is a typewriter repeating all of her thoughts. Typewriter and a chorus repeating all of her thoughts.What people say about The Comforters is that Caroline Rose thought she is a heroine of a novel who finds herself trapped in a novel. Actually, if you read what Caroline Rose says in the novel, she doesn't think she's trapped in a novel; she thinks she's trapped in a biography. "There is a typewriter typing the story of our lives," she says to her boyfriend. "Of our lives." Muriel Sparks' first book was about being trapped in a biography, which is, of course, what she brought on herself when she decided to trap herself in a biography. [laughs]Henry: I think I would vote for Loitering with Intent, The Girls of Slender Means as my favourites. I can see that Memento Mori is a good book, but I don't love it, actually.Frances: Really? Interesting. Okay. I completely agree with you about-- I think Loitering with Intent is my overall favourite. Don't you find every time you read it, it's a different book? There are about 12 books I've discovered so far in that book. She loved books inside books, but every time I read it, I think, "Oh my God, it's changed shape again. It's a shape-shifting novel."Henry: We all now need the Frances Wilson essay about the 12 books inside Loitering with Intent.Frances: I know.[laughter]Henry: A few more general questions to close. Did Thomas De Quincey waste his talents?Frances: I wouldn't have said so. I think that's because every single day of his life, he was on opium.Henry: I think the argument is a combination of too much opium and also too much magazine work and not enough "real serious" philosophy, big poems, whatever.Frances: I think the best of his work went into Blackwood's, so the magazine work. When he was taken on by Blackwood's, the razor-sharp Edinburgh magazine, then the best of his work took place. I think that had he only written the murder essays, that would have been enough for me, On Murder as a Fine Art.That was enough. I don't need any more of De Quincey. I think Confessions of an English Opium-Eater is also enough in as much as it's the great memoir of addiction. We don't need any more memoirs of addiction, just read that. It's not just a memoir of being addicted to opium. It's about being addicted to what's what. It's about being a super fan and addicted to writing. He was addicted to everything. If he was in AA now, they'd say, apparently, there are 12 addictions, he had all of them. [laughs]Henry: Yes. People talk a lot about parasocial relationships online, where you read someone online or you follow them, and you have this strange idea in your head that you know them in some way, even though they're just this disembodied online person. You sometimes see people say, "Oh, we should understand this more." I think, "Well, read the history of literature, parasocial relationships everywhere."Frances: That's completely true. I hadn't heard that term before. The history of literature, a parasocial relationship. That's your next book.Henry: There we go. I think what I want from De Quincey is more about Shakespeare, because I think the Macbeth essay is superb.Frances: Absolutely brilliant. On Knocking at the Gate in Macbeth.Henry: Yes, and then you think, "Wait, where's the rest of this book? There should be an essay about every play."Frances: That's an absolutely brilliant example of microhistory, isn't it? Just taking a moment in a play, just the knocking at the gate, the morning after the murders, and blowing that moment up, so it becomes the whole play. Oh, my God, it's good. You're right.Henry: It's so good. What is, I think, "important about it", is that in the 20th century, critics started saying or scholars started saying a lot, "We can't just look at the words on the page. We've got to think about the dramaturgy. We've got to really, really think about how it plays out." De Quincey was an absolute master of that. It's really brilliant.Frances: Yes.Henry: What's your favourite modern novel or novelist?Frances: Oh, Hilary Mantel, without doubt, I think. I think we were lucky enough to live alongside a great, great, great novelist. I think the Wolf Hall trilogy is absolutely the greatest piece of narrative fiction that's come out of the 21st century. I also love her. I love her work as an essayist. I love her. She's spooky like Spark. She was inspired.Henry: Yes, she is. Yes.Frances: She learnt a lot of her cunning from Spark, I think. She's written a very spooky memoir. In fact, the only women novelists who acknowledge Spark as their influencer are Ali Smith and Hilary Mantel, although you can see Spark in William Boyd all the time. I think we're pretty lucky to live alongside William Boyd as well. Looking for real, real greatness, I think there's no one to compare with Mantel. Do you agree?Henry: I don't like the third volume of the trilogy.Frances: Okay. Right.Henry: Yes, in general, I do agree. Yes. I think some people don't like historical fiction for a variety of reasons. It may take some time for her to get it. I think she's acknowledged as being really good. I don't know that she's yet acknowledged at the level that you're saying.Frances: Yes.Henry: I think that will take a little bit longer. Maybe as and when there's a biography that will help with that, which I'm sure there will be a biography.Frances: I think they need to wait. I do think it's important to wait for a reputation to settle before starting the biography. Her biography will be very interesting because she married the same man twice. Her growth as a novelist was so extraordinary. Spark, she spent time in Africa. She had this terrible, terrible illness. She knew something. I think what I love about Mantel is, as with Spark, she knew something. She knew something, and she didn't quite know what it was that she knew. She had to write because of this knowledge. When you read her, you know that she's on a different level of understanding.Henry: You specialise in slightly neglected figures of English literature. Who else among the canonical writers deserves a bit more attention?Frances: Oh, that's interesting. I love minor characters. I think Spark was very witty about describing herself as a minor novelist or a writer of minor novels when she was evidently major. She always saw the comedy in being a minor. All the minor writers interest me. Elizabeth Bowen, Henry Green. No, they have heard Elizabeth Bowen has been treated well by Hermione Lee and Henry Green has been treated well by Jeremy Treglown.Why are they not up there yet? They're so much better than most of their contemporaries. I am mystified and fascinated by why it is that the most powerful writers tend to be kicked into the long grass. It's dazzling. When you read a Henry Green novel, you think, "But this is what it's all about. He's understood everything about what the novel can do. Why has no one heard of him?"Henry: I think Elizabeth Bowen's problem is that she's so concise, dense, and well-structured, and everything really plays its part in the pattern of the whole that it's not breezy reading.Frances: No, it's absolutely not.Henry: I think that probably holds her back in some way, even though when I have pushed it on people, most of the time they've said, "Gosh, she's a genius."Frances: Yes.Henry: It's not an easy genius. Whereas Dickens, the pages sort of fly along, something like that.Frances: Yes. One of the really interesting things about Spark is that she really, really is easy reading. At the same time, there's so much freight in those books. There's so much intellectual weight and so many games being played. There's so many books inside the books. Yet you can just read them for the pleasure. You can just read them for the plot. You can read one in an afternoon and think that you've been lost inside a book for 10 years. You don't get that from Elizabeth Bowen. That's true. The novels, you feel the weight, don't you?Henry: Yes.Frances: She's Jamesian. She's more Jamesian, I think, than Spark is.Henry: Something like A World of Love, it requires quite a lot of you.Frances: Yes, it does. Yes, it's not bedtime reading.Henry: No, exactly.Frances: Sitting up in a library.Henry: Yes. Now, you mentioned James. You're a Henry James expert.Frances: I did my PhD on Henry James.Henry: Yes. Will you ever write about him?Frances: I have, actually. Just a little plug. I've just done a selection of James's short stories, three volumes, which are coming out, I think, later this year for Riverrun with a separate introduction for each volume. I think that's all the writing I'm going to do on James. When I was an academic, I did some academic essays on him for collections and things. No, I've never felt, ever, ready to write on James because he's too complicated. I can only take tiny, tiny bits of James and home in on them.Henry: He's a great one for trying to crack the code.Frances: He really is. In fact, I was struck all the way through writing Electric Spark by James's understanding of the comedy of biography, which is described in the figure in the carpet. Remember that wonderful story where there's a writer called Verica who explains to a young critic that none of the critics have understood what his work's about. Everything that's written about him, it's fine, but it's absolutely missed his main point, his beautiful point. He said that in order to understand what the work's about, you have to look for The Figure in the Carpet. It's The Figure in the CarpetIt's the string on which my pearls are strung. A couple of critics become completely obsessed with looking for this Figure in the Carpet. Of course, Spark loved James's short stories. You feel James's short stories playing inside her own short stories. I think that one of the games she left for her biographers was the idea of The Figure in the Carpet. Go on, find it then. Find it. [laughs] The string on which my pearls are strung.Henry: Why did you leave academia? We should say that you did this before it became the thing that everyone's doing.Frances: Is everyone leaving now?Henry: A lot of people are leaving now.Frances: Oh, I didn't know. I was ahead of the curve. I left 20 years ago because I wasn't able to write the books I wanted to write. I left when I'd written two books as an academic. My first was Literary Seductions, and my second was a biography of a blackmailing courtesan called Harriet Wilson, and the book was called The Courtesan's Revenge. My department was sniffy about the books because they were published by Faber and not by OUP, and suggested that somehow I was lowering the tone of the department.This is what things were like 20 years ago. Then I got a contract to write The Ballad of Dorothy Wordsworth, my third book, again with Faber. I didn't want to write the book with my head of department in the back of my mind saying, "Make this into an academic tome and put footnotes in." I decided then that I would leave, and I left very suddenly. Now, I said I'm leaving sort of now, and I've got books to write, and felt completely liberated. Then for The Ballad of Dorothy Wordsworth, I decided not to have footnotes. It's the only book I've ever written without footnotes, simply as a celebration of no longer being in academia.Then the things I loved about being in academia, I loved teaching, and I loved being immersed in literature, but I really couldn't be around colleagues and couldn't be around the ridiculous rules of what was seen as okay. In fact, the university I left, then asked me to come back on a 0.5 basis when they realised that it was now fashionable to have someone who was a trade author. They asked me to come back, which I did not want to do. I wanted to spend days where I didn't see people rather than days where I had to talk to colleagues all the time. I think that academia is very unhappy. The department I was in was incredibly unhappy.Since then, I took up a job very briefly in another English department where I taught creative writing part-time. That was also incredibly unhappy. I don't know whether other French departments or engineering departments are happier places than English departments, but English departments are the most unhappy places I think I've ever seen.[laughter]Henry: What do you admire about the work of George Meredith?Frances: Oh, I love George Meredith. [laughs] Yes. I think Modern Love, his first novel, Modern Love, in a strange sonnet form, where it's not 14 lines, but 16 lines. By the time you get to the bottom two lines, the novel, the sonnet has become hysterical. Modern Love hasn't been properly recognised. It's an account of the breakdown of his marriage. His wife, who was the daughter of the romantic, minor novelist, Thomas Love Peacock. His wife had an affair with the artist who painted the famous Death of Chatterton. Meredith was the model for Chatterton, the dead poet in his purple silks, with his hand falling on the ground. There's a lot of mythology around Meredith.I think, as with Elizabeth Bowen and Henry Green, he's difficult. He's difficult. The other week, I tried to reread Diana of the Crossways, which was a really important novel, and I still love it. I really recognise that it's not an easy read. He doesn't try, in any way, to seduce his readers. They absolutely have to crawl inside each book to sit inside his mind and see the world as he's seeing it.Henry: Can you tell us what you will do next?Frances: At the moment, I'm testing some ideas out. I feel, at the end of every biography, you need a writer. You need to cleanse your palate. Otherwise, there's a danger of writing the same book again. I need this time, I think, to write about, to move century and move genders. I want to go back, I think, to the 19th century. I want to write about a male writer for a moment, and possibly not a novelist as well, because after being immersed in Muriel Sparks' novels, no other novel is going to seem good enough. I'm testing 19th-century men who didn't write novels, and it will probably be a minor character.Henry: Whatever it is, I look forward to reading it. Frances Wilson, thank you very much.Frances: Thank you so much, Henry. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk/subscribe

Que signifie être ici quand on vient d'ailleurs ? Comment décoloniser les imaginaires ? Ces questions, passionnantes et parfois vertigineuses, un ample long métrage, une fresque, nous invitent à les poser cette semaine. Le rire et le couteau, c'est le titre de ce long métrage qui sort en salle en France mercredi prochain (9 juillet 2025), après avoir été très remarqué au dernier festival de Cannes où il a été présenté dans la section Un certain regard. Sergio, un ingénieur environnemental débarque en Guinée-Bissau pour une mission au service d'une organisation humanitaire. Il doit faire une étude d'impact environnemental sur un projet de route située entre une réserve naturelle et des rizières ancestrales. «Le rire et le couteau» est le deuxième long métrage de Pedro Pinho qui explore la façon dont le colonialisme perdure sous de nouvelles formes.   À l'affiche de notre cinéma ce samedi également, un reportage de notre correspondante Lilia Blaise sur le festival Jean Rouch hors les murs en Tunisie.   Musiques : Allons enfants de Feu!Chatterton, et Free, version acoustique, de Prince (Playlist RFI).

Vendredi sur mer, Dali, notre dionysiaque Katerine, les mythiques et plus si jeunes, Madness ou Kavinsky c'était le programme de la grande scène d'Europavox, des concerts attendus et célébrés dans l'allégresse par plusieurs générations rassemblées. Mais à Clermont-Ferrand, le public ne réserve pas sa ferveur aux têtes d'affiche, jusqu'à 100 mètres de queue pour pénétrer dans l'audiotorium du Polydôme qui abrite la scène Arte qui accueillait hier notamment, le duo lisophone queer Venga Venga, en cette journée de marche des fiertés où on a vu un formidable élan de solidarité entre Paris et Budapest avec ces nombreuses personnalités – Barbara Butch, Jean-Luc Roméro – parties en Hongrie soutenir la communauté LGBTQIA+ bravant l'interdiction du réac de service, Viktor Orban. La communauté queer va faire son apparition aujourd'hui sur la place du 1er mai, car c'est Théa qui va fouler tout à l'heure l'incandescente scène factory et on a très très hâte. Ce véritable chaudron du festival comme a pu l'éprouver hier l'ancien club cheval, Myd, hier pour le 4ème live de sa tournée avant son 2ème album, Mydnight, attendu fin août. Myd qui a pris une petite leçon de fierté auvergnate hier. Retrouvez Théa, Sam Sauvage, Feu! Chatterton et Garciaphone au micro d'Antoine Dabrowski en direct de la Coopérative de Mai pour le dernier jour de cette édition d'Europavox.

In episode 76 of The Power Element Podcast, Producer Paul is virtually joined by Wayne Chatterton and James Steele. Wayne and James give insight into cable rejuvenation and the future of the grid.Thank you, James Steele and Wayne Chatterton.wayne.chatterton@southwire.comjames.steele@southwire.com@sturgeon_electric & @myrgroup Check out and support our Promotional Partners: @milwaukeetools @coeyewear @highvoltageindustries3080 @kleintools @buckingham_mfg @workingathlete @jelcosafety totalsafety.comSpecial Thank You @linemanmama @highvoltagecommandoAd Music Provided by: Daniel Sanchez @d.s.s._beatsMay we all continue to guide and support those in need. Please continue the conversation about mental health and well-being within your community. Be your Brother's Keeper. Visit www.lineco.org for assistance through LINECO. Suicide and Crisis and Lifeline Dial 988.#podcast #fyp #construction #story #leadership

Du jazz flamboyant d'Adrien Soleiman à la folk indie pop de Jawhar. (Rediffusion) Nos premiers invités sont les 8 musiciens d'Adrien Soleiman et son BelleJazzClub Adrien Soleiman, saxophoniste talentueux et collaborateur recherché (Juliette Armanet, Malik Djoudi, Philippe Katerine), dévoile son nouveau projet BelleJazzClub. Passionné par le partage et l'improvisation collective, il voit son groupe éponyme comme une véritable confrérie de musiciens incarnant l'âme du jazz et de la pop. Après avoir marqué les esprits avec son premier album Brille en 2016, Soleiman décide de réunir des musiciens de renom pour un enregistrement intensif au studio La Frette. Entouré des meilleurs talents de la scène parisienne, comme son frère Maxime Daoud, Tony Tixier, ou encore Marc-Antoine Perrio, il compose un album où chaque morceau évolue spontanément. Des voix familières du jazz et de la pop, comme Arthur Teboul (Feu! Chatterton), Philippe Katerine, Halo Maud ou encore Émile Parisien viennent ensuite enrichir le projet, tandis que Voyou, Emma Broughton et Laura Etchegoyhen apportent leurs touches aux cuivres et aux chœurs. Le premier volume de BelleJazzClub est un voyage musical unique, mêlant jazz et pop avec une grande liberté instrumentale et une fusion captivante de rythmes chaloupés et d'ambiances contemplatives Titres interprétés au grand studio - Panorama Live RFI - Grande Terre Feat. Arthur Teboul, extrait de l'album - Petit Matin Live RFI. Line Up : Adrien Soleiman, saxophone, Louis Delorme, batterie, Adrian Edeline, guitare, Gianni Casarotto, guitare, Elise Blanchard, basse, Maxime Daoud, claviers, Tony Tixier, claviers et Arnaud Biscay, batterie. Son : Mathias Taylor, Jérémie Besset, Benoît Le Tirant. Album BelleJazzClub Vol.1 (Naïve/Believe 2025). - YouTube Adrien Soleiman, albums et singles - YouTube BelleJazzClub - Instagram  - Facebook. Concert 18 mars 2025 à La Maroquinerie, Paris    Puis nous recevons Jawhar pour la sortie de Khyoot Khyoot خيوط est en arabe le pluriel de « kheet », qui veut dire fil, corde, filament. Dans le contexte plus poétique des chansons de l'album, le mot « khyoot »  revient souvent pour désigner les liens qui se cachent derrière le visible, ces filaments qui traversent l'espace et nous relient à une source puissante et magique. Ce sont ces filons auxquels on tient au fil des jours, vers la transcendance de la réalité, vers la création. Ils nous indiquent le chemin vers une foi en ce qui nous dépasse, en l'invisible qui est néanmoins enfoui en nous… Avec Khyoot, l'auteur-compositeur d'origine tunisienne revient à ses premiers amours ; un album très folk, une collection de chansons lumineuses écrites pour deux voix. À la voix tantôt éthérée tantôt terrienne de Jawhar vient se mêler, délicate et gracieuse, celle d'Azza Mezghani. Il s'entoure également de ses deux fidèles acolytes, le pianiste Eric Bribosia et le multi-instrumentiste Yannick Dupont. Titres interprétés au grand studio - Habbeet Live RFI - Leghreeb, extrait de l'album - Howwa Live RFI Line Up : Jawhar, guitare, voix, Aza, voix, claviers. Son : Jérémie Besset, Mathias Taylor, Benoît Le Tirant. Album Khyoot (6T2 Records). Site - YouTube - Facebook -  Instagram. Concert 20 mars 2025 Le Hasard Ludique, Paris.

Du jazz flamboyant d'Adrien Soleiman à la folk indie pop de Jawhar. (Rediffusion) Nos premiers invités sont les 8 musiciens d'Adrien Soleiman et son BelleJazzClub Adrien Soleiman, saxophoniste talentueux et collaborateur recherché (Juliette Armanet, Malik Djoudi, Philippe Katerine), dévoile son nouveau projet BelleJazzClub. Passionné par le partage et l'improvisation collective, il voit son groupe éponyme comme une véritable confrérie de musiciens incarnant l'âme du jazz et de la pop. Après avoir marqué les esprits avec son premier album Brille en 2016, Soleiman décide de réunir des musiciens de renom pour un enregistrement intensif au studio La Frette. Entouré des meilleurs talents de la scène parisienne, comme son frère Maxime Daoud, Tony Tixier, ou encore Marc-Antoine Perrio, il compose un album où chaque morceau évolue spontanément. Des voix familières du jazz et de la pop, comme Arthur Teboul (Feu! Chatterton), Philippe Katerine, Halo Maud ou encore Émile Parisien viennent ensuite enrichir le projet, tandis que Voyou, Emma Broughton et Laura Etchegoyhen apportent leurs touches aux cuivres et aux chœurs. Le premier volume de BelleJazzClub est un voyage musical unique, mêlant jazz et pop avec une grande liberté instrumentale et une fusion captivante de rythmes chaloupés et d'ambiances contemplatives Titres interprétés au grand studio - Panorama Live RFI - Grande Terre Feat. Arthur Teboul, extrait de l'album - Petit Matin Live RFI. Line Up : Adrien Soleiman, saxophone, Louis Delorme, batterie, Adrian Edeline, guitare, Gianni Casarotto, guitare, Elise Blanchard, basse, Maxime Daoud, claviers, Tony Tixier, claviers et Arnaud Biscay, batterie. Son : Mathias Taylor, Jérémie Besset, Benoît Le Tirant. Album BelleJazzClub Vol.1 (Naïve/Believe 2025). - YouTube Adrien Soleiman, albums et singles - YouTube BelleJazzClub - Instagram  - Facebook. Concert 18 mars 2025 à La Maroquinerie, Paris    Puis nous recevons Jawhar pour la sortie de Khyoot Khyoot خيوط est en arabe le pluriel de « kheet », qui veut dire fil, corde, filament. Dans le contexte plus poétique des chansons de l'album, le mot « khyoot »  revient souvent pour désigner les liens qui se cachent derrière le visible, ces filaments qui traversent l'espace et nous relient à une source puissante et magique. Ce sont ces filons auxquels on tient au fil des jours, vers la transcendance de la réalité, vers la création. Ils nous indiquent le chemin vers une foi en ce qui nous dépasse, en l'invisible qui est néanmoins enfoui en nous… Avec Khyoot, l'auteur-compositeur d'origine tunisienne revient à ses premiers amours ; un album très folk, une collection de chansons lumineuses écrites pour deux voix. À la voix tantôt éthérée tantôt terrienne de Jawhar vient se mêler, délicate et gracieuse, celle d'Azza Mezghani. Il s'entoure également de ses deux fidèles acolytes, le pianiste Eric Bribosia et le multi-instrumentiste Yannick Dupont. Titres interprétés au grand studio - Habbeet Live RFI - Leghreeb, extrait de l'album - Howwa Live RFI Line Up : Jawhar, guitare, voix, Aza, voix, claviers. Son : Jérémie Besset, Mathias Taylor, Benoît Le Tirant. Album Khyoot (6T2 Records). Site - YouTube - Facebook -  Instagram. Concert 20 mars 2025 Le Hasard Ludique, Paris.

Hello there!!  Welcome to Alberts bookshelf.  We hope you enjoy listening to Ten Minutes To Bed Little Wolf one of Alberts favourite books.Thanks for Listening.

Son premier album, La Favorite, sorti en janvier, l'a positionnée comme l'une des figures montantes de la chanson française. En février, Yoa remportait le prix Révélation scène aux Victoires de la musique. Ses chansons mélangent des rythmes urbains et électroniques qui accompagnent des paroles nourries de littérature et évoquent sans détour les relations, les sentiments qui se délitent et les violences sexuelles – comme lorsqu'elle confronte son agresseur dans Le Collectionneur, dernier morceau de l'album.Elle nous reçoit dans son appartement, où elle vient d'emménager, une « petite grotte un peu chaleureuse » aux confins du 5e arrondissement de Paris. Un deux-pièces où cohabitent un grand canapé en velours blanc et un fauteuil livré sans notice de montage, des lampes Ikea et ses références culturelles : l'album How I'm Feeling Now de Charli XCX, un recueil de poèmes d'Arthur Tebou (vocaliste et parolier du groupe Feu ! Chatterton), Clôture de l'amour, de Pascal Rambert – un « livre de chevet » –, et « Guillaume Dustan, qui est là, dans [s]a chambre ».Dans cet épisode du « Goût de M », Yoa parle de son père, suisse, et de sa mère, camerounaise, qui l'ont fait grandir à Paris au milieu de films, de livres et de musique. A 26 ans, elle mêle allègrement références pop (« Lana del Rey, oh mon Dieu ! »), littérature féministe (Virginie Despentes, bell hooks, Valerie Solanas) et philosophie (Georges Bataille). Elle s'est d'ailleurs imaginée philosophe, puis actrice de théâtre, avant que ses chansons postées sur les réseaux sociaux ne soient repérées par des professionnels de la musique. Elle achève sa tournée cet été et annonce déjà un nouvel EP pour novembre. Hébergé par Audion. Visitez https://www.audion.fm/fr/privacy-policy pour plus d'informations.

Dave Chatterton, Strategic Farm MarketingSee omnystudio.com/listener for privacy information.

Show Notes  Our guest today, Devon Chatterton, says… “I worship at the altar of empathy and I do not dismiss anyone.” Devin believes in empathy with no boundaries.   That will be among the many topics that Devin and I discuss today.   Devin earned her degree in Law at Georgetown and is now deeply devoted to working with immigrants attempting to obtain some kind of legal status in the US.   

Dans ce spectacle, le collectif l'Avantage du doute aborde avec humour des questions de féminisme et écoanxiété... Peut-on rire de tout ?  De toute évidence, oui. Le collectif «l'avantage du doute» tisse un lien entre crise climatique et patriarcat, mais sans jamais se prendre au sérieux, ni faire la leçon. Une dizaine de saynètes aussi décalées qu'empreintes de vérité composent le spectacle. On y croise, entre autres, des comédiens en toge, une côte de bœuf calcinée, des bobos de Noirmoutier, ou un ours polaire atteint de Solastalgie. Le spectacle est une ancienne création, et il se joue actuellement à la Maison des Métallos à Paris. Preuve que les thèmes abordés sont toujours cruellement d'actualité...  Le collectif  «L'avantage du doute» est un groupe qui se définit comme un collectif d'acteurs qui «jouent et écrivent ensemble» pour «répondre tout d'abord à une nécessité, politique au sens large». Il est composé de cinq membres - Judith Davis, Nadir Legrand, Maxence Tual, Claire Dumas, et Mélanie Bestel. - Leurs biographies ici.  Les membres du collectif l'Avantage du doute se sont rencontrés en 2003. Le spectacle l'Avantage du doute - qui donnera le nom de leur collectif en 2007 - a été créé en 2005. Leur premier spectacle sur leur nom, Tout ce qui nous reste de la révolution (un spectacle sur l'héritage de mai 68), est créé en 2008. Suivront les spectacles La légende de Bornéo (sur le travail), Le bruit court que nous ne sommes plus en direct (sur l'invasion du flux médiatique), mais aussi le projet jeune public La caverne. Puis Sauvage. Enfin, en 2020/2021, Encore plus, partout, tout le temps est créé à huis clos au Théâtre de Nîmes qui sera repris trois fois.  Invités :  Judith Davis et Nadir Legrand du Collectif L'Avantage du doute pour le spectacle Encore plus, partout, tout le temps à voir à la Maison des Métallos jusqu'au 14 juin.   À voir également : le film Bonjour l'Asile réalisé par Judith Davis sorti le 26 février dernier. Projections au Saint-André des arts suivie de rencontres les 17 et 24 juin.  Et comme chaque mercredi, retrouvez la chronique de Lucie Bouteloup. Cette semaine, elle vous propose de découvrir le louchébem — l'argot des bouchers ! Pour connaitre les ficelles de ce langage crypté, elle a poussé la porte d'une boucherie parisienne, celle de Roger Yvon et de sa femme Sylvie. Et avec la complicité de leur ami Michel, ils ont taillé le bout de gras !  Programmation musicale :  Le groupe Feu ! Chatterton avec le titre Allons voir.

Dans ce spectacle, le collectif l'Avantage du doute aborde avec humour des questions de féminisme et écoanxiété... Peut-on rire de tout ?  De toute évidence, oui. Le collectif «l'avantage du doute» tisse un lien entre crise climatique et patriarcat, mais sans jamais se prendre au sérieux, ni faire la leçon. Une dizaine de saynètes aussi décalées qu'empreintes de vérité composent le spectacle. On y croise, entre autres, des comédiens en toge, une côte de bœuf calcinée, des bobos de Noirmoutier, ou un ours polaire atteint de Solastalgie. Le spectacle est une ancienne création, et il se joue actuellement à la Maison des Métallos à Paris. Preuve que les thèmes abordés sont toujours cruellement d'actualité...  Le collectif  «L'avantage du doute» est un groupe qui se définit comme un collectif d'acteurs qui «jouent et écrivent ensemble» pour «répondre tout d'abord à une nécessité, politique au sens large». Il est composé de cinq membres - Judith Davis, Nadir Legrand, Maxence Tual, Claire Dumas, et Mélanie Bestel. - Leurs biographies ici.  Les membres du collectif l'Avantage du doute se sont rencontrés en 2003. Le spectacle l'Avantage du doute - qui donnera le nom de leur collectif en 2007 - a été créé en 2005. Leur premier spectacle sur leur nom, Tout ce qui nous reste de la révolution (un spectacle sur l'héritage de mai 68), est créé en 2008. Suivront les spectacles La légende de Bornéo (sur le travail), Le bruit court que nous ne sommes plus en direct (sur l'invasion du flux médiatique), mais aussi le projet jeune public La caverne. Puis Sauvage. Enfin, en 2020/2021, Encore plus, partout, tout le temps est créé à huis clos au Théâtre de Nîmes qui sera repris trois fois.  Invités :  Judith Davis et Nadir Legrand du Collectif L'Avantage du doute pour le spectacle Encore plus, partout, tout le temps à voir à la Maison des Métallos jusqu'au 14 juin.   À voir également : le film Bonjour l'Asile réalisé par Judith Davis sorti le 26 février dernier. Projections au Saint-André des arts suivie de rencontres les 17 et 24 juin.  Et comme chaque mercredi, retrouvez la chronique de Lucie Bouteloup. Cette semaine, elle vous propose de découvrir le louchébem — l'argot des bouchers ! Pour connaitre les ficelles de ce langage crypté, elle a poussé la porte d'une boucherie parisienne, celle de Roger Yvon et de sa femme Sylvie. Et avec la complicité de leur ami Michel, ils ont taillé le bout de gras !  Programmation musicale :  Le groupe Feu ! Chatterton avec le titre Allons voir.

durée : 00:04:56 - Dans la playlist de France Inter - Le 28 mai dernier, Feu ! Chatterton annonçait son retour avec une vidéo qui les montrait performer sur le toit de l'Accor Arena à Paris. Un nouveau titre arrive dans la Playlist de France Inter

Feu! Chatterton était de passage dans #LeDriveRTL2 ce vendredi 6 juin 2025. Le groupe a présenté en exclusivité son nouveau single "Allons voir", sorti le jour même, et a annoncé un concert exceptionnel à l'Accor Arena prévu pour le 11 février 2026. En direct de la station Pop-Rock, ils ont interprété "Allons voir", une reprise du titre culte de Daniel Balavoine "Tous les cris les SOS", ainsi que leur morceau classique "Monde Nouveau". Feu! Chatterton sera également à l'affiche du festival Pause Guitare en partenariat avec RTL2. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Feu! Chatterton était de passage dans #LeDriveRTL2 ce vendredi 6 juin 2025. Le groupe a présenté en exclusivité son nouveau single "Allons voir", sorti le jour même, et a annoncé un concert exceptionnel à l'Accor Arena prévu pour le 11 février 2026. En direct de la station Pop-Rock, ils ont interprété "Allons voir", une reprise du titre culte de Daniel Balavoine "Tous les cris les SOS", ainsi que leur morceau classique "Monde Nouveau". Feu! Chatterton sera également à l'affiche du festival Pause Guitare en partenariat avec RTL2. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Feu! Chatterton était de passage dans #LeDriveRTL2 ce vendredi 6 juin 2025. Le groupe a présenté en exclusivité son nouveau single "Allons voir", sorti le jour même, et a annoncé un concert exceptionnel à l'Accor Arena prévu pour le 11 février 2026. En direct de la station Pop-Rock, ils ont interprété "Allons voir", une reprise du titre culte de Daniel Balavoine "Tous les cris les SOS", ainsi que leur morceau classique "Monde Nouveau". Feu! Chatterton sera également à l'affiche du festival Pause Guitare en partenariat avec RTL2. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Feu! Chatterton était de passage dans #LeDriveRTL2 ce vendredi 6 juin 2025. Le groupe a présenté en exclusivité son nouveau single "Allons voir", sorti le jour même, et a annoncé un concert exceptionnel à l'Accor Arena prévu pour le 11 février 2026. En direct de la station Pop-Rock, ils ont interprété "Allons voir", une reprise du titre culte de Daniel Balavoine "Tous les cris les SOS", ainsi que leur morceau classique "Monde Nouveau". Feu! Chatterton sera également à l'affiche du festival Pause Guitare en partenariat avec RTL2. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Feu! Chatterton était de passage dans #LeDriveRTL2 ce vendredi 6 juin 2025. Le groupe a présenté en exclusivité son nouveau single "Allons voir", sorti le jour même, et a annoncé un concert exceptionnel à l'Accor Arena prévu pour le 11 février 2026. En direct de la station Pop-Rock, ils ont interprété "Allons voir", une reprise du titre culte de Daniel Balavoine "Tous les cris les SOS", ainsi que leur morceau classique "Monde Nouveau". Les classiques du jour : - Axel Bauer "Ici Londres" - Siouxsie and The Banshees "Spellbound" Les nouveautés du jour : - Vanessa Paradis "Bouquet final" - Yellowcard "Better Days" Les sorties albums : - Turnstile "Never Enough" - Pulp "More!" - The Ting Tings "Home" - Mother Mother "Nostalgia" Le journal de la musique : - Madonna annonce la sortie de "Veronica Electronica" - Huey Lewis partage son combat contre la perte d'audition - Une salle de concert en hommage à Lemmy Kilmister L'album de votre week-end : T. Rex "Electric Warrior"Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

In the newest episode of the A is for Architecture Podcast, Paul Chatterton, Professor of Urban Futures at the University of Leeds, discusses parts of his quite recent book Unlocking Sustainable Cities: A Manifesto for Real Change (2019), published by Pluto Press. In the book, Paul argues against the contemporary city as is, suggesting instead that whilst they are presented as ever-improving hybrid spaces of choice and identity, of the authentic self, lived independently of the strictures of family, tradition, culture and obligation – after all, aren't we all moving there now? –in fact foster individualism, status anxiety and an erosion of compassion.In contrast to this, Paul proposes a transformative approach to urban sustainability through four key city systems—transport, energy, nature, and community—framed by five themes: compassion, imagination, experimentation, co-production and transformation. These counter-measures, Paul suggests, will get us closer to the sustainable, social city.Paul can be found at work and on LinkedIn. The book is linked above.#UnlockingSustainableCities #PaulChatterton #UrbanFutures #SustainableCities #RealUrbanChange #JustTransition #EcoUrbanism #RightToTheCity  #PostCapitalistCity #ArchitecturePodcast #AisforArchitecture+Music credits: ⁠Bruno Gillick 

See omnystudio.com/listener for privacy information.

See omnystudio.com/listener for privacy information.

Dave Chatterton, Strategic Farm Marketing, explains why grain and livestock futures faded the news of U.S. and China trade talks this weekend. See omnystudio.com/listener for privacy information.

Voir le théâtre sous un nouvel angle. En direct du théâtre Amandiers-Nanterre, dans ce lieu sublime, avec des tableaux sur les murs oui, des livres à acheter, un bar et cette tapisserie fleurie. Nous sommes dans ce lieu éphémère qu'est le théâtre des Amandiers, en plein travaux. Théâtre du monde, des joies et des réflexions, c'est un théâtre qui est ce soir et ce week-end, le théâtre des séries, puisque ce week-end, le théâtre des Amandiers accueille le festival Théâtre en séries. Mais aussi un focus sur la pièce "Anatomie d'un suicide" d'Alice Birch qui se joue jusqu'au 19 avril. Angèle Chatelier accueille au micro : Christophe Rauck, metteur en scène et directeur du théâtre des Amandiers, Marianne Ségol, comédienne, ici à la dramaturgie et à la collaboration artistique et Raphael, Sébastien, Clément et Antoine, presque tous les Feu! Chatterton.

Voir le théâtre sous un nouvel angle. En direct du théâtre Amandiers-Nanterre, dans ce lieu sublime, avec des tableaux sur les murs oui, des livres à acheter, un bar et cette tapisserie fleurie. Nous sommes dans ce lieu éphémère qu'est le Théâtre des Amandiers, en plein travaux. Théâtre du monde, des joies et des réflexions, c'est un théâtre qui est ce soir et ce week-end, le théâtre des séries, puisque ce week-end, le théâtre des Amandiers accueille le festival Théâtre en Série(s) et donne la pièce "Anatomie d'un suicide" d'Alice Birch qui se joue jusqu'au 19 avril.Angèle Chatelier accueille au micro : Christophe Rauck, metteur en scène et directeur du Théâtre des Amandiers, Marianne Ségol, comédienne, ici à la dramaturgie et à la collaboration artistique et Raphaël, Sébastien, Clément et Antoine, presque tous les Feu! Chatterton. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Du jazz flamboyant d'Adrien Soleiman à la folk indie pop de Jawhar. Nos premiers invités sont les 8 musiciens d'Adrien Soleiman et son BelleJazzClubAdrien Soleiman, saxophoniste talentueux et collaborateur recherché (Juliette Armanet, Malik Djoudi, Philippe Katerine), dévoile son nouveau projet BelleJazzClub. Passionné par le partage et l'improvisation collective, il voit son groupe éponyme comme une véritable confrérie de musiciens incarnant l'âme du jazz et de la pop. Après avoir marqué les esprits avec son premier album Brille en 2016, Soleiman décide de réunir des musiciens de renom pour un enregistrement intensif au studio La Frette. Entouré des meilleurs talents de la scène parisienne, comme son frère Maxime Daoud, Tony Tixier, ou encore Marc-Antoine Perrio, il compose un album où chaque morceau évolue spontanément. Des voix familières du jazz et de la pop, comme Arthur Teboul (Feu! Chatterton), Philippe Katerine, Halo Maud ou encore Émile Parisien viennent ensuite enrichir le projet, tandis que Voyou, Emma Broughton et Laura Etchegoyhen apportent leurs touches aux cuivres et aux chœurs. Le premier volume de BelleJazzClub est un voyage musical unique, mêlant jazz et pop avec une grande liberté instrumentale et une fusion captivante de rythmes chaloupés et d'ambiances contemplativesTitres interprétés au grand studio - Panorama Live RFI- Grande Terre Feat. Arthur Teboul, extrait de l'album- Petit Matin Live RFI.Line Up : Adrien Soleiman, saxophone, Louis Delorme, batterie, Adrian Edeline, guitare, Gianni Casarotto, guitare, Elise Blanchard, basse, Maxime Daoud, claviers, Tony Tixier, claviers et Arnaud Biscay, batterie.Son : Mathias Taylor, Jérémie Besset, Benoît Le Tirant.Album BelleJazzClub Vol.1 (Naïve/Believe 2025).- YouTube Adrien Soleiman, albums et singles- YouTube BelleJazzClub- Instagram - Facebook.Concert 18 mars 2025 à La Maroquinerie, Paris  Puis nous recevons Jawhar pour la sortie de KhyootKhyoot خيوط est en arabe le pluriel de « kheet », qui veut dire fil, corde, filament. Dans le contexte plus poétique des chansons de l'album, le mot « khyoot »  revient souvent pour désigner les liens qui se cachent derrière le visible, ces filaments qui traversentl'espace et nous relient à une source puissante et magique. Ce sont ces filons auxquels on tient au fil des jours, vers la transcendance de la réalité, vers la création. Ils nous indiquent le chemin vers une foi en ce qui nous dépasse, en l'invisible qui est néanmoins enfoui en nous… Avec Khyoot, l'auteur-compositeur d'origine tunisienne revient à ses premiers amours ; un album très folk, une collection de chansons lumineuses écrites pour deux voix. À la voix tantôt éthérée tantôt terrienne de Jawhar vient se mêler, délicate et gracieuse, celle d'Azza Mezghani. Il s'entoure également de ses deux fidèles acolytes, le pianiste Eric Bribosia et le multi-instrumentiste Yannick Dupont.Titres interprétés au grand studio - Habbeet Live RFI- Leghreeb, extrait de l'album- Howwa Live RFILine Up : Jawhar, guitare, voix, Aza, voix, claviers.Son : Jérémie Besset, Mathias Taylor, Benoît Le Tirant.Album Khyoot (6T2 Records).Site - YouTube - Facebook -  Instagram.Concert 20 mars 2025 Le Hasard Ludique, Paris.

Du jazz flamboyant d'Adrien Soleiman à la folk indie pop de Jawhar. Nos premiers invités sont les 8 musiciens d'Adrien Soleiman et son BelleJazzClubAdrien Soleiman, saxophoniste talentueux et collaborateur recherché (Juliette Armanet, Malik Djoudi, Philippe Katerine), dévoile son nouveau projet BelleJazzClub. Passionné par le partage et l'improvisation collective, il voit son groupe éponyme comme une véritable confrérie de musiciens incarnant l'âme du jazz et de la pop. Après avoir marqué les esprits avec son premier album Brille en 2016, Soleiman décide de réunir des musiciens de renom pour un enregistrement intensif au studio La Frette. Entouré des meilleurs talents de la scène parisienne, comme son frère Maxime Daoud, Tony Tixier, ou encore Marc-Antoine Perrio, il compose un album où chaque morceau évolue spontanément. Des voix familières du jazz et de la pop, comme Arthur Teboul (Feu! Chatterton), Philippe Katerine, Halo Maud ou encore Émile Parisien viennent ensuite enrichir le projet, tandis que Voyou, Emma Broughton et Laura Etchegoyhen apportent leurs touches aux cuivres et aux chœurs. Le premier volume de BelleJazzClub est un voyage musical unique, mêlant jazz et pop avec une grande liberté instrumentale et une fusion captivante de rythmes chaloupés et d'ambiances contemplativesTitres interprétés au grand studio - Panorama Live RFI- Grande Terre Feat. Arthur Teboul, extrait de l'album- Petit Matin Live RFI.Line Up : Adrien Soleiman, saxophone, Louis Delorme, batterie, Adrian Edeline, guitare, Gianni Casarotto, guitare, Elise Blanchard, basse, Maxime Daoud, claviers, Tony Tixier, claviers et Arnaud Biscay, batterie.Son : Mathias Taylor, Jérémie Besset, Benoît Le Tirant.Album BelleJazzClub Vol.1 (Naïve/Believe 2025).- YouTube Adrien Soleiman, albums et singles- YouTube BelleJazzClub- Instagram - Facebook.Concert 18 mars 2025 à La Maroquinerie, Paris  Puis nous recevons Jawhar pour la sortie de KhyootKhyoot خيوط est en arabe le pluriel de « kheet », qui veut dire fil, corde, filament. Dans le contexte plus poétique des chansons de l'album, le mot « khyoot »  revient souvent pour désigner les liens qui se cachent derrière le visible, ces filaments qui traversentl'espace et nous relient à une source puissante et magique. Ce sont ces filons auxquels on tient au fil des jours, vers la transcendance de la réalité, vers la création. Ils nous indiquent le chemin vers une foi en ce qui nous dépasse, en l'invisible qui est néanmoins enfoui en nous… Avec Khyoot, l'auteur-compositeur d'origine tunisienne revient à ses premiers amours ; un album très folk, une collection de chansons lumineuses écrites pour deux voix. À la voix tantôt éthérée tantôt terrienne de Jawhar vient se mêler, délicate et gracieuse, celle d'Azza Mezghani. Il s'entoure également de ses deux fidèles acolytes, le pianiste Eric Bribosia et le multi-instrumentiste Yannick Dupont.Titres interprétés au grand studio - Habbeet Live RFI- Leghreeb, extrait de l'album- Howwa Live RFILine Up : Jawhar, guitare, voix, Aza, voix, claviers.Son : Jérémie Besset, Mathias Taylor, Benoît Le Tirant.Album Khyoot (6T2 Records).Site - YouTube - Facebook -  Instagram.Concert 20 mars 2025 Le Hasard Ludique, Paris.

The Crash (1932, EE. UU.), de William Dieterle, con Ruth Chatterton, George Brent, Paul Cavanagh y Barbara Leonard. Presentación: Guillermo Balmori Una mujer refinada (Ruth Chatterton) y un corredor de bolsa neoyorquino (George Brent) han convertido su matrimonio en una eficaz unión para hacer dinero. Tolerante con las infidelidades de ella, el marido le anima a emplear sus encantos para conseguir información privilegiada sobre el parqué financiero. Por su parte, ella no concibe mayor indignidad que la pobreza, de modo que se preocupará de conservar su estatus tras el desplome económico del 29. Chatterton asume en este drama el rol de mujer sofisticada, permisiva en lo moral y de fuerte determinación. El sábado se proyecta el vídeo de la presentación del día anterior.Más información de este acto

1 - Nancy Sinatra, Lee Hazlewood - Nancy & Lee - You've Lost That Lovin' Feelin' 2 - m a l i b l u e : ( - No Sleep - Hold On 3 - The Limiñanas - Faded - Où Va la Chance 4 - Kim Deal - Nobody Loves You More - Are You Mine 5 - Sam Burton - Dear Departed - Long Way Around 6 - Yo La Tengo - Old Joy (OST) - Driving Home 7 - Bonnie ‘Prince' Billy - The Purple Bird - Downstream (feat. John Anderson) 8 - John Prine - In Spite of Ourselves - In Spite of Ourselves (feat, Iris DeMent) 9 - Inóspita - E nós, Inóspita? - Só 10 - MaZela - Desgostos em Canções de Colo - Entre Amor e Ódio 11 - Malva - … - Manada 12 - Três Tristes Tigres - Atlas - Exodus 13 - Bia Maria - Qualquer Um Pode Cantar - Afonia 14 - zakè · From Overseas · City of Dawn - Certain Path - I Saw You At Night 15 - Antonymes - The Gramophone Suite - Coming Out Of Silence 16 - Wilson Tanner - 69 - Sun Room   17 - Selah Broderick - Moon in the Monastery - The Deer 18 - ML Buch - Skinned - Stone Bridge 19 - Brian Eno - FOREVERANDEVERNOMORE - Who Gives a Thought 20 - Fennesz - Mosaic - Loved and the Framed Insects 21 - Efterklang - Piramida - Sedna 22 - Feu! Chatterton - Palais d'argile - Avant Qu'il N'y Ait le Monde 24 - Tiago Caetano - Eco da Baía - Salvo 25 - Tiago Caetano - Eco da Baía - Na Casa Da Verusca 25 - Paul Spring - Kind Of Heaven - Far From The Flame (Acoustic) 26 - Pedro Mizutani & Skinshape - Pensando Baixo - Chorar Na Beira Do Mar 27 - Brigid Mae Power - Songs for You - You Don't Know Me 28 - Office Culture - Enough - Desire 29 - Blonde Redhead - Sit Down for Dinner - Via Savona 30 - Diane Cluck - House Tears - Sent an Email 31 - Loma - How Will I Live Without a Body? - Turnaround 32 - Madeline Kenney - The Same, Again: ANRM (Tiny Telephone Session) - Plain Boring Disaster 33 - David Sylvian - Dead Bees On A Cake - Darkest Dreaming 34 - Peter Broderick - Home - Games Again  

Harlem, ce quartier de New York, centre des luttes pour les droits civiques des Afro-Américains, ne sera bientôt plus un quartier noir. En quelques décennies, ce quartier de Manhattan situé au nord de New-York a subi de profondes transformations. Lieu vivant de la culture noire américaine, mais aussi ghetto, abandonné des politiques publiques, Harlem a changé de visage. L'effet de la hausse des prix de l'immobilier, la pression des acteurs privés et les choix des gouvernements municipaux successifs, ont obligé les habitants les plus pauvres, en majorité noirs, à quitter le quartier. Comment ce phénomène de gentrification s'est-il déployé à Harlem, malgré les mobilisations et l'histoire culturelle du quartier ?  Cette émission est une rediffusion du 19 mars 2024Avec :• Charlotte Recoquillon, géographe, docteure en Géopolitique, enseignante à Science Po Paris et spécialiste des États-Unis, autrice de Harlem, une histoire de la gentrification (Editions de la Maison des sciences de l'Homme, 2024).Un reportage de Loubna Anaki sur la gentrification à Harlem  Et un entretien de Claire Bargeles sur le phénomène de la gentrification en Afrique du Sud.   En fin d'émission, on retrouve Mon premier stade. En cette année olympique, 8 milliards de voisins répond à toutes les questions que les enfants peuvent se poser sur le sport. Dans cet épisode, Juliette Brault répond à Raphaël, qui a une question sur le ping-pong.   Programmation musicale : • Harlem - Feu! Chatterton • Compare - Blinky Bill feat. Goldlink

Harlem, ce quartier de New York, centre des luttes pour les droits civiques des Afro-Américains, ne sera bientôt plus un quartier noir. En quelques décennies, ce quartier de Manhattan situé au nord de New-York a subi de profondes transformations. Lieu vivant de la culture noire américaine, mais aussi ghetto, abandonné des politiques publiques, Harlem a changé de visage. L'effet de la hausse des prix de l'immobilier, la pression des acteurs privés et les choix des gouvernements municipaux successifs, ont obligé les habitants les plus pauvres, en majorité noirs, à quitter le quartier. Comment ce phénomène de gentrification s'est-il déployé à Harlem, malgré les mobilisations et l'histoire culturelle du quartier ?  Cette émission est une rediffusion du 19 mars 2024Avec :• Charlotte Recoquillon, géographe, docteure en Géopolitique, enseignante à Science Po Paris et spécialiste des États-Unis, autrice de Harlem, une histoire de la gentrification (Editions de la Maison des sciences de l'Homme, 2024).Un reportage de Loubna Anaki sur la gentrification à Harlem  Et un entretien de Claire Bargeles sur le phénomène de la gentrification en Afrique du Sud.   En fin d'émission, on retrouve Mon premier stade. En cette année olympique, 8 milliards de voisins répond à toutes les questions que les enfants peuvent se poser sur le sport. Dans cet épisode, Juliette Brault répond à Raphaël, qui a une question sur le ping-pong.   Programmation musicale : • Harlem - Feu! Chatterton • Compare - Blinky Bill feat. Goldlink

Los ricos están con nosotros (The Rich Are Always with Us, 1932, EE. UU.), de Alfred E. Green, con Ruth Chatterton, George Brent, Bette Davis y John Miljan. Presentación: Carlos F. Heredero La mujer más rica del mundo (Ruth Chatterton) reacciona con clase ante la infidelidad de su marido. Un escritor aventurero (George Brent) la presiona para que corresponda a su amor, y al mismo tiempo la mejor amiga de ella (Bette Davis) intenta seducir al escritor. Este drama de personajes de porte distinguido y agilidad verbal es la primera de las cuatro películas que Chatterton y Brent compartieron entre 1932 y 1933. Si Bette Davis terminó despuntando como actriz de reparto, el “desconocido” Brent alcanzó el estrellato ofreciendo una imagen más sofisticada y dulce que la de sus homólogos de la Warner Bros. El sábado se proyecta el vídeo de la presentación del día anterior.Más información de este acto

Dave Chatterton General Manager of Old Town Trolley Tours St Augustine and Heather Quinn aka Sandy Clause sit in to get us ready for the Holiday Trolley Tours!

In the latest episode of From the Spot with Boise State soccer, Francesca McGuire and Lexi Chatterton along with assistant coach Grace Hancock discuss the two games against BYU and Idaho, look ahead at the final slate of home nonconference games this week, and give insight into their experience this season so far.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dave Chatterton and Cathy Newman tell us about the local hack to get heavily reduced SOL ticket and how to get involved in one of St. Augustine's favorite runs!

Enablement is not a babysitting role. If you can't do the function, you gotta pay for the function to be done right and its all the things that don't show up in KPIs. Katie Chatterton joins us on the Surf and Sales podcast to discuss the true value of sales enablement and how they make things better for everyone, not simply the sales organization.    I've been breaking rules consciously since I was 4 years old.  What are you waiting for?  Time to reserve your spot at www.surfandsales.com  

In this episode, we speak to Andy Chatterton all about his book Fortress Britain 1940!Keep up to date with Andy and head to his X, the Stay Behinds X and the Stay Behinds WebsiteGrab a copy of his bookLearn more about 'We Have Ways Fest' and listen to the podcast!If you want to get in touch with History with Jackson email: jackson@historywithjackson.co.ukTo catch up on everything to do with History with Jackson head to www.HistorywithJackson.co.ukFollow us on Facebook at @HistorywithJacksonFollow us on Instagram at @HistorywithJacksonFollow us on X/Twitter at @HistorywJacksonFollow us on TikTok at @HistorywithJackson Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Dans cet épisode du podcast Louis Vuitton [EXTENDED], Loïc Prigent part à la rencontre du poète et chanteur de Feu! Chatterton, Arthur Teboul. Ils échangent sur ses débuts dans la musique, son processus d'écriture et sa vision de la poésie — spontanée et accessible à tous. La conversation se mue naturellement en performance artistique, au gré d'un « poème minute » composé et enregistré pendant l'épisode. Alors qu'Arthur Teboul signe la préface du Paris City Book, beau livre des éditions Louis Vuitton, l'échange est l'occasion d'évoquer les adresses préférées du poète aux quatre coins de la capitale.

In this episode of Louis Vuitton [EXTENDED] — The Podcast, Loïc Prigent meets with Feu! Chatterton poet and singer Arthur Teboul to discuss his beginnings in music, his writing process, and his vision of poetry — spontaneous and accessible to all. The conversation naturally turns into an artistic performance with a "minute poem" composed and recorded during the episode. Since Arthur Teboul crafted the preface of the Paris City Book, an edition published by Louis Vuitton, the exchange is an opportunity to reveal the poet's favorite addresses in the four corners of the capital.

durée : 01:03:35 - Club Jazzafip - Avant la sortie de son premier recueil de poème "Le Déversoir", l'élégant chanteur et auteur de Feu! Chatterton partage avec nous son amour du jazz et ses grands coups de cœur.

Hello there!!  Welcome to Alberts Bookshelf. We hope you enjoyed listening to Ten minutes to bed little dinosaur's big race one of Alberts favourite books. Thanks for listening.

Daft Hunk Ashton is joined by Brock Pierce discuss his band Chatterton, unreleased Alex G, and the 7th Heaven Record label.

Book Besties Season 6, Episode 9: This is How You Lose the Time WarThis week the Besties talk This is How You Lose the Time War by Amal El-Mohtar & Max Gladstone. Listen in as they talk about this wildly popular book and discuss symbolism in time travel, multiple writers, and when books need to be longer. Things talked about in this episode:Justin Bieber Song: https://en.wikipedia.org/wiki/Baby_(Justin_Bieber_song)Molly wrong usher wasn't a writer on it. Max Gladstone: https://www.maxgladstone.com/Amal El-Mohtar: https://amalelmohtar.com/Chatterton: https://en.wikipedia.org/wiki/The_Death_of_ChattertonAll our Wrong Todays: https://www.goodreads.com/book/show/27405006-all-our-wrong-todaysQuiet on the Set: https://bit.ly/4acDJH6 Meet Molly and April, they bonded over books and became Book Besties. So, what do you do when you find your book bestie? Start a podcast of course. Hang out with April and Molly as they talk about everything they love and hate about books.

This 1936 film is based on the well-known novel of the same name, by Sinclair Lewis. It’s the story of a successful middle-aged man (Walter Huston) who wants something new from his life. That’s what his wife (Ruth Chatterton) wants, too, but their ideas are very different, and not compatible. And there’s Mary Astor, living her best life in an Italian villa, being all awesome and stuff. It’s fun to watch these three actors work. The writing is good, too. William Wyler (who we last heard from in The Best Years of Our Lives) directs Shelly Brisbin with Micheline Maynard and Nathan Alderman.

WW2 Historian and bunker expert Andrew Chatterton is back. David and Andrew go on a hunt for an undiscovered WW2 bunker while Joe watches via zoom. They have some clues to work from and try to peice together the intel as they search the countryside. They know the name of the woods and that the bunker is near a zig zag in a road. It's not much to go on but will they get lucky and find it? In his eagerness David has a couple of tumbles . Joe finds it all genuinely and utterly fascinating. If school was like this we would all know a lot more. Buy Andrews book: https://www.amazon.co.uk/Britains-Secret-Defences-saboteurs-assassins/dp/163624100X Find out about the British Resistance: https://www.staybehinds.com/ Watch a clip of this ep on You Tube www.youtube.com/@chatabixpodcast Twitter: https://twitter.com/chatabix1 Insta: www.instagram.com/chatabixpodcast Patreon: www.patreon.com/chatabix Merch: https://chatabixshop.com/ Contact us: chatabix@yahoo.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

The Spirit of Place Tim Gilmore is a prolific local history author who has written extensively about Jacksonville. As the writer and creator of www.jaxpsychogeo.com, a project that explores place and catalogs the Southern Gothic, he has told more than 700 stories of strange and historic locations in and around Jacksonville, Florida. He has also published 22 books. "Ever since UNF English Professor Alex Menocal introduced me to the concept of psychogeography years ago, I've been enthralled with it," Gilmore says. "It's a portmanteau word, the psychology of geography, [meaning] something like the spirit of place. It's where the name for my website, jaxpsychogeo, comes from." Gilmore seems equally fascinated with Jacksonville and its people. He is also the founder of JaxbyJax. A literary arts festival, now in its 10th year, JaxbyJax was built on the theme of “Jacksonville Writers Writing Jacksonville.” Few writers have written about Jacksonville more than Gilmore. He joined us last November to talk about his latest book, The Culture Wars of Warren Folks.  Tim Gilmore has written 22 books including Box Broken Open: The Architecture of Ted Pappas; Murder Capital: Eight Stories, 1890s-1980s; Channeling Anna Fletcher; Repossessions: Mass Shooting in Baymeadows; The Book of Isaiah: A Vision of the Founder of a City, illustrated by Shep Shepard; Devil in the Baptist Church: Bob Gray's Unholy Trinity; and The Mad Atlas of Virginia King. Four of the works he's written for the stage have been produced by Florida State College at Jacksonville DramaWorks and his writing has appeared in numerous publications both locally and nationally. JaxPsychoGeo has received mention in publications including The Miami Herald, The Washington Post and The New Yorker and was featured in the A24 book Florida! A Hyper-Local Guide to the Flora, Fauna and Fantasy of the Most Far-Out State in America. Gilmore teaches Literature and Writing at Florida State College at Jacksonville. He's received awards from FSCJ, the Cultural Council of Greater Jacksonville and Jacksonville City Council. He holds a Ph.D. in English from the University of Florida. You can also read his twice-weekly newsletter, Tim Gilmore's deadpaper, at timgilmore.substack.com. Interviewer Shep Shepard is a professor of English at FSCJ's Nassau Center. He received his Ph.D. in English from the University of Florida and has worked as a full-time instructor at FSCJ for twenty years. In his spare time, he produces music under various monikers, edits fiction and nonfiction prose, creates digital art, and enjoys time with his wife Ana and their dogs Meka and Moxie. READ Check out Tim's work from the Library Catalog: https://jkpl.ent.sirsi.net/client/en_US/default/search/results?qu=AUTHOR%3D%22tim+gilmore%22&te=  Tim Recommends: Pyschogeographical Works I've long been a huge Cormac McCarthy fan. I've assigned The Road to numerous classes over the years. Of all the McCarthy I've read, I most highly recommend The Road and two of his earlier novels: First, there's the 1973 novel Child of God, which somehow manages to be one of the most horrifying things I've ever read and one of the most beautiful. Few writers could achieve that strange incongruous feat, perhaps none better than McCarthy. Meanwhile, his 1979 novel Suttree paints as detailed a picture of down-and-out Knoxville, Tennessee, as Joyce ever painted of Dublin. It's perhaps the greatest American psychogeographical work. When I recently read John Oliver Killens' 1954 novel Youngblood, I couldn't believe I'd not read him already. This novel, alongside Harry Crews' newly reissued 1978 memoir A Childhood, has to be among the best writings ever to come out of Georgia. The two of them work like split-screen, a Black childhood and a white childhood, both so different and so similar. Both writers had ties to Jacksonville. Crews said mid-20th century Jax was the place poor Georgia farmers went when the crops failed. Various artists and writers have used psychogeography in different ways. I've returned time and again to my favorite such writings, which I can't recommend enough – novels like Peter Ackroyd's Chatterton and Hawksmoor and Toni Morrison's Beloved. On the face of it, Ackroyd and Morrison couldn't be more different, but they both explore how culture is haunted by history and how patterns of history present themselves as ghostly. Then there's Joseph Mitchell's Joe Gould's Secret, a nonfiction account of a homeless Greenwich Village icon who claimed to have written the longest book in the world. Tim Recommends: Other Jax Authors I'd be negligent if I didn't give a shout-out to our local literary community, which runs so much deeper and wider than most locals realize and includes works like Julie Delegal's Seen and Andres Rojas's Third Winter in Our Second Country and Johnny Masiulewicz's Happy Tapir zine series. I could name dozens of other writers I admire and their works, but as soon as I attempt a long list, I'll foolishly omit someone and lose a few nights' sleep. (I already see 15 or 20 people in my mind's eye whose names I didn't mention, but could have, just now.) Anyone who wants an extensive list of writers participating in the Jax community, just look at the archives for the last nine festivals at jaxbyjax.com. I'll just say this is the 10th year of JaxbyJax Literary Arts Festival, which my wife Jo Carlisle and I founded and then relinquished to the more capable hands of Darlyn and Brad Kuhn. --- Never miss an event! Sign up for email newsletters at https://bit.ly/JaxLibraryUpdates  Jacksonville Public LibraryWebsite: https://jaxpubliclibrary.org/ Twitter: https://twitter.com/jaxlibrary Facebook: https://www.facebook.com/JaxLibrary/ Instagram: https://www.instagram.com/jaxlibrary/ YouTube: https://www.youtube.com/user/jaxpubliclibraryfl Contact Us: jplpromotions@coj.net