Podcast appearances and mentions of edith piaf

Legendary French singer Edith Piaf was a firecracker of emotion. Gutsy and seductive, while underneath -- an intense fragility. That's the legend. But what's it like to play a legend, show after show, year after year? Cabaret singer Nathalie Lermitte has been inhabiting the icon Piaf for well over a decade.Top Shelf with Josh Piterman. Josh Piterman is an Australian musical theatre star who's used to donning all kinds of masks, especially as the Phantom of the Opera on London's West End. He's also a certified meditation teacher and he's just written a self-help book, about dropping the mask and being authentic. He takes us through the music and thinkers who've changed his life.Plus — more masks!Gail Evans and Nicky Fearn are Darwin local theatre legends. Now they're presenting something completely different from their usual humorous, physical-theatre plays — Fair Punishment, a story based on a chilling, gothic Canadian novel that's  told through masked performance. We hear a reading performed by Merlynn Tong.

Ute Lemper's decades-long career spans stage, film, and music, with over 30 recordings. Renowned for her interpretations of Berlin Cabaret, Kurt Weill, Brecht, and chanson legends like Marlene Dietrich and Edith Piaf, she has also starred in major musicals across Broadway, the West End, Paris, and Berlin. She won the American Theater World Award and the Laurence Olivier Award for her performance as Chicago's Velma Kelly in the West End and on Broadway, the Molière Award for her performance as Cabaret's Sally Bowles in Paris, among others, and earned Grammy nominations.Her global tours feature diverse projects, including Rendezvous with Marlene, Songs for Eternity, and tributes to Piazzolla and Brecht. She has composed music inspired by Bukowski, Neruda, and Coelho and released a bestselling autobiography in 2023. She released her self-penned and contemporary album Time Traveler just last year. Singing in five languages, she continues to perform worldwide. A longtime New York resident, she lives there with her family and four children.We talk about her newest album Pirate Jenny and her upcoming concert at Cadogan Hall on June 13th, 2025.

The little sparrow who became the voice of France.

Fernando Gentilini"Atlante delle città eterne"Itinerari e voci nell'Europa delle ideeBaldini + Castoldiwww.baldinicastoldi.itViaggiare in verticale significa calarsi nel tempo profondo, abbandonare gli itinerari di superficie per dirigere il proprio sguardo oltre la forma delle cose finite. Partire dall'invisibile, allora, per vedere meglio: è questo che si propone Fernando Gentilini quando decide di farsi guidare, nel com- porre questo suo Atlante delle città eterne, dalle voci degli scrittori, degli artisti, dei santi e dei filosofi che le hanno abitate prima di noi. Come a Roma, dove sono Nerone e San Benedetto a riportarci al mito olimpico e alle origini del monachesimo; oppure a Milano, di cui Leonardo e la principessa Belgiojoso custodiscono lo spirito ingegnoso ed eternamente rinascimentale. O nella Parigi romantica di Edith Piaf e in quella nazionalista di Charles de Gaulle, ciascuna con la propria idea di grandeur. O ancora nella Londra vittoriana di Bram Stoker, nella Sarajevo suicida di Predrag Matvejević o nella Pietroburgo di Iosif Brodskij che ciclicamente risorge dall'acqua… Sono fatte di niente le città di questo libro insolito e conturbante. Hanno la consistenza dei sogni e delle idee. Senza più monumenti né palazzi, senza la gente in strada, senza rumori in sottofondo: città irreali, svuotate di tutto, attraversate solo dalle voci dei loro antichi abitanti; che a seguirle ci si ritrova di colpo in un altro mondo, dove passato e futuro non si oppongono più, e dove nulla di quel che è essenziale potrà mai andare perduto.Fernando Gentilini ha vissuto in molti paesi di diverse regioni del mondo, lavorando come diplomatico per il Ministero degli Esteri, l'Unione europea e l'Alleanza atlantica. Oggi vive tra Roma e Bruxelles, dove scrive e collabora con vari istituti e università, continuando a inseguire le sue passioni che sono da sempre i libri, l'Europa e la politica internazionale. Ha pubblicato In Etiopia (1999), Infiniti Balcani (2007, premi Cesare Pavese e Capalbio), Libero a Kabul (2011), Tre volte a Gerusalemme (2020, premio Gambrinus), I demoni, storie di letteratura e geopolitica (2023). Ha collaborato con le pagine culturali di «La Stampa». Sulle pagine culturali di «la Repubblica» ha raccontato con la serie Finis Terrae i paesi e le crisi internazionali degli ultimi anni attraverso la storia e i classici della letteratura.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

durée : 00:06:14 - Catherine Deli Graindorge, la déléguée départementale de France Parkinson - Une journée d'information et de prévention sur la maladie de Parkinson est organisée ce jeudi à Mulsanne près du Mans à la salle Edith Piaf. C'est une maladie qui ne touche pas que les personnes âgées, qui se présente sous plusieurs symptômes. Catherine Deli Graindorge, la déléguée départementale.

French-American musician and composer Zoé Basha released her debut album Gamble on April 17. Blending storytelling traditions, Appalachian mountain songs, Irish traditional music, and American blues and ragtime, the album is a woozy melange. We talk about her life journey, travelling around the US, joining the Occupy San Francisco protests, moving to Dingle, Dublin, France to learn traditional French timber framing, and back to Ireland. Throughout it all, there's music, though she did fall out of love with it for a while before Rufous Nightjar started up with Anna Mieke and Branwen Kavanagh. And now comes her debut solo album Gamble. From the press release: Zoé's debut is an intimate exploration of identity, grief, the deconstructing of societal norms, and the complexities of human connection, all delivered with a mesmerising voice that echoes the vulnerability and depth of her diverse influences. Inspired by the greats of times passed such as Billie Holiday, The Mills Brothers, Jimmie Rodgers, Joni Mitchell, Texas Gladden, Edith Piaf and The Steve Miller Band– as well as her peers in the Irish folk music scene, Zoé Basha savours the sounds of golden eras with contemporary nuance and shameless honesty. Zoé Basha tour dates: April 24: De Burgos Club, Galway April 25: The Glens Centre, Manorhamilton, Leitrim April 26: The Duncairn, Belfast April 27: The Record Room, Limerick May 1: Fennelly's of Callan, Kilkenny May 2: Bray Jazz Fest, Wicklow May 3: The Crane Lane Theatre, Cork May 4: Blennerville, Tralee, Co. Kerry (co-headling with Rachel Sermanni) Buy Gamble: https://zoebasha.net/album/3407338/gamble

Dying well We’re all going to die, but how we acknowledge death and dying is a very personal experience. Award-winning journalist and author Tracey Spicer and anthropologist Dr Hannah Gould explore etiquette, rites and traditions to find out what makes a ‘good death’. About the episode – brought to you by Australian Seniors. Join James Valentine for the sixth season of Life’s Booming: Dying to Know, our most unflinching yet. We’ll have the conversations that are hardest to have, ask the questions that are easy to ignore, and hear stories that will make you think differently about the one thing we’re all guaranteed to experience: Death. Featuring interviews with famous faces as well as experts in the space, we uncover what they know about what we can expect. There are hard truths, surprising discoveries, tears and even laughs. Nothing about death is off the table. Tracey Spicer AM is a Walkley award-winning journalist, author and broadcaster. And she's an ambassador for Dying With Dignity. A vocal campaigner and advocate for voluntary assisted dying (VAD), Tracey penned a letter to her mother following her painful death in 1999. Dr Hannah Gould is an anthropologist who works in the areas of death, religion and material culture. She recently appeared on SBS documentary: Ray Martin: The Last Goodbye. Hannah’s research spans new traditions and technologies of Buddhist death rites, the lifecycle of religious materials, and modern lifestyle movements. If you have any thoughts or questions and want to share your story to Life’s Booming, send us a voice note – lifesbooming@seniors.com.au Watch Life’s Booming on YouTube Listen to Life's Booming on Apple Podcasts Listen to Life's Booming on Spotify For more information visit seniors.com.au/podcast Produced by Medium Rare Content Agency, in conjunction with Ampel Disclaimer: Please be advised that this episode contains discussions about death, which may be triggering or upsetting for some listeners. Listener discretion is advised. If you are struggling with the loss of a loved one, please know that you are not alone and there are resources available. For additional support please contact Lifeline on 131 114 or Beyond Blue on 1300 224 636. TRANSCRIPT: James: We're all going to die. Happens to all of us. But how we acknowledge death and dying is of course a very personal experience. With our guest and our expert, we're going to explore the etiquette, the rites and traditions seen in Australia and around the world. Someone who knows a lot about the rites and traditions of death is Dr Hannah Gould, an anthropologist who works in the areas of death, religion and material culture. We're also going to be joined by Tracey Spicer, she’s a Walkley award-winning author, journalist and broadcaster. And she's an ambassador for Dying With Dignity. Tracey and Hannah, welcome. Thank you so much. Tracey: Hello. James: Thank you for coming. Hannah Gould. Hello. Thank you for coming. Hannah: Thank you. James: Fantastic. Let's talk death! Tracey: Why not? There'll be lots of fun. James: Do you laugh in the face of death? Hannah: What else can you do? I mean, look, you know. Lots of sadness, lots of joy, every single emotion is reasonable, surely. I mean, it's like the question, the ultimate question of philosophy, of history, of every discipline. Every response is valid. Not always useful, or helpful. James: Yeah. Yeah. Hannah: But valid. Tracey: Well, it's a universal topic of conversation and that's why I've always loved dark humour. Because you do have to laugh, otherwise what do you do? James: I also think it's, it is the ultimate joke that we are all going to die, but we live like we're not going to. We live every day as though it's just not going to happen at all. Tracey: Especially in Western society, I think other cultures have got it right and we're in such deep denial about it. It's detrimental to all of us. James: Yeah. Now this is your area of expertise really, is that do other cultures have it right? Hannah: Everyone does it differently. Right or wrong is kind of a difficult thing to judge. I think certainly there's a big thing called, like, the denial of death thesis, right. And, and people like Ernest Becker, a lot of different philosophers and anthropologists and cultural, you know, analysis have looked at Western culture and gone, Oh my gosh, we are so invested in denying death, right. And whether that's through denying death by religions that say you're going to live forever, like, you know, don't worry, it's not the end. You'll pop off to heaven or whatever it is. Or through, you know, great heroic myths. Yes, you'll die, but the nation will remember you forever. So, you know, you won't really die. You'll be a martyr. Or contemporary, you know. Yes, you'll die, but have you seen how great the shopping is? You know, we can just ignore, we can deny death by being on Instagram and, you know, consuming, right, so, I think Western culture in particular, the way we've organised our society, allows us to not think about death. James: And we've organised death to be somewhere else, usually now. To be in a hospital, to be in palliative care somewhere. And they may be good, but they're not, they're not in the cottage, are they? They're not next to, not in the bedroom. Hannah: Not in the bedroom. So, we know that, say, 70% of Australians wish to die at home. Only about 15% do. And that is a rate that is lower than all these other countries we like to compare ourselves. So Australians are more institutionalised in their death than places like Ireland, like New Zealand, the United States of America, even Canada. We tend, more than other countries, to die in institutions – aged care, hospitals, and hospices. James: Yeah, right, right. The other way in which we deny death is, or the other way in which other cultures have a different attitude to death, will be that it'll either be more accepting – we are all going to die, will be part of their every day – or they may have a notion of reincarnation and coming back, which means that that's a very different attitude to death, really, than a, than a heaven and a hell. Hannah: Yeah, it's not necessarily an end so much. I think that's kind of quite common in, say, you know, Buddhist or Hindu or other kind of dharmic religions, particularly Asian religions. And then, obviously, there's a lot of Asian religion that's part of Australian society, so that's also quite present in Australia. But we can also have a kind of more secular idea about that. You know, a lot of these, a lot of my mum's generation in particular, have kind of a green environmental kind of reincarnation model where she will say, well, I don't particularly believe in heaven, but I do believe I'm going to become compost. Food for worms, you know, I'll come back as a tree or a flower or a tomato plant, you know, and that's, that's a kind of reincarnation of like reintegration into the natural environment, as it were. So there are some kind of myths or stories we can tell ourselves that perhaps help us think about death more positively. James: I've got a, a friend of mine who'd be into her 80s has said, oh, funeral? Just put me up the top paddock, let the crows have a go. Tracey: Yeah. My dad wants to be buried in a cardboard box, and I think that's a wonderful idea. James: We all say that, don't we? That's a really common one as well. I hear that a lot on the radio. People will go, mate, just, I don't care, put me out with the, on the hard rubbish day. Hannah: In the paddock, whatever it is… James: …the paddock, that’s the same sort of thing I said. You know, like, do we really want that, do you think? Hannah: Oh, do we really want that? I do think Aussies are pretty pragmatic about death. I do think we have a certain streak in us that's kind of like, you know what, it's all a bit much fuss, it's all too much. You kind of even get these people who therefore say, don't have a funeral. You know, I really don't want to have a funeral. Please don't even, you know, no fuss. That can be kind of sad sometimes because I think it's some people kind of not acknowledging how many people love them and miss them. James: Yeah. Hannah: Um, but maybe it's also a bit of an Aussie humour, dry humour, that, that black humour again of kind of, you know, trying to laugh in the face of death. Why not? Tracey: I would agree, but then we all get sucked in when we're in the funeral home, and they show you the cardboard box, and then they show you the glossy one that's 10 or 20 thousand dollars, and you think, did I really love that person that much, or should I do it? So it all feeds into what you were talking about before, that consumerism and overcommercialisation. James: Well, I also think sometimes, I would think it's about weddings. Weddings and funerals, well, who's it actually for? Tracey: Yeah, yeah. Well it's a punctuation mark, isn't it? I'm a lifelong atheist, but Tracey: I do enjoy, it sounds terrible, going to those kind of ceremonies, whether it's a funeral or a wedding, because it's important to celebrate or commemorate these changes, these huge changes. James: I love the sharing of stories at a funeral. People start talking. Tracey: Well, you learn so much about someone's life that you may not have known. And also often they're rich for that dark humour. I'll never forget my grandmother's funeral, who I was incredibly close to. And my father's new girlfriend loved my grandmother. She was so distraught she tried to throw herself into the hole in the ground on top when she was throwing the dirt in and I thought, well, that's intense. James: That's good. Tracey: That's, I've never seen that before. That's a first. Hannah: Oh, I've seen that before. Tracey: Have you?! Hannah: I will say that, you know, when you attend enough funerals or attend enough cremations for professional reasons, um, as it were, you kind of see everything, every range of human emotions. Like, we, we kind of think, you know, all funerals are all happy families. A lot of unhappy families, a lot of punch ups at funerals, lots of, uh, mistresses coming out of the woodwork at funerals, conversions, religious, you know, more and more people have recorded messages from beyond the grave that they play at their funeral, or, uh, they've decided that we're having a dance party, or we're having some sort of festivity or an event. I mean, you can do anything these days with a funeral. James: Do you go to a lot, just to observe? Hannah: Yeah, I do my research. So I, I research in death and dying and I, I work at a crematorium and I attend funerals and I hang around with other people in the death care sector. James: Yeah. Hannah: And you do see everything. James: Why do you want to… Tracey: …What got you interested in this? It's your job and I'm just fascinated by it… James: …We'll, we'll, we'll, we'll both do it. I think you've done this sort of thing! So, yeah. Well then, then, why do you want to be around death? Hannah: Oh. I mean, personal and professional. Professional, I'm an anthropologist, and anthropologists want to know what brings us together, what makes us all human, but then also why we do it so differently. And there is nothing else. It is the question, right, it is the one thing we all experience, and yet we've all decided to do it in completely different ways, and completely different ways throughout history. And then, personally, my dad died, and I thought, gosh, what on earth is going on? I suddenly was given the catalogue, of funeral, of coffins, right. James: And you were young. Hannah: I was 22, 23 when my dad died. An age that was perfectly old and mature at the time, I thought. But looking back, obviously, it was incredibly young. But yeah, I suddenly got handed this catalogue of, of kind of coffins, and they all had these really naff names, like, you know, these rich mahoganies, and like, it was like paint colours. Someone had, someone somewhere had decided, these were the options, right, that you were, that this is what was going to represent my dad. And I just felt this massive disconnect and I thought, ‘Hang on, I've got to work out what's going on there.’ So now I spend my life in death, as it were. James: Yeah. I suppose, most of us would think being around death would be a very gloomy kind of thing to be, or way to spend your day. Hannah: It can be very gloomy. But oh my gosh, the gallows humour that those boys in the crem – the crematorium – tell, uh, you know. James: Is there a joke you can share? Hannah: Ooh. Um. Not a lot of them are safe for work or anywhere. James: Tracey, you were going to jump in and ask something there before. What were you going to ask? You know, fellow professional interviewer. Tracey: I really see a connection with you being 22 when your father died and I was 32 when my mother died. Hannah: Mm. Tracey: Even at 32 I felt like I wasn't ready for it. James: Right, no. Tracey: And especially because it happened so quickly. Mum was the linchpin for the family, you know, smart and funny and she could do anything. She was one of those early super women kind of role models. And then all of a sudden at the age of 51 she was diagnosed with pancreatic cancer with seven months to live and she lived seven months almost to the day. And it was blood and guts and gore. She was in agonising pain. My sister and I were injecting her with medication every day. We wanted her to die in the home. Tracey: But it got to the stage where we had to bring her to palliative care, and that's when we started having the conversations about voluntary assisted dying, because, um, Mum and Dad had always said, put me down like a dog. And again, it's one of those things that you think it's going to be easy at the time, but it's not. We talked to the doctor. The doctor said, I don't want to end up in jail. And my sister sat there with the morphine button. She pressed it so often she had a bruise on her thumb. James: Hmm, right Tracey: …we said, surely you can just increase the morphine, because Mum was having breakthrough pain. So everything was fine until she'd scream once an hour, and there was no way they could cap that. So it's cruel, right? It's cruel. I, I don't think there's any way they would have done it. We tried to have those conversations. James: …Yeah… Tracey: Which is why one night, because we were sleeping in a chair next to her overnight just to hold her hand when she was in pain, I picked up the pillow and I did try to put it over her face because I thought, what kind of daughter am I, to let her suffer? And then I stopped at the last minute and then I felt really ashamed of, you know, what a coward I am. Hannah: No, I was going to say the opposite. What an incredibly brave act to, to have so much love and compassion for this person and so much respect, what you knew her wishes would be, that you were willing to do that, you know, for, not – for her, not to her, for her, right? That's extraordinary. Tracey: It's lovely of you to say. James: Did she know what you were doing? Tracey: Oh no, she was out of it for about the previous two weeks, actually. In and out of it. And then she died in the next 24 hours anyway. So she was very, very close. And she'd had that kind of burst, you know, had that almost honeymoon period a couple of days beforehand where you think, Well, she seems like she's getting better and we've read about that, so we expected she was close. Hannah: …Yep, the final, the final burst… Tracey: Yeah. Is there a name for that? Hannah: You know, I don't know what it's called, but you know, that is when usually the palliative care doctors, the hospice workers will call up the family and say, guess what? They're up and about, they're talking, they're eating all of a sudden, and that's genuinely usually a sign that it's not going to be long. James: Wow, isn't that interesting. Hannah: It's the final burst of energy. One of the interesting things about the rise of voluntary assisted dying, of euthanasia, to speak more broadly in Australia, is it reflects this kind of cultural shift that we have about the importance of choice and control towards the end of our lives and how increasingly like that is becoming an important part of what we think about as a good death, right. Like I want to be able to control where I die and who I die with and when and the pain and suffering, right? And that hasn't always been the case, right, you know throughout history there's been periods of that. There's been periods of, ‘Leave it to God.’ Or there's also been periods of, ‘Yes, I must prepare. I have to write my final last note or poetry’, or whatever it is. But that's increasingly becoming important particularly for, we see within the baby boomer generation that they really want to, you know, have some sort of choice, and emphasis on choice. James: Well, I mean, I wonder whether a lot of it is a reaction to, um, the, the medical control over the end of our lives is so extreme that we can be kept alive for so long. And so, it's, it's, it's a reaction to that medical control, isn't it? To want to say, well, surely I can, we can, we can have both, can't we? You can either keep me alive or I don't want to be kept alive. Could you let me go? Hannah: It's one of the great paradoxes, they talk about this paradox of contemporary death and contemporary medicine, is that all of our interventions have increased, right. The medicalisation of death has meant that not only do we have pain control, but we can keep people alive for longer. You know, we have better medicines, drugs, palliative medicine is massively advanced. And yet, if we ask people, the quality of death and dying has not increased. James: Right… Hannah: …And if we look globally, more access to medicine doesn't necessarily correlate with a higher quality of death and dying. There's some correlation, like, do you actually have the drugs? Can you access, access them? But when it gets to kind of over a certain hurdle, just because you're dying in Australia versus dying in a country with no resources doesn't mean you're going to die better. James: What do you, what's a quality of death? How are we measuring that? What do you mean by that? Hannah: There's lots of things you can do to measure it and people try. So one of them is, you know, to ask, ask the family, to ask the dying person, to also ask the physician, did you think this was a good death? You know, how do we assess it? Because it's not just up to the dying person as well. Of course, it's also up to the family, right – How did you experience that death, that dying? It's a difficult thing to measure, right, because for some people death is never gonna be… You know, the words good death, bad death are kind of controversial now because it's like, oh my God, I have to try at everything else, do I also have to live up to a good death? Like, we can't make it good. Can we make it better? James: Yeah. What is a good death, Tracey? Tracey: I think this really intersects with, uh, competition. Everything's become a competition. And also quality of ageing. Hannah: Yes, yes… Tracey: …Because my darling dad, who's 84 and still hanging on after smoking and drinking himself almost to death when he was in his 50s – it's a miracle he's still alive. He has very close to zero quality of life. He's a lovely man, we love spending time with him, but he can barely walk. You know, where's the quality of life? So I've just written a book about artificial intelligence recently, so it worries me, that medtech space, that we're getting people to live longer, but there's no quality of life and also no quality of death. Hannah: There's this phenomenon we actually call, in scholarship, we call it prolonged dwindling. Tracey: Oh, which is so true, I love that. Hannah: What a term! But it's, it's… James: …Sounds like the worst Enya album ever… Tracey: …And it never ends… Hannah: …But yeah, it's, it's, there's exactly this thing, right. So it used to be, if you look at like the kind of time, it used to be that you'd either have a sudden illness, fall off a horse, through a sword, war, back in the day, and you, and then you would die, or you would have a, you know, a serious major illness, like a cancer or a heart attack, and then pretty soon after, you'd die, right? What we have now, what we tend to have now, is these kind of timelines towards the end of life of, you know, multiple hospitalisations, in and out of hospital, or you have something like Alzheimer's, right, where you have a very, very, very slow and long cognitive decline, potentially with very high care needs, so you're in hospital, you're in care for 20, 30 years, right? Which is unheard of previously, that you would need this level. So how we die is changing, and it's a completely different timeline. James: Yeah. Does… Tracey, let's just return to this moment when you started to perhaps really think about death. You know, you're confronting your mother's suffering, and you think about, you know, taking control of that, about doing something. Was that an impulse? Was it something that grew over time? Tracey: It was knowing my mother's character as being very forthright, and she was always in control, to speak to control. She would have liked me to try to control the situation. It was also, obviously, that you never want to see a loved one in suffering. But it taught all of us in the family a couple of important lessons. Dad’s now got an advance care directive that’s 28 pages long, so we know exactly what's going to happen. My husband and I still haven't done that, but we do talk to our kids who are aged 18 and 20 about this kind of stuff. I think part of that is my husband's a camera operator, I've been a long-time journalist, so in newsrooms, a very dark sense of humour, similar to the crematoriums, so we talk about death and dying an awful lot at home, but I think it's important to have those conversations and to prepare for a good enough death as much as you can. Tracey: I mean, what does a good enough death mean to you? Have you thought about that yourself? James: Yeah, well I have. I've had some, you know, health issues, had a cancer last year, and so that sort of thing, you know, you do start to confront it and think about it. I'm the fall asleep in the bed, you know, go to bed one night, don't wake up. Tracey: The classic. James: That's the classic. Give me the classic. I'm happy with the classic. Hannah: …Hopefully after you've just finished penning your magnum opus, surrounded by friends and family. James: The end, you know. For me to be onstage, I've just finished a searing saxophone solo, and everyone's just ‘Amazing! Unbelievable!’ Down you go. Something like I mean, sudden, seems to be, just immediate. Immediate and sudden, no suffering. Hannah: Well, that's the thing. Hannah: People always ask me, you know, do you fear death, are you afraid of death? And frankly, after studying it for this long, no, not at all. And I think in an odd way, there is some kind of horrific privilege of having at least one of your parents die young because all of a sudden, you do start thinking about all these things and you learn to live with death, even if you don't like it a lot of the time. I don't fear death, I do fear the prolonged dwindling. Right, like that, the kind of ageing poorly without support in a way that I can't make the controls, and and you know, can't make decisions. That's much more scary to me than death. Death is kind of a great mystery. James: Your interaction with your mother, Tracey, led you to looking at voluntary assisted dying. What did people say about it? What was the general, when you first started to talk about it, when you first started to campaign for it, what would people say? Tracey: What I noticed was a disconnect, that people in the community overwhelmingly supported this because they’d seen loved ones die. But in our parliaments, I saw there a lot of people, a higher percentage than the normal population, are quite religious in our parliaments. Hannah: …Completely unrepresentative... Tracey: …Unrepresentative. And so a lot of organised religions are pushing back against it and therefore there wasn't an appetite for change because of that. I think it took these wonderful lobby groups to get the politicians to listen and for them to realise that there was a groundswell of support. And also, of course, with the examples in the Netherlands and Oregon and Canada who have quite different laws to us. But very successful laws. You rarely see people, I think it's 99.9% successful – only a tiny amount of people who are abusing the legislation, tiny, tiny – but the rest of it, everyone overwhelmingly aligns with it. So it's done in a very ethical and proper kind of way. James: So do you feel as though when you first started talking about it, really, most people were on board? It wasn't something, it wasn't one of those things where we're really trying to, we had to convince people. Tracey: No, that's right, except for people who were particularly religious. Because, let's face it, everyone, pretty much, unless you're quite young, has had a loved one die, so this is something that affected everyone. James: Yeah. I suppose I was wondering. Like someone, some friend, the other day, you know, how have you been, blah, blah, blah. And he went, ‘oh, I had a weird thing yesterday, like, my uncle died’. And I went, ‘oh, that's sad’. And he said, ‘no, no, it was voluntary, he did the voluntary assisted death. He died yesterday afternoon at two o'clock’, you know. I went, ‘oh, wow, you know, you're there?’ ‘Yeah, we're all there, and, you know, it was great, we had a lovely morning with him. We had dinner the night before, and then it just all took place.’ I said, wow, how amazing. And what I was really struck by was what a normal conversation this was. It was a bit like saying, ‘we went to holiday in Queensland’. You know, like it was sort of, he wasn't describing some outlandish thing, you know, it was suddenly this thing, suddenly voluntary assisted dying was just part of the fabric of our, of our lives. You know, do you feel that that's happened in Australia? Tracey: I do feel it's become more normalised, to your point, over the last 20 years. But there's still a lot of academic debate about at what, at what point should you be able to do it. At the moment in Australia, it's overwhelmingly someone with a terminal illness. And it's done by themselves or their doctor, their practitioner. But there are people who want to bring it in for people who are elderly and, and suffering and don't want to live any longer, to support them there. So we're seeing, I guess, a fragmentation of the discussion and the arguments. And I'll be interested to see which way that goes down the track. There's a lot of debate about people, to your point earlier with Alzheimer's, people who have dementia. Hannah: Sensory pleasures. Like, people being able to taste and smell and touch and hug become really important at the end of life. Tracey: Oh, that reminds me of someone I know who did have a good death, who was my grandfather, Mum's father. He lived until 94, and I cared for him towards the end of his life. Our kids were little then, they were probably 7 and 8. And he had that burst, and they said, come on in, he'll die in the next couple of days. We brought in oysters, we brought in red wine. I brought in the kids because I think it was important for them to see that, and he had a good death within the next 24 hours. So it is possible. I think it's rare, but it's possible. James: Yeah, if you know what's happening. A lot of your speciality, Hannah, is in Buddhism. What do Buddhists make of voluntary assisted dying? Hannah: Well, I will say that Buddhism is a religion with over 500 million people in it. So it's kind of like asking, what are the Christians? James: …Right. Right. Hannah: …or what are the Western people think about voluntary assisted dying? So, a range of views. James: Range of views. Hannah: Really huge range of views. James: I suppose I was just wondering whether there was anything in the Buddhist canon as such or the Buddhist, you know, view that just went, no, let life take its course. That, you know, you must experience suffering, so therefore you must experience all life. Hannah: Well, suffering is pretty important to Buddhism, right? And suffering well, and learning to suffer well, is really important. So there are some Buddhists who would oppose voluntary assisted dying because there's a prohibition against killing, right? But most people in Buddhism will, say, weigh that prohibition against killing against, kind of, the experience of suffering, right, and lessening people's suffering. So certainly there are some Buddhists who would say, no, you know, we need to experience suffering and learn how to experience the suffering at the end of life. And that can be quite instructive. It's also why some Buddhists may, uh, deny pain medication and even, you know, deny anything that kind of clogs their mind, because they want to be conscious at the end of life. They want to experience it all, you know, see where their consciousness goes to the next reincarnation. But there's also a, you know, a massive Buddhist movement that has always kind of seen humanity on quite a similar level to animals, right, that we are all beings of this world, and therefore in the same way that we would, you know, have compassion for the suffering of a pet and, you know, euthanase a pet that's going through unavoidable suffering, with many Buddhists who would therefore support the euthanasia of a human being that's going through suffering, right, in the same way. Because humans are not particularly special, right, we're just another being in this world and we'd want to show the same compassion for both of those. James: Yeah, yeah. Hannah: Huge range of views. James: Yeah. Tracey, you said, you said you're an atheist. Does that mean, you know, once the final curtain falls, that's it? Tracey: Well, I'm one of those very open-minded atheists, James, who, if I am diagnosed with something, I fully am open to the opportunity of religion if I end up needing it at that time. And I imagine a lot of people do that. And if, if I do decide to do that, I would choose Buddhism. Hannah: There's actually a fascinating piece of research that just came out, Professor Manning, a religious studies scholar, and she looked at older atheists and what they think about the end of life. Because we tend to think, well, religious people have beliefs, but we don't really study atheists’ beliefs, right, we just think they all think nothing. But she actually found that there was kind of three different kind of world views or narratives that came out, that can be summarised as: lights out, recycling, or mystery. James: I'm all three. I'm all three. Hannah: So the first one is this idea, it's kind of like – death is like anesthesia, you just, that's it. You're at the end, you know, there's nothing, and it's often very biomedical, right. It's like sleep, but you don't dream, so it's more like anesthesia. You know, we've all, maybe all experienced that, and that's what these people believe, that that will be the end. The second one is recycling. So this is the food for worms idea, right, that yes, I will die, but my, you know… Carl Sagan: ‘We are all made of stardust’, right, we'll go back into the universe and one day I will be an oak tree or a, you know, something, quite, you know, a beautiful idea, which I, you know, I think I subscribe to that, I quite like that. And then the third one that they described around atheists was just mystery. That, for a certain group of people, who knows? And we can't ask anyone. And so that it was, it was almost kind of curiosity and excitement towards the end of life. So there are, yeah, you know, this is quite a great mystery, it's a great adventure, right, that we should all go on. James: Yeah, fantastic. We didn't talk much about, I suppose, the emotion we might feel around death at various points. You know, like, I've observed lots of conversations on the radio where my parents' generation, ‘stiff upper lip’... Hannah: …Stoicism… James: …‘How's she doing? Oh, very well.’ Which means she wasn't feeling anything at all. There's been no, you know, like, that's sort of how you're meant to feel. We now tend to be very emotional about death, you know, like it's, like it's part of our funeral rites, I suppose, to release that, to make sure we all howl. Hannah: Yeah, we have this kind of catharsis model of the funeral, right, which is this idea that, you know, you kind of, even if you might not want to, you go to the funeral and you cry it all out with other people and you have this communal experience of grief. And somehow that is helpful, if not entirely necessary for our long-term grief. But, you know, there's many cultures around the world where wailing is a big tradition, right, so that, you know, women physically throwing themselves at the coffin, howling, collectively crying. You know, it might be an extended period of wearing a certain colour, wearing black, you know, gathering together. Those kind of rituals can also be a way for people to process grief and emotion. You think of, particularly like, you know, in the Jewish tradition of sitting shiva, right, that after someone dies, you immediately gather, right, and there's an extended period of everyone sitting together and dedicated to experiencing grief together. That's quite different to our kind of one-day funeral a week or two after the person's died, and we all go back to our home. Hannah: And it kind of depends on, like, what kind of level of social ties that your cultural society engages in the funeral, right. Do you have a very small private funeral where it's only the immediate family who are the ones that are supposed to be grieving? Or is it everyone you knew in that society, and you have a responsibility to go and be there because you're part of a much larger social fabric, right. And that can be quite different – it can be a 300 or 400-person funeral. You know, one of the largest social groups in Australia is South Asian, Indian, Hindu migration, right? Often extremely large funerals, 300, 400 people in some cases, right, because there's a different expectation about who are the mourners, who is the congregation, who are the people that gather together and stand against death, as it were. Tracey: Another big difference seems to me, and I'd love to hear more about you on this, is the cultures that sit with the body for three days, or have the open coffin for viewing… James: …the body stays at home… Tracey: …of the body, or the body stays at home. Because my sister and I sat with Mum's body for as long as we were legally and practically allowed to in the hospital, which was hours and hours and hours. And when we told a lot of our Western friends, they said what an awful thing to do. But it was really lovely because it cemented the idea that she was actually gone. We told her stories. My sister and I laughed. We cried. It was actually incredibly therapeutic. Hannah: Yeah, and this is one of the difficulties, is people feel, because they have a lot of… People don't have a lot of information, right, so if you're lucky, very lucky, then you'll organise maybe one or two funerals during your whole life, right, and probably there'll be those for your parents, right. And you just don't have a lot of information because we don't talk about it. So you don't know what you're allowed to do. But you know, in all states and territories across Australia, you are allowed to be with that body for an extended period of time. You're allowed to bring that body home. You know, you can actively resist pressures from the hospital and the hospice and everyone else to get you out the door. You can say, no, I would like to be with this body for a bit longer. And as you say, there is also technologies that can allow you to bring the body into the home. I mean, the reason we call them funeral parlours is the front parlour of the house. That is the room where we used to display the body and be with the body and that still occurs in many cultures around the world. You know, it's difficult; it can be difficult. It's not always the right decision, you know, you have to think about your particular circumstances, but it is possible. James: Yeah. Well, thank you so much. Any final words? Tracey: Only that I think we should all choose our own funeral soundtrack. I've been doing that with a girlfriend lately. James: …What's she gone with? Tracey: …Because, you know… well, I've gone with Edith Piaf. Hannah:…Ah, classic… Tracey: …‘No Regrets’, of course. Absolute classic. And my friend is still choosing from five. But I think, otherwise someone else gets a choice, and they might choose something terrible. James: Yes, no, I think that's very important, get your, get your, get your funeral songs sorted out… Hannah: Catering, funeral songs… James: …the whole soundtrack, the catering you'd be concerned about, you want everyone to have something… Hannah: … delicious. James: …any special cheeses or wines you want? Hannah: French. Yeah, this is what we did for my dad as well. It was like red wine, good French cheese, baguettes, you know. If you're going to grieve, if you're going to cry, you need some sustenance to support you. Tracey: Comfort food. Hannah: Comfort food, exactly. James: Yeah, very nice. Tracey: Before we let you go, what's your funeral song? James: Do you mean, what do I want people to hear as the coffin's going out or something like that? I don't know if I've made that choice yet. I don't know. Hannah: Hard rock? Tracey: Jazz? Hannah: Pop? James: No, it'll be something jazz, I guess, or something in that tradition. It's probably none of the Frank songs. Tracey: Something majestic, though. James: So yeah, ‘Zadok the Priest’, Handel… Hannah: …Oh, I like that. Old school. James: …Something huge! I haven't decided. Yeah, it's, it's but you're right. Like everything, do it, put some effort into it, you know, and have all that stuff ready for your children, for those that are going to have to do it, a little folder somewhere. Tracey: You could play some of your television clips from over the years. James: Oh, I don't think so, Tracey. I think yours might have something like… Hannah: …a highlights reel… Tracey: …a showreel! James: Yeah, my showreel. No, let's not do that. It's largely children's television, Tracey. No one wants to see that. Tracey: That would be great at a funeral. James: I could conduct a – I'd like to conduct a beyond-the-grave talkback session, probably, talkback radio or something. That could be very fun. Hannah: People could all call in to your funeral. James: Oh, I love that! Tracey: Interactive funerals! James: It's a ‘simil’ funeral. It's being broadcast on the station and then people can call in with their tributes. Oh, that's good. Hannah: Anything is possible. James: That is good. Okay, we've got it. Thank you for helping me sort that out. Hannah: We've done it. James: Well, thanks so much to our guests, Dr Hannah Gould and Tracey Spicer. You've been listening to Season 6 of Life's Booming, Dying Well, brought to you by Australian Seniors. Please leave a review or tell someone about it. If you want more, head to seniors.com.au/podcast. May your life be booming. I'm James Valentine.See omnystudio.com/listener for privacy information.

On the April 14 edition of the Music History Today podcast, 3 classic albums are released, Beyonce makes history again, as does Logic.For more music history, subscribe to my Spotify Channel or subscribe to the audio version of my music history podcasts, wherever you get your podcasts fromALL MUSIC HISTORY TODAY PODCAST NETWORK LINKS - https://allmylinks.com/musichistorytodayResources for mental health issues - https://en.wikipedia.org/wiki/List_of_suicide_crisis_lineshttps://findahelpline.com

Tous les week-end, découvrez de courtes histoires d'amours, tendres ou percutantes, pour engager de vraies réflexions sur l'amour. Edith Piaf fut une éternelle amoureuse. Mais il n'y a pas de doute sur qui fut l'amour de sa vie. Marcel Cerdan, le plus grand boxeur français est celui qui inspira une de ses plus belles chansons : "L'Hymne à l'Amour". Leur passion fût courte mais intense... avec une fin des plus tragiques. Une histoire de rings, de scènes et de voyages. Une histoire d'amour. Marcel est un homme marié. Sa femme, Marinette et leur trois fils vivent à Casablanca. Avec Edith ils doivent être discrets. Ils s'installent à l'Hotel Claridge, dans deux chambres côte à côte. Ils peuvent compter sur la discrétion de la presse, complice, qui garde le silence sur leur adultère. Ils passent toujours plus de temps ensemble. Ils se découvrent de nombreux points communs : ils ont tous deux grandi dans la misère et n'ont pu compter que sur leur talent pour s'en sortir. Ils ont des natures similaires, simples et sympathiques, leurs succès ne les éloignant pas du commun des mortels. Ils s'admirent l'un l'autre, viennent se voir sur leurs terrains de jeux mutuels : la scène et le ring. Le manager de Cerdan s'oppose fermement à cette relation : il estime que la chanteuse distrait son sportif. Mais rien n'y fait, Marcel est fou d'amour et Edith le lui rend bien. Un podcast Bababam Originals. Première diffusion : 15 mai 2020 Learn more about your ad choices. Visit megaphone.fm/adchoices

Retour sur la vie et l'œuvre du poète Jacques Prévert, figure emblématique de la poésie française, à l'occasion de son décès en 1977. Découvrez ses liens avec Edith Piaf et son approche unique de la poésie.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.En 2025, Europe 1 célèbre ses 70 ans. 70 ans d'histoire, de rires, de partages et d'émotions.Pour marquer cet anniversaire, découvrez une collection inédite de podcasts : "70 ans d'Europe 1".Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Ubiratan Brasil conta detalhes do musical “Território do Amor”, que retrata importantes nomes da música brasileira e internacional, como Maysa, Dalva de Oliveira, Mercedes Sosa, Edith Piaf e muito mais.See omnystudio.com/listener for privacy information.

Send us a textWarner Archive announces four exciting Blu-ray releases for May, ranging from 1930s classics to modern masterpieces, all meticulously remastered for optimal presentation.• Three Comrades (1938): Frank Borzage directs this pacifist film based on Erich Maria Remarque's novel, with screenplay contributions from F. Scott Fitzgerald• First remaster in 32 years showcases stunning new transfer from second generation elements after original negative was lost• Mystery Street (1950): Early John Sturges police procedural featuring Ricardo Montalban in a rare leading role that wasn't compromised by his ethnicity• Includes significant Boston location shooting including scenes at Harvard before commercial filming was banned there• Lean on Me (1989): Morgan Freeman stars as real-life principal Joe Clark in John G. Avildsen's inspirational drama• First proper HD release, scanned from original negative at 4K after only being available in pan-and-scan DVD format• La Vie en Rose (2007): Marion Cotillard's Oscar-winning performance as legendary singer Edith Piaf finally comes to US Blu-ray• Features beautiful cinematography and 5.1 audio showcasing Piaf's iconic musicStay tuned for part two of our May release announcements coming in an upcoming episode.Pre-orders are not yet available. REVIEW - THE DAY THE EARTH BLEW UP: A LOONEY TUNES MOVIE with Tim Millard, host of The Extras Podcast.The Extras Facebook pageThe Extras Twitter Warner Archive & Warner Bros Catalog Group As an Amazon Affiliate, The Extras may receive a commission for purchases through our purchase links. There is no additional cost to you, and every little bit helps us in the production of the podcast. Thanks in advance. Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers. Contact us today to see how we can work together to achieve your goals. tim@theextras.tv

This week is a special - we look at the ten main threats to democracy today - 1) Wealth imbalance - the Wisconsin election, Trump's Tariffs; 2) Islam - the BBC and Bradford, the Salaah, Cardiff city council promotes Islam; 3) Anti-Semitism - Douglas Murray; John Anderson with Mark Durie and Richard Shumack;  4) Misuse of the police - Parents arrested for criticising school in UK, Scottish politician and the non hate crime of criticising non-binary ideology, FBI ordered gag on Hunter Biden laptop; 5) Progressive Woke ideology - Shanna Kattari, Ross Greer, Toddler suspended for transphobia, Quality Street becomes Equality Street, two tier justice;  6) Lawfare - Country of the week - France, the banning of Marine Le Pen, Yanis Varoufakis, Guy Verhofstadt; 7) Net Zero - destroying virgin forest in Australia, Myanmar earthquake, - when did the 24 hour day begin? 8) A Censored Media - death of Val Kilmer, Adolescence, Celtic's Shame, 9) Education as an indoctrination business - 10) The Decline of the Church  - including Feedback and the Final Word with music from Leonard Cohen, ACDC, Edith Piaf, the Kingston Trio, Jim Croce, and Sovereign Grace 

Chaque jour, Laure Dautriche revient sur les grands moments et événements qui ont marqué notre radio. En 2025, Europe 1 célèbre ses 70 ans. 70 ans d'histoire, de rires, de partages et d'émotions.Pour marquer cet anniversaire, découvrez une collection inédite de podcasts : "70 ans d'Europe 1".Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Send us a textAls matroos in Oostende tekende kunstenaar Willy Bosschem zijn eerste cartoon voor De Zeewacht, en 73 jaar later doet hij dat nog altijd elke week voor De krant van West-Vlaanderen. Als persattaché en curator was hij decennialang een vaste waarde in het Kursaal, en 's nachts werkte hij intussen aan zijn eigen kunst. Willy Bosschem is vijfennegentig en nog altijd kijkt hij liever vooruit dan achterom. Tenzij dan misschien naar die ene keer toen hij met Edith Piaf in zijn armen door de gangen van het Kursaal liep.

Joie de Vivre" isn't just a phrase; it's a way of life. Sylvie Boisel, born and raised in France, was immersed in music and joy from birth. Trained as a singer and actress, she quickly charmed audiences in Paris and beyond, using music and humor to captivate with her unique style. **Australia** In 2006, Sylvie's artistic spirit led her to Australia, where her effervescent voice and style brought Piaf, Jazz, and American standards to life. She became known for her distinctive shows, performing at major events like the Sydney Film Festival and a nationally televised Wallabies luncheon, where she sang for Prime Minister John Howard. **The U.S.A.** Sylvie celebrates the deep cultural ties between France and the U.S., especially the shared symbol of the Statue of Liberty. In New York, she performed on Broadway and at “Best of France” in Times Square. After two years, she moved to Las Vegas, performing at venues like Red Rock Country Club and Dress for Success. And many venues and libraries. With her show I love Paris and her Tribute to Edith Piaf. She also proudly sang the French anthem for an American veteran honored with the Legion of Honor. Contact Sylvie Boisel: http://www.thefrenchsinger.com https://www.tiktok.com/@sylvieboiselmusic https://www.facebook.com/sylvieboisel/ https://www.instagram.com/sylvieboisel/ https://x.com/sylvieboisel https://www.pinterest.com/sylvieboisel/ https://www.linkedin.com/in/sylvieboisel Dr. Kimberley Linert Speaker, Author, Broadcaster, Mentor, Trainer, Behavioral Optometrist Event Planners- I am available to speak at your event. Here is my media kit: https://brucemerrinscelebrityspeakers.com/portfolio/dr-kimberley-linert/ To book Dr. Linert on your podcast, television show, conference, corporate training or as an expert guest please email her at incrediblelifepodcast@gmail.com or Contact Bruce Merrin at Bruce Merrin's Celebrity Speakers at merrinpr@gmail.com 702.256.9199 Host of the Podcast Series: Incredible Life Creator Podcast Available on... Apple: https://podcasts.apple.com/us/podcast/incredible-life-creator-with-dr-kimberley-linert/id1472641267 Spotify: https://open.spotify.com/show/6DZE3EoHfhgcmSkxY1CvKf?si=ebe71549e7474663 and on 9 other podcast platforms Author of Book: "Visualizing Happiness in Every Area of Your Life" Get on Amazon: https://amzn.to/3srh6tZ Website: https://www.DrKimberleyLinert.com The Great Discovery eLearning Platform: https://thegreatdiscovery.com/kimberley l

It's time to get your stolen spaceship hurtling round the sun and going back in time to the 1980's with “Star Trek IV: The Voyage Home”!We're joined by our occasional editor and perpetual Pokémon expert, Reanna Reid-Lobatto, with some news about whales (and transparent aluminium).There's some impressive Shacting as Spock and the crew get up to hijinks in order to get whales going back to the future!Then we've got the second part of this ‘bus punk' duology with Picard's “Watcher”, where we're reminded why ICE should be abolished, Rafi is the most fun she's been in the show and Guinan's already fed up of JL!00:04:22 What Non-Star Trek Thing We've Been Enjoying: 00:13:32 Star Trek IV: The Voyage Home01:10:28 Picard: The WatcherTalking points include: Continuum, Dr Who, Ecco the Dolphin, Whale Song, Tavern Talk, Mobile Suit Gundam GQuuuux, Final Girl, Top Gun, Karate Kid cosplay, the pronunciation of aluminium, the “I choose to stay” trope, is there no pizza in Star Trek's future?, Bester from Babylon 5, John Lithgow's acting career, Bill & Ted's poorly-aged comments, transparent aluminium facts! Hitchhiker's Guide dolphins, Some non-bummer news about humpback whales, I urge Comrade Whales to go further, Genma Saotome's parenting, McCoy Vs the American Health Industry, Alexa & the PS5's voice recognition, Eddie Murphy, Back to the Future & Howard the Duck's Lea Thompson, Fly me to the Moon, Neon Genesis Evangelion, Buffy, ICE should be abolished, Edith Piaf, do you like references?, Jerati's history of constantly fucking up, Eternal Law, Ageing punks, Miles' connection to Kirk Thatcher, fuck Peanut Hamper, The Rosa Parks episode of Dr Who, Charlie has now finished Yoshi's Island. Oh, and occasionally Star Trek.The Matthew Rosenberg Wolfsbane thing is covered here: https://www.cbr.com/rosenberg-apologizes-for-wolfsbane-death-scene/Pedant's Corner:Yes technically it's not been long since we've covered a movie, but it's best we all forget Section 31.The last scenario of Final Girl Series Three is based on A Quiet Place and Tremorshttps://en.wikipedia.org/wiki/HMS_BountyJohn Lithgow played Dr Emilio Lizardo in The Adventures of Buckaroo Banzai Across the 8th DimensionWe are children of the 80's living in 2025, not 2024. It's Six Degrees of Kevin Bacon, not SevenCasual Trek is by Charlie Etheridge-Nunn and Miles Reid-LobattoMusic by Alfred Etheridge-NunnCasual Trek is a part of the Nerd & Tie NetworkWatch Reanna and former guest of the show Sean playing Super Mario RPG: https://www.youtube.com/live/bYSOk-bb6EM?si=LpAtQEqLjHrCpqGahttps://ko-fi.com/casualtrekMiles' blog: http://www.mareidlobatto.wordpress.com Charlie's blog: http://www.fakedtales.com 

Wëllkomm an der coincéierter Adele-Ära! Haut geet et vun der Kathedral duerch de Security-Check bei der Kierch an den Atelier a bei de Baby-Papst. D'Thermomixmuddis an Edith Piaf-änlechen Australier waarde schonn a si mat ënnerwee fir d'Patriarchat ze stierzen. Et gi Wuertwitzer mat Eeërstäck, e grousse Béier a kleng Gesten. Nieft Momfluencer, déi de Verstand verluer hunn, Schlager aus de 70er a schéine Männer vun haut sinn haut och schicksalshaft Concerten, Wumms aus de fréien 2000er an en iconic Trio dobäi. A l'amour et l'amitié!

It took a catastrophic car accident for the singer and actress to leave a decorated career in architecture and focus on her artistic ambitions, including a tribute show to her friends Sinead O'Connor, and Shane MacGowan of The Pogues.Irish-French singer and performer Camille O'Sullivan grew up in County Cork, with her Irish father and French mother.Although she sang throughout her youth, she was persuaded to become an architect and went on to win awards for her work.But after she nearly lost her life in a harrowing car crash, she decided she had to be honest with herself and become the singer she always wanted to be. Camille has brought her unique voice to the songs of Jacques Brel, Edith Piaf, Nick Cave and Radiohead.In her newest show, she's honouring two late Irish singers who were her friends: Sinead O'Connor and Shane MacGowan from The Pogues. This episode of Conversations touches on epic life stories, origin stories, Ireland, Irish singing, Jacques Brel, friendship, songwriting, poetry, and performing.

It took a catastrophic car accident for the singer and actress to leave a decorated career in architecture and focus on her artistic ambitions, including a tribute show to her friends Sinead O'Connor, and Shane MacGowan of The Pogues.Irish-French singer and performer Camille O'Sullivan grew up in County Cork, with her Irish father and French mother.Although she sang throughout her youth, she was persuaded to become an architect and went on to win awards for her work.But after she nearly lost her life in a harrowing car crash, she decided she had to be honest with herself and become the singer she always wanted to be. Camille has brought her unique voice to the songs of Jacques Brel, Edith Piaf, Nick Cave and Radiohead.In her newest show, she's honouring two late Irish singers who were her friends: Sinead O'Connor and Shane MacGowan from The Pogues. This episode of Conversations touches on epic life stories, origin stories, Ireland, Irish singing, Jacques Brel, friendship, songwriting, poetry, and performing.

Let's take a closer look at the Père Lachaise cemetery of Paris, the most visited necropolis on earth.  All kinds of famous and interesting people are buried here including Jim Morrison, Edith Piaf, Oscar Wilde… and about a million more. Some 3.5 million people check it out annually. In this episode you'll hear from author Joe Start, who wrote a book on Père Lachaise called The Chairfather - a literal translation of the cemetery's French name. This part of the episode is taken from the Earful archives. Joe visited the tombstones countless times to research the book and interview the dead, and today on The Earful Tower he shares his tips on which graves to find, what to avoid, and how not to act if you're a tourist there. And if you like what you hear, you can find the Chairfather book here or on ebook here.  At the end of the episode, Marie Segura from My Private Paris talks more about the cemetery.  In fact, this whole season of The Earful Tower is brought to you by My Private Paris, which is an award-winning travel company creating deluxe itineraries for Paris and beyond. See what they offer here and be sure to let them know that you came from The Earful Tower. Enjoying what we're doing here at The Earful Tower and keen to see more? Become a Patreon member here to support it and to discover our exciting extras.

durée : 00:58:37 - Jean Constantin en concert - par : Martin Pénet - Jean Constantin a écrit de nombreux succès, paroles ou musique, ou bien les deux. Il a été interprété par de grands noms du music-hall : Edith Piaf, Yves Montand, Zizi Jeanmaire, Jacqueline François, Philippe Clay, Annie Cordy, Dalida, Charles Aznavour, Catherine Sauvage, ou encore Lucienne Delyle… - réalisé par : Fanny Constans

Edith Piaf hat es ganz nach oben geschafft, als sie den Text zu "La vie en rose" schreibt. Trotzdem stammt die erste Aufnahme nicht von ihr selbst. Roland erzählt, warum, und zeigt, wie unterschiedlich das "Leben in Rosa" klingen kann.

La Musique s'invite au Sommet pour l'action sur l'Intelligence Artificielle. ⇒ Sommet pour l'action sur l'Intelligence Artificielle.«Oh, Djadja Y a pas moyen, Djadja» dans la bouche d'Edith Piaf, «Non je ne regrette rien» dans celle du président Macron, l'IA est partout et suscite fascination, interrogation, peur, voire une menace.À l'occasion du Sommet pour l'action sur l'intelligence artificielle qui se tient à Paris, nous recevons le journaliste musical Sophian Fanen et le compositeur Benoît Carré alias Skygge, en différé de la BnF.Benoît Carré alias Skygge (l'ombre en danois) travaille sur l'IA depuis 2015 avec des chercheurs du Sony Lab à Paris. En 2016, il compose un titre à la manière des Beatles, après avoir nourri l'IA de 52 chansons du groupe. Pour le compositeur, l'IA est un partenaire qui doit le surprendre. Dans l'émission, il explique en quoi l'IA est pertinente pour un compositeur et ses limites aussi.Sophian Fanen est journaliste au site Les Jours. Spécialiste de la musique. Il a publié 2 livres : Boulevard du Stream et Amy pour la vie. Chroniqueur mensuel à RFI. Il parle de l'actu de l'IA.Sans oublier les applis reines « Suno et Udio qui permettent à tout le monde de faire des chansons sans intérêt. »PlaylistDrake & The Weeknd, Gazo x Angèle, Aloe Blacc, FN Meka, Noonoori, Roberta Flack, Edith Piaf, John Lennon.En parallèle, j'ai demandé à ChatGPT de poser des questions intelligentes sur le thème Musique et IA :Questions profondes et intrigantes : Si une IA compose une chanson qui nous fait pleurer, est-ce qu'elle peut dire qu'elle a une âme… ou juste un très bon algorithme ? Une IA peut-elle vraiment être créative, ou est-elle juste une machine à remix sous stéroïdes ? Si une intelligence artificielle invente un nouveau genre musical, doit-on la considérer comme une artiste… ou comme un codeur qui s'ennuie ? Peut-on dire qu'un morceau généré par IA a du « groove »… alors qu'elle n'a même pas de pieds pour danser ? L'IA peut-elle nous aider à recréer la voix des grands artistes disparus, ou est-ce le début d'un karaoké de fantômes ?Questions techniques et décalées : Une IA DJ peut-elle vraiment ressentir l'ambiance d'une soirée, ou va-t-elle juste enchaîner des tubes des années 80 en boucle ? Si une IA écrit un tube et que personne ne sait qu'il a été composé par une machine, est-ce une révolution… ou le plus gros bluff de l'histoire de la musique ? Peut-on imaginer un duo entre Beethoven et une IA… et surtout, est-ce que Beethoven aurait apprécié l'idée ? Une IA qui fait du rap, c'est du flow… ou juste un bug dans le système ? Si une IA compose une chanson d'amour, peut-elle vraiment comprendre ce qu'est un chagrin d'amour, ou est-ce juste un bug dans le programme ?Et toi, tu penses qu'un jour on ira voir un concert d'IA avec des robots en train de slammer ? (Made in ChatGPT).- Site Skygge - facebook Skygge - Sophian Fanen - Site Elysée IA 

La Musique s'invite au Sommet pour l'action sur l'Intelligence Artificielle. ⇒ Sommet pour l'action sur l'Intelligence Artificielle.«Oh, Djadja Y a pas moyen, Djadja» dans la bouche d'Edith Piaf, «Non je ne regrette rien» dans celle du président Macron, l'IA est partout et suscite fascination, interrogation, peur, voire une menace.À l'occasion du Sommet pour l'action sur l'intelligence artificielle qui se tient à Paris, nous recevons le journaliste musical Sophian Fanen et le compositeur Benoît Carré alias Skygge, en différé de la BnF.Benoît Carré alias Skygge (l'ombre en danois) travaille sur l'IA depuis 2015 avec des chercheurs du Sony Lab à Paris. En 2016, il compose un titre à la manière des Beatles, après avoir nourri l'IA de 52 chansons du groupe. Pour le compositeur, l'IA est un partenaire qui doit le surprendre. Dans l'émission, il explique en quoi l'IA est pertinente pour un compositeur et ses limites aussi.Sophian Fanen est journaliste au site Les Jours. Spécialiste de la musique. Il a publié 2 livres : Boulevard du Stream et Amy pour la vie. Chroniqueur mensuel à RFI. Il parle de l'actu de l'IA.Sans oublier les applis reines « Suno et Udio qui permettent à tout le monde de faire des chansons sans intérêt. »PlaylistDrake & The Weeknd, Gazo x Angèle, Aloe Blacc, FN Meka, Noonoori, Roberta Flack, Edith Piaf, John Lennon.En parallèle, j'ai demandé à ChatGPT de poser des questions intelligentes sur le thème Musique et IA :Questions profondes et intrigantes : Si une IA compose une chanson qui nous fait pleurer, est-ce qu'elle peut dire qu'elle a une âme… ou juste un très bon algorithme ? Une IA peut-elle vraiment être créative, ou est-elle juste une machine à remix sous stéroïdes ? Si une intelligence artificielle invente un nouveau genre musical, doit-on la considérer comme une artiste… ou comme un codeur qui s'ennuie ? Peut-on dire qu'un morceau généré par IA a du « groove »… alors qu'elle n'a même pas de pieds pour danser ? L'IA peut-elle nous aider à recréer la voix des grands artistes disparus, ou est-ce le début d'un karaoké de fantômes ?Questions techniques et décalées : Une IA DJ peut-elle vraiment ressentir l'ambiance d'une soirée, ou va-t-elle juste enchaîner des tubes des années 80 en boucle ? Si une IA écrit un tube et que personne ne sait qu'il a été composé par une machine, est-ce une révolution… ou le plus gros bluff de l'histoire de la musique ? Peut-on imaginer un duo entre Beethoven et une IA… et surtout, est-ce que Beethoven aurait apprécié l'idée ? Une IA qui fait du rap, c'est du flow… ou juste un bug dans le système ? Si une IA compose une chanson d'amour, peut-elle vraiment comprendre ce qu'est un chagrin d'amour, ou est-ce juste un bug dans le programme ?Et toi, tu penses qu'un jour on ira voir un concert d'IA avec des robots en train de slammer ? (Made in ChatGPT).- Site Skygge - facebook Skygge - Sophian Fanen - Site Elysée IA 

On the inaugural episode of WELCOME TO AMERICA, our mime extraordinaire Vlad talks about some of his favorite musicians to come out of France and Canada, including Edith Piaf, Yves Montand, Mireille Mathieu, and many others. Some of Vlad's favorites: https://open.spotify.com/playlist/3CVrgf5sfTtWbtSF5QD0Sc?si=7ead2e8c16694541 Vlad also recommends this Yves Montand Music Hall special: https://www.youtube.com/watch?v=qzKCKojW6Ow The Bit Players perform every Friday and Saturday at 8pm at the Firehouse Theater in Newport, RI. Tickets are available at www.bitplayers.net Opening and closing music by Damien Baby (http://damienbaby.bandcamp.com/)

Âgé de 12 ans, Jésus est perdu par ses parents à Jérusalem. Comment réagit sa mère ? Quels sont les tous premiers mots de Jésus dans les évangiles ? Que fait l'enfant avec des docteurs au Temple ? En quoi cette scène préfigure-t-elle la future vie de Jésus ?Réponse avec Edith Piaf, Gilbert Bécaud et VianneyHébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

„Práce v rozhlase je pro mě láskou. Mám pocit, že se to tady ještě dělá poctivě,“ přemítá Hana Seidlová, která namluvila postavu tety Kateřiny v nové rozhlasové dramatizaci Saturnina Zdeňka Jirotky. Proč nerada točí rozhovory o sobě? Vyhovuje jí v životě samota? Jak dlouho hrála roli Edith Piaf a co jí to dalo? Proč tuto roli přijala? Kdo ji učil zpívat a jaké role má v muzikálech?Všechny díly podcastu Blízká setkání můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

„Práce v rozhlase je pro mě láskou. Mám pocit, že se to tady ještě dělá poctivě,“ přemítá Hana Seidlová, která namluvila postavu tety Kateřiny v nové rozhlasové dramatizaci Saturnina Zdeňka Jirotky. Proč nerada točí rozhovory o sobě? Vyhovuje jí v životě samota? Jak dlouho hrála roli Edith Piaf a co jí to dalo? Proč tuto roli přijala? Kdo ji učil zpívat a jaké role má v muzikálech?

Our music this go round is provided by these wonderful artists: Thelonious Monk, Edith Piaf, Jimmy Durante, Branford Marsalis & Terence Blanchard.  Commercial Free, Small Batch Radio Crafted in the West Mountains of Northeastern Pennsylvania... Heard All Over The World. Tell Your Friends and Neighbors.

Conocemos la actualidad demográfica con Alejandro Macarrón, Christmas Dreams y la última ficción sonora de Alicia Parente: La leyenda de Edith Piaf.

Alicia Parente trae una nueva ficción sonora sobre la dama de la canción francesa, la grandísima Edith Piaf y la tragedia que siempre la perseguía.

Este miércoles, la Unesco inscribió el oficio de los techadores y ornamentalistas parisinos del zinc en su lista del patrimonio cultural inmaterial, en reconocimiento de que estos artesanos de los tejados de París. En qué consiste su trabajo? Escuche el reportaje que lo lleva a visitar lugares de la capital francesas que se miran sin que se observen, qué son tan comunes que se vuelven banales, pero, que si se contemplan permiten transportarse a otra época.  Desde la terraza de Galeries Lafayette los turistas se aventuran a describir el panorama, como Felipe, visitante ecuatoriano: “estos techos son totalmente diferentes a los techos que se ven en América Latina, desde aquí ves un vértice bajar en dos ejes. También llama la atención las ventanitas en los techos y las chimeneas”.A los que están de paso les impresiona y los viven bajo esos techos no se acostumbran, asegura Michelle, estudiante colombiana en la Universidad Sorbona: “son más bien cuadrados, la arquitectura es más bien rústica, muy uniforme y también algo en parte histórico porque me explicaban, la primera vez que los vi, que esas ventanitas pequeñas son cuartos chiquitos a los que se les llama chambre de bonne [también buhardillas] donde antes vivían quienes trabajaban en las casas de esos edificios. Es como que tú ves eso en la ciudad en general y aprendes de historia y costumbres”. Toda la historia de la ciudad, que tiene más de 2.000 años, puede leerse en sus palacios, iglesias, hoteles, plazas y casas. Construcciones de la época galo romana que sobreviven entre construcciones góticas, neoclásicas, modernas y contemporáneas visibles cuando se osa perderse entre las calles parisinas, sin embargo cuando se ve en su conjunto desde arriba, a nivel de los tejados, un único estilo se impone.Corinne Ménégaux, directora de la Oficina de Turismo de París: "Esta arquitectura es un verdadero testimonio de la historia, del patrimonio, de nuestra cultura parisina así que son muy simbólicos. Representa un pasado y al mismo tiempo es un sello de cierta modernidad porque aprendimos a renovarlos con los mismos materiales cuya imagen es indisociable de la imagen que tenemos de París".Para tener una vista a sobre esos famosos techos existen las azoteas con acceso gratuito como las de Lafayette, Printemps o el Instituto del Mundo Arabe, también hay unos 20 bares y restaurantes ubicados en el último piso de los edificios. Otra opción es visitar los puntos más altos de la ciudad: Montmartre o el parque de Belleville en el distrito 20, noreste de París.200 años de zinc y pizarraEstos techos que tanto aprecian los turistas permiten relatar los últimos 200 años de historia parisina.  El barón Georges-Eugène Haussmann, prefecto del Sena a mediados del siglo XIX, supervisa una serie de proyectos de obras públicas necesarias para la salud, el transporte y la vivienda de la creciente población de la época. Ayuda a la reconstrucción de la ciudad bajo las órdenes del emperador Napoleón III. Desde 1853 hasta 1870, Haussmann instala nuevas tuberías de agua y alcantarillado, surgen las estaciones de tren así como los amplios bulevares reconocibles por los edificios de apartamentos color crema a lado y lado de las avenidas.Las fachadas repiten patrones de construcción. Su color se debe a la piedra caliza luteciana de origen local, uno de los materiales más utilizados en la capital francesa donde viven 2.165.423 personas según datos del Instituto Nacional de Estadística y de Estudios Económicos de Francia. Apur es una asociación creada en 1967 que documenta, analiza e imagina la evolución urbana y societal de París y su región. En la base de datos de Apur se cuenta París tiene 128.000 tejados de los cuales “en el 79% predomina el zinc u otros materiales” como la pizarra que es una roca metamórfica de origen sedimentario que data de hace 550 millones de años, muy utilizada en la construcción desde los antiguos egipcios. La pizarra utilizada para la renovación de los techos de París es extraída del norte de España. Se estima que casi el 90% de la pizarra natural que actualmente se utiliza en la construcción sale del país ibérico, que es el que tiene las mayores reservas de pizarra tectónica del mundo.Patrimonio de la UnescoEstos techos tan particulares necesitan techadores especializados en zinc. A este oficio creado hace dos siglos se le llama couvreurs-zingueurs es actualmente ejercido por unos 1.500 obreros, que pretenden que su forma de trabajar sea protegida y perpetuada gracias a la Unesco. “Es una profesión especial que desaparecerá si no la protegemos. Hoy en día es difícil contratar, por eso es importante poner el foco en nuestro oficio para ayudarnos a encontrar techadores, y también creo que París es zinc, es un material emblemático de una época, de la edad de oro de París, y de una habilidad de construcción más bien única”, defiende Cyril Venturini, director de La Louisianne S.A. empresa especializada en techos, fontanería, impermeabilización y climatización, figura entre los grandes nombres de la profesión. Después de pasar 30 años sobre los tejados Cyril baja a nivel de la calle su oficio en una tienda llamada Les Toits Parisiens, es español Los Techos Parisinos.Couvreurs-zingueurs, los techadores de ParísEstos techos son abuhardillados de cuatro lados, tienen una inclinación pronunciada con un ángulo de 45°. Albergan pequeñas habitaciones de unos 10m², reconocibles por sus pequeñas ventanas de marco blanco.En uno de estos espacios pasa sus primeros años de vida Frédéric Cordier. “Tuve la suerte de crecer en un ático parisino así que literalmente siempre estuve acompañado de zinc, miraba por la ventana y lo primero que veía era zinc. Muchas veces me regañaron por subir al tejado con amigos a jugar policías y ladrones, imitando las películas de acción de Jean-Paul Belmondo. Esos tejados fueron mi infancia y mi adolescencia por eso también cuando debí elegir un oficio estaba seguro que quería ayudar a conservarlos”, recuerda Frédéric hoy jefe de obra, es decir que es responsable de la construcción, mantenimiento y reparación de cubiertas de todo tipo de edificios. París con sus tejados de mil matices de azul y gris también inspiran a pintores, poetas y cantantes. Muchos personajes de más de 15 películas, dos videojuegos y dos tiras cómicas han cabalgado sobre ellos y es gracias a la mirada de propios y extraños que se perpetúa su existencia. 

David Polson AM is an advocate and educator for HIV awareness. Just 29 in 1984 when he was diagnosed in HIV himself, David is currently celebrating his 70th birthday.In 2023, he founded Qtopia, a museum in Sydney dedicated to the commemoration and celebration of LGBTQIA+ resilience. To mark his milestone birthday and contributions to HIV advocacy, the museum will open a memorial garden, dedicated to all queer Australians lost to HIV/AIDS. In this live, in-person conversation, we discuss music by Edith Piaf, Ricky May, and Maria Callas. Learn more about David here, and Qtopia here.Thank you to Forbes Street Studios for hosting this conversation.The other bits:Tracks of Our Queers is recorded and edited between Gadigal and Ngarigo land in Australia, by me, Andy GottListen to all of the music discussed in the pod with the Selections from Tracks of Our Queers playlistYou can email me with your own queer tracks or guest recommendations at tracksofourqueers@gmail.comOur beautiful artwork is illustrated by Luke TribeSend us a textSupport the showTo celebrate our fiftieth episode, I want to hear your queer tracks. Send me a voice note of a song, album, or artist that has resonated with your life, and I'll include it in Episode 50. Email me your voicenote at tracksofourqueers@gmail.com. Help keep Tracks of Our Queers ad-free by shouting me a coffee right here. Thank you for your support.

Russia has vowed to respond if Ukraine uses US long-range ATACMS missiles to hit its territory. We'll hear views from Ukraine, Russia and Germany. Also in the programme: armed looters hijacked almost 100 trucks carrying aid supplies into Gaza; and French singer-songwriter Charles Dumont, who composed Edith Piaf's "Non, Je Ne Regrette Rien", has died.(Photo: A resident carries outs items from his house heavily damaged by a Russian missile strike on Odesa, Ukraine. Credit: REUTERS/Nina Liashonok)

Dans cette édition :Les agriculteurs se mobilisent à travers la France pour protester contre l'accord de libre-échange avec le Mercosur, bloquant des camions étrangers et craignant l'arrivée de produits à bas coûts.Le président français Emmanuel Macron tente de s'opposer à cet accord au sommet du G20, cherchant à rallier d'autres pays européens pour former une minorité de blocage.Le procès des assistants parlementaires du Rassemblement National se poursuit, avec la défense plaidant pour la liberté des députés de fixer les missions de leurs collaborateurs.Le président américain sortant Joe Biden autorise la fourniture de missiles longue portée à l'Ukraine, une décision qui pourrait influencer la position du futur président Trump.Décès du compositeur Charles Dumont, auteur du célèbre "Je ne regrette rien" interprété par Edith Piaf.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.

Dans cette édition :Les agriculteurs se mobilisent à nouveau pour s'opposer au projet d'accord de libre-échange entre l'Union européenne et le Mercosur, craignant une concurrence déloyale avec des produits importés ne respectant pas les mêmes normes de production.Le procès des assistants parlementaires européens du Rassemblement national s'ouvre, avec Marine Le Pen qui joue sa survie politique face aux lourdes réquisitions du parquet.La journée nationale de la myopie met en lumière les moyens de prévenir et de freiner cette maladie de l'oeil, de plus en plus répandue chez les jeunes.Hommage au compositeur Charles Dumont, auteur de la célèbre chanson "Non, je ne regrette rien" interprétée par Edith Piaf.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.

Un amour passionné Marcel est un homme marié. Sa femme, Marinette et leur trois fils vivent à Casablanca. Avec Edith ils doivent être discrets. Ils s'installent à l'Hotel Claridge, dans deux chambres côte à côte. Ils peuvent compter sur la discrétion de la presse, complice, qui garde le silence sur leur adultère. Ils passent toujours plus de temps ensemble. Ils se découvrent de nombreux points communs : ils ont tous deux grandi dans la misère et n'ont pu compter que sur leur talent pour s'en sortir. Ils ont des natures similaires, simples et sympathiques, leurs succès ne les éloignant pas du commun des mortels. Ils s'admirent l'un l'autre, viennent se voir sur leurs terrains de jeux mutuels : la scène et le ring. Le manager de Cerdan s'oppose fermement à cette relation : il estime que la chanteuse distrait son sportif. Mais rien n'y fait, Marcel est fou d'amour et Edith le lui rend bien. Un podcast Bababam Originals. Première diffusion : 15 mai 2020 Learn more about your ad choices. Visit megaphone.fm/adchoices

Singer Ella Raphael was weaned on Elvis, Edith Piaf, and (naturally) her namesake Ella Fitzgerald. On the hip-swaying “Tangled Love,” we hear her tempered vocals alongside a dab of nostalgic tropicália, Mediterranean riffs, and a sonic bed of vibraphone and lap-steel guitar. 

L'histoire d'un enfant de la balle du début des années 30 qui fait ses premiers pas d'acteur à 8 ans. Jusqu'à sa rencontre avec Edith Piaf qui le lance dans le grand bain !

L'histoire d'un enfant de la balle du début des années 30 qui fait ses premiers pas d'acteur à 8 ans. Jusqu'à sa rencontre avec Edith Piaf qui le lance dans le grand bain !

L'histoire d'un enfant de la balle du début des années 30 qui fait ses premiers pas d'acteur à 8 ans. Jusqu'à sa rencontre avec Edith Piaf qui le lance dans le grand bain !

mélange azimut pour public épicurien....

This episode is a chapter from Complicated Women by Bee Wilson, a new LRB audiobook, based on pieces first published in the London Review of Books. Wilson explores the lives of ten figures, from Lola Montez to Vivienne Westwood, who challenged the limitations imposed on women in dramatically different ways. In this free chapter, she describes the ways that Edith Piaf's life and art embodied the needs of her public, and how she became a symbol of postwar French resilience.Podcast listeners can get 20% off using the code POD20 at checkout.Buy the audiobook here and listen in your preferred podcast app: https://lrb.me/audio Hosted on Acast. See acast.com/privacy for more information.

Hoje, vamos mergulhar no mundo maravilhoso da música francesa. Então, prepare-se para descobrir artistas emblemáticos, ouvir trechos de canções e aprender vocabulário, e, sobretudo, mergulhar na cultura francesa. (epor enquanto, deixo um resumo da transcrição. Em breve trago o PDF!) EVENTO online e GRATUITO! Inscreva-se clicando aqui

Michael "Spike" Krouse's arrival on this planet was something of a miracle for his parents.   In this episode, get to know the founder of Madrone Art Bar (currently one of my favorite places in San Francisco). Spike's dad, a fighter pilot who flew missions in World War II, was much older than his mom. He flew for the Navy when the U.S. went to war with Korea as well. He ended up stationed in Alameda. When he retired from the Navy, in 1967, he took a job in Las Vegas, where the pay was good and the housing was affordable.   His dad was director of operations for a nuclear test site in Nevada. Over the years, he dealt with his share of PTSD, and to cope, started gambling.   Spike's mom was born in Paris during the German occupation of that city. Her father was "on a train," meaning he was headed to a concentration camp. He ended up being liberated from Dachau years later, but the experience took a toll on him—mentally, physically, and spiritually. He passed away and his family was devastated.   Spike's mom, then an infant, was sent to live in the basements of different churches. Her earliest memory is of Allied troops liberating Paris in 1944. US troops handed out chocolate bars to French kids along the Champs-Elysees.   When she was 13, she followed her older brother to Israel. After that, she migrated to Italy, where she was recruited to do TV commercials. With that success, Spike's mom moved back to Paris, where she danced for a living. She got into some movies, also. With that, travel picked up—New York, LA, and eventually, Las Vegas.   In Vegas, she ended up doing a one-woman burlesque dancing show. Maybe you can see where this story is headed, but Spike's dad was in the audience at one of these shows. Soon after this, the two headed up to San Francisco and got married. Spike was born about a year later.   By his dad, Spike has a half-brother and a half-sister, who was close to his mom in age (his sister has since passed away). But it was his mom's first marriage and Spike was her first, and only, kid.   Spike says that the Vegas where he grew up was more like a small town where everyone knew each other. It was nothing like it is today, in other words. Among other activities, Spike and his friends would lock up their bikes and go pool hopping at the various casino resorts back in the 1980s.   His family traveled around a bit when Spike was a kid. They visited his aunt and uncle (his mom's siblings) in Paris several times. Because his mom was born in France during German occupation, she hadn't been given citizenship at birth. But in the early 1990s, thanks to a reparations trial, that happened. And it extended down to her offspring and their offspring. Today, Spike's kids enjoy French citizenship, as does he.   The family also visited San Francisco, when Spike was around nine or 10. He remembers riding cable cars and going to Fisherman's Wharf. They'd travel places in their pop-top van that was equipped with an RV hookup. They also went to San Diego, where his dad received cancer treatments around the time Spike was 13.   In his high school years, he and his friends threw lots of parties, and Spike was the one who made flyers for these shindigs. There'd be illicit boxing matching between rival schools. There'd be kegs, there'd be gambling.   He was into New Wave and metal, but his taste was really all over the board. Thanks to his parents, there was jazz at home, Serge Gainsbourg, Edith Piaf. And he'd go to all-ages clubs in Vegas. Spike never really played instruments, though. His talents around music were mostly visually artistic.   He played sports—football, baseball, golf. As a kid, he and his friends stole golf balls from a nearby course. His punishment was to hit balls at a driving range for two months. Thanks to this, he got pretty good at the sport.   But, especially by the time he went off to college, sports took a backseat to throwing parties. College meant Marquette University in Milwaukee. Spike talks about the art scene in Milwaukee and how much he liked it. His school didn't offer any art degrees, otherwise he would have majored in that. But someone at Milwaukee's art museum had amassed quite a collection of German Expressionist art, and Spike liked to check that out. He says he chose the school partly because it was so far from Las Vegas.   He shares the story of a ballroom in Milwaukee that he rolled into looking for work. It was his first foray into the business side of parties. He was only 18, but that was OK back then. He got a job barbacking, and three months in, got promoted to bartender when someone called in sick. There was a Vegas connection to the place—it was part of a money-laundering ring that involved cash from casinos in Nevada. So, in a sense, Spike was right back where he started. Sort of.   The place had big-name acts at its upstairs, 2,500-seat venue. Acts like Pearl Jam, Red Hot Chili Peppers, and the up-and-coming Smashing Pumpkins. Spike worked those events, and ended up making enough money from this job to pay for everything other than his tuition. He'd fully caught the nightlife bug.   After he graduated, Spike went back to Vegas and got a job with Mirage Resorts in their executive casino training program. Within six months of this, though, he realized it wasn't for him. He was 21. He had a college degree. He was trying to figure out what his path would be. He wanted to travel. He wanted to foster his creative side, but also wanted to find a way to make money doing that.   So he hopped in his car and drove up the West Coast, starting in San Diego, then LA, San Francisco, Portland, and Seattle, shopping for a city to put down roots.   Check back next week for Part 2, and the last episode of Season 6 of this podcast.   We recorded this podcast at Madrone Art Bar on Divisadero in May 2024.  

Katherine's Telling Everybody Everything about the greatest comeback performance of all time as Céline Dion closed out the 2024 Summer Olympic Ceremony with Edith Piaf's “Hymne A L'Amour” at the foot of the Eiffel Tower. 'Ballerina Farms' Hannah Neeleman's day-to-day as detailed by Megan Agnew in The Sunday Times interview goes super viral as the phenomenon of TRAD WIVES seems to be growing in momentum. Meanwhile, 'Single Cat Ladies' get their claws out and we ask ourselves - are men actually smart enough to be turning feminists against each other? x Hosted on Acast. See acast.com/privacy for more information.

Chris Chavez and Mac Fleet have arrived on-site in Paris for the 2024 Olympics. We share a little behind-the-scenes of CITIUS MAG's first few days in France and what to expect from our coverage of the Games. Chris attended the Opening Ceremony and stood in the rain to watch the Parade of Nations as each country made its way down the Seine and toward the Trocadero before the Olympic flame was lit to mark the start of the Games. Judo star Teddy Riner and 400 meter Olympic gold medalist Marie-José Pérec lit the Olympic cauldron Plus, Céline Dion made her return to the stage for the first time since 2020 as she's been dealing with stiff person syndrome and took some time away to focus on her health. She performed Edith Piaf's “L'Hymne à l'amour.” We recap Day 1 and get ready for track. Host: Chris Chavez | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@chris_j_chavez on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Host: Mac Fleet | ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@macfleet on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

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