Podcast appearances and mentions of Guy Debord

In this interview, award-winning poet, Farah Ghafoor talks to Linda about Shadow Price (House of Anansi), shortlisted for the Trillium Prizes this year (check out our social media for pics from the event!). Since Ghafoor invites her readers to pay closer attention to our immediate biospheres, Linda does just that – opening with observations about the natural microcosm of which she is a part (yep, squirrels are mentioned).This is a very smart collection, that traverses subjects as far ranging as economics to the history of trees. Ghafoor invites her readers on that journey to remind them that they are not passive consumers but making decisions every day that highlight we have more power than we think -- and it all begins with where we focus our attention. Other highlights:Trillium Prize Book Awards (2:46)Jenny Odell's How to do Nothing (6:00)Passivity, passive voice, perspectives that imply passivity (8:00)The importance of the past to our future(s) (15:30)Guy Debord's The Society of Spectacle (22:50)The Labubus (22.35)Producer: Linda Morra; Associate Producer; Maia Harris; Music by Raphael Krux Hosted on Acast. See acast.com/privacy for more information.

Cosa significa essere sé stessi in una società che ci spinge continuamente a conformarci? Nella puntata di oggi, Carlotta e Melissa partono dalla critica della “società dello spettacolo” elaborata da Guy Debord e ci parlano di alienazione e costruzione dell'identità nell'epoca dei social media. Sono con noi il curatore Giuseppe Garrera e gli artisti Federica Luzzi e Naoya Takahara, autori della mostra bipersonale “Esercizi per essere come gli altri” ospitata dal Mattatoio, per parlare di vulnerabilità, appartenenza e ruolo dell'arte come spazio di resistenza al conformismo.

Let's put on a show! It's season 8 for Paul and Corey Cross the Streams, and this season we're watching musicals. It's a singular art form with a dynamic history, and we get to listen to a lot of cast recordings... This week, Corey chose Baz Luhrmann's Moulin Rouge! (2001). This is the first instance where both hosts could not bring themselves finish the film in question. But not to worry they both had seen it when it came out (Corey liked it then, Paul hated it). And although they strongly rejected the film, both Paul and Corey respectfully unpack just what qualities and artistic choices Luhrmann and company made that led them to their positions, going so far as comparing the film to the French theorist Guy Debord's The Society of the Spectacle.

Extrait de l'épisode 68 avec Ovidie et Tancrède Ramonet. Ici elle évoque son incapacité et souhait de ne pas coucher / avoir une relation amoureuse avec des hommes qui ont la vingtaine. Car ça lui ferait trop penser à sa fille (qui approche cette âge). Or elle constate (statistiques à l'appui), qu'un certain nombre d'hommes de 40, 45, 50 ans, n'ont aucun problème à coucher avec des femmes qui ont l'âge de leur fille ou plus jeune encore.Pour rappel, c'est un modèle patriarcal qui nous est vendu par Hollywood et le cinéma en général, mais dans la réalité des chiffres : 8% des couples seulement ont un écart d'âge de plus de 10 ans, et encore moins de plus de 20 ans. Cela représente 1 couple sur 10, donc c'est loin d'être une norme. (source INSEE) Episode en entier : https://singlejungle.lepodcast.fr/ep-point-68-ovidie-et-tancrede-ramonet-nous-sommes-plus-quamis-et-moins-quamants-nous-creons-ensemble-point Je suis TELLEMENT fière et heureuse d'avoir eu la chance, l'honneur, de rencontrer Ovidie ❤️

Hoy charlamos con la dramaturga y directora teatral Fernanda Orazi, que presenta una pieza inspirada en la célebre novela de Miguel de Unamuno. Una producción que llega a Nave 10 Matadero, en Madrid. Además, María Taosa nos presenta las novedades musicales, y escuchamos 'El mundo en el oído' de Jonay Armas, que interpreta lo que le inspira Un conjuro, de Paula Melchor.Como cada viernes, escuchamos los estrenos de cine con Conxita Casanovas, y bajamos a los bajos fondos en compañía de nuestra doctora Underground, Elena Rosillo. A la deriva,como decía Guy Debord. Perdida en la ciudad, para cambiar su mirada.Escuchar audio

Fabrizio Guarducci, Monica Milandri"Più in là del silenzio"Edizioni Le Letterewww.lelettere.itPreparava la colazione per tutti e due. Appoggiava il giornale più vicino a lui. Lasciava la porta del bagno socchiusa perché sapeva che lui si sarebbe lavato le mani prima di colazione. E ogni volta che lui capiva – ogni volta che accoglieva la colazione con un sorriso o si sedeva senza chiedere qualcos'altro – lei sentiva un piccolo barrito dentro, come se stessero imparando un linguaggio muto fatto di sintonia. All'inizio aveva pensato: “Ci stiamo adattando”. Poi, con più coraggio: “Ci stiamo ascoltando”. Ora sapeva che era qualcosa di più profondo. “Ci stiamo riscrivendo”. Era una scrittura lenta, fatta non di lettere, ma di gesti. Di abitudini che si modellavano piano sull'altro, non per dovere, ma per delicatezza. Come quando cammini accanto a qualcuno e, senza rendertene conto, adegui il passo. Non ti chiedi se sei tu o lui a cambiare. Lo fate entrambi, naturalmente.Fabrizio Guarducci si è formato nella concezione sociale e umana di Giorgio La Pira. Dopo aver vissuto il movimento Undeground alla fine degli Sessanta negli Stati Uniti e aver conosciuto Guy Debord in Francia, ha aderito convintamente al Situazionismo. Ha fondato il Dipartimento di Antropologia culturale dell'Istituto Internazionale Lorenzo de' Medici di Firenze. Ha insegnato mistica, estetica e tanatologia, dedicandosi interamente alla ricerca dei linguaggi come strumenti per migliorare l'interiorità dell'individuo e per trasformare in positivo la realtà che ci circonda. Inoltre, è autore cinematografico: Paradigma Italiano (premiato PhilaFilm, 1993), Two days (2003) e Il mio viaggio in Italia (vincitore del Golden Eagle, 2005). Come autore, produttore e regista ha realizzato i film Mare di grano (2018), Una sconosciuta (2021), Anemos (2023) e La patria delle emozioni (2025). Ha pubblicato i saggi La parola ritrovata (2013), Theoria. Il divino oltre il dogma (2020) e i romanzi Il quinto volto (2016), La parola perduta (2019), La sconosciuta (2020), Duetto (2021), Amor (2022), Il villaggio dei cani che cantano (2022), La patria delle emozioni (2023), Eclissi (2023, selezione premio Strega 2024) e Il richiamo del sentimento (2025).Monica Milandri è appassionata di arte e musica classica; vive e lavora a Firenze.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

How do you know the blue you see is the same blue I see? We use the same word, but do we share the same experience? This ancient philosophical puzzle has become the defining crisis of our time. We're living through a moment where people use identical words and mean completely different things—where the same sentence can be a factual claim, a tribal signal, a joke, and a weapon simultaneously. In this episode of The Mirror World series, clinical director and psychotherapist Joel Blackstock, LICSW-S, explores the "collide-a-scope"—the moment when parallel realities can no longer stay separate through reflection and begin grinding against each other like gears that don't mesh. Read the Article THE FUSED BRAIN What happens when you surgically connect multiple living brains? They synchronize. They reorganize. They form a collective organism. This thought experiment from qEEG brain mapping provides the perfect metaphor for what's happening to us now. The internet has wired us together into a vast neural network—and just like an individual brain can develop neuroses, this collective brain is experiencing profound cognitive dissonance. THE DUAL LANGUAGE OF THE INTERNET Media theorist Walter Ong predicted that electronic media would thrust us into "secondary orality"—combining the permanence of print with the participatory rhythms of oral culture. The internet meme is the ultimate artifact of this fusion: mythic archetypes paired with hyper-literal text, operating on two frequencies simultaneously. We have never before spoken different languages using the same words. THOUGHT AS A SYSTEM Quantum physicist David Bohm warned in 1994 that thought is not something we do—it's something that happens to us. Collective thought has become so automatic that our individual thoughts are increasingly controlled by the collective without our noticing. And that was before social media, before smartphones, before algorithmic amplification. The system has been turbocharged. THE SOCIETY OF THE SPECTACLE Guy Debord saw it coming: all that was directly lived has become mere representation. The spectacle isn't just entertainment—it's a social relationship between people mediated by images. It colonizes everyday life, structures our thought, captures even our resistance. You can know social media is manipulating you and still be manipulated, because the knowing happens within the spectacle. THE COLLECTIVE PATIENT Here's the radical claim: collective psychology now functions like individual psychology. Pathology, personality disorders, grandiosity, delusions, splitting from reality—they're happening at the collective level, in near real-time. Groups of humanity can now be analyzed almost the same way you'd analyze a patient in therapy. You can identify the defenses, trace the trauma, watch the collective do exactly what an individual does when confronted with something they can't face. DIGITAL COLONIZATION The Steve Bannon, Trump, 4chan, alt-right phenomenon wasn't just politics—it was networks of the collective brain expanding, sussing out weaker regions, finding wounds and grievances, colonizing them at the speed of thought. Traditional colonialism needed ships and armies and decades. Digital colonization happens before resistance can organize. The neural pathway is laid before anyone notices. THE STAGES OF DEFLECTION Watch humanity move through the same defense mechanisms as a therapy patient avoiding change: It didn't happen Okay it happened, but it's not real Okay it's real, but it doesn't matter Okay it matters, but we can't do anything about it Okay maybe something could be done, but someone else will do it Okay it's not getting solved, but it's someone else's fault Okay it's going to take us all out, but we deserve it Watch climate discourse. Watch inequality discourse. You'll see these exact stages playing out collectively in real time. THE MIRROR WORLD The parallel objectivities aren't just tribal disagreements—they're self-contained systems of representation that are coherent and reproducible but not valid. They don't point back to anything real. When official metrics say the economy is doing well while patients can't afford a $30 copay, those metrics are reliable but not valid. We feel this disconnect—but we've been convinced the solution lies inside the metrics. This is gaslighting at civilizational scale. THE 1960s PARALLEL "Turn on, tune in, drop out" recognized the system was sick. And they weren't wrong—the institutions were corrupt, the Vietnam War was built on lies, consumer society was producing alienation. But the counterculture won the cultural war and lost everything else. By 1980, rebellion had become a marketing strategy. Symbolic victory was captured and neutralized while material defeat was total. We're at risk of making the same mistake. THE COLLISION Peter Sloterdijk described modern life as "foam"—countless bubbles providing micro-environments, each its own immunological container. The bubbles worked for a while. But material crises don't care which reality you inhabit. Climate change crosses all boundaries. Pandemics don't check your epistemological commitments. The bubbles are colliding now. Not reflecting—colliding. Grinding like gears that don't mesh. In a kaleidoscope, mirrors create beautiful patterns. In a collide-a-scope, the mirrors themselves are moving, crashing, shattering. THE WAY THROUGH The biggest step is recognizing that trauma treatment is self-evidently necessary—not as luxury, as foundation. Trauma fuels the blind spots. The parallel realities are trauma responses at collective scale. Therapy itself has to change. We have to learn to actually live together—not manage or avoid each other. Western history is largely the story of managing avoidance: tolerance as sophisticated avoidance, transactions as connection without vulnerability, rights as protection from rather than relationship with. Connection without internal avoidance. That's the task. The parts of yourself you can't face become the parts of others you can't tolerate. We need to see ourselves as multiplicities—communities of parts—and stop splitting thought from emotion. The Cartesian divide is part of what broke us. The mirrors are shattering. The gears are grinding. The collision is here. What we build from the fragments depends on whether we can finally stop avoiding—ourselves, each other, reality itself. ABOUT THE SHOW: www.GetTherapyBirmingham.com   TAGS: metamodernism, collective psychology, trauma therapy, David Bohm, Guy Debord, Society of the Spectacle, Walter Ong, secondary orality, meme culture, digital colonization, parallel realities, post-truth, Peter Sloterdijk, collective trauma, IFS therapy, parts work, Internal Family Systems, depth psychology, cultural criticism, media theory, political psychology, social media psychology, consciousness, cognitive dissonance, polarization, tribalism, epistemology, philosophy of mind, psychotherapy, mental health, collective healing, systems theory, Jungian psychology, trauma-informed, neoliberalism critique, Frankfurt School, critical theory, internet culture, 4chan, alt-right, counterculture, 1960s, Timothy Leary, collective unconscious, mass psychology, social psychology, complexity theory, emergence, neural networks, brain science, qEEG, Birmingham therapy, Alabama therapist, complex trauma, PTSD, dissociation, emotional regulation, somatic therapy, body-based therapy, Brainspotting, ETT, integrative therapy, holistic psychology, transpersonal psychology, spiritual psychology, meaning crisis, nihilism, existential psychology, phenomenology, hermeneutics, postmodernism, sincerity and irony, authenticity, alienation, anomie, social fragmentation, culture war, political polarization, fake news, misinformation, disinformation, information warfare, attention economy, surveillance capitalism, algorithmic amplification, filter bubbles, echo chambers, radicalization, deradicalization, healing polarization, bridging divides, difficult conversations, conflict resolution, relational therapy, attachment theory, developmental trauma, adverse childhood experiences, ACEs, intergenerational trauma, collective memory, historical trauma, cultural trauma, social healing, community healing, collective resilience, post-traumatic growth, meaning-making, narrative therapy, constructivism, social constructionism, embodied cognition, 4E cognition, extended mind, distributed cognition, enactivism, phenomenological psychology KEYWORDS metamodernism explained, collective trauma therapy, why society feels broken, David Bohm thought as a system, Guy Debord society of the spectacle explained, understanding political polarization, trauma and politics, why we can't agree on facts, parallel realities psychology, meme culture analysis, internet psychology, collective psychology theory, therapy for our times, parts work IFS, internal family systems explained, depth psychology modern, cultural criticism podcast, media theory podcast, understanding the culture war, healing political division, trauma-informed society, systems thinking psychology, consciousness and society, meaning crisis solutions, why communication is impossible, post-truth psychology, collective healing trauma, Birmingham Alabama therapist, complex trauma treatment, Brainspotting therapy, somatic experiencing therapy, integrative psychotherapy, holistic mental health, transpersonal therapy, spiritual psychology podcast, existential therapy, phenomenological therapy, social psychology podcast, mass psychology explained, collective unconscious modern, Jung and politics, critical theory psychology, neoliberalism and mental health, capitalism and trauma, social media mental health, algorithm psychology, attention economy effects, filter bubble psychology, radicalization psychology, bridging political divides, healing polarization therapy, difficult conversations psychology, relational psychotherapy, attachment and society, developmental trauma society, intergenerational trauma healing, collective resilience building, post-traumatic growth society, narrative therapy culture, embodied cognition society, extended mind theory

Want to win a free sex toy? All you have to do is follow us on Instagram and leave a review of the podcast wherever you're listening or become a paid subscriber to our Substack. For just £6 a month you'll get access to: extended podcast episodes, bonus episodes, exclusive features and essays, biweekly newsletters, and a community chat. Send us a screenshot of your submission to sextraspodcast@gmail.com or our Instagram DMs. Submissions close 31 March. Must be based in EU or UK to enter. A carefully curated post-break-up Instagram profile. A £3.5k wedding videographer. Shit-talking your ex on TikTok. We're obsessed with appearances and (guess what?!) it's impacting our relationships.In the first episode of the series, Honey was joined by relationships editor Daniella Parete Clarke to talk about how we're all policing each others' behaviour. This week Dani comes on the pod again to talk about the flip-side of that: how we're all performing for an imaginary audience.We start the episode by looking at Guy Debord's theory of the spectacle, and how it's showing up in politics, the workplace, our obsession with looksmaxxing, and our sex and relationships lives. We unpack why we can't stop putting on a show on dates, and why it's dangerous to force vulnerability and pleasure instead of just feel it.Thank you for listening! You can find us on Instagram, TikTok, and Substack (where we have tons of articles about sex and relationships and exclusive content), or contact us via our website to get involved in the conversation or tell us what you want us to talk about next.Got a sex/relationship/friendship-related confession or dilemma? Submit it anonymously here and we'll make a whole episode or write an article just for you.In this episode we reference:Guy Debord's The Society of the SpectacleThe inevitable rise of gooning, Cosmopolitan UKThe Good Squad, Harper'sThe relentless rise of impossible male beauty standards, The GuardianThe Unreal Spectacle of Trump's Authoritarianism, NYTI did no work for a year and no one noticed, Leyla Kazim, SubstackThe secret power of oversharing: How saying too much became the key to getting ahead, The IndependentTimothée and Kylie really need you to know they're still together, DazedHinge's D.A.T.E reportTill DVD release do us part: how far will Margot Robbie and Jacob Elordi take their Wuthering Heights showmance?, The GuardianI do? The rise and rise of the absurdly long engagement, The IndependentIs It Just Us? Or Are Engagement Rings Getting Bigger? Cosmopolitan USSince When Did Break-Ups Get So Public?, VogueHosted by Honey Jane Wyatt and co-hosted by Danielle Parete ClarkeMusic by Sacha Puttnam Hosted on Acast. See acast.com/privacy for more information.

This is a repost of the Guy Debord episode that was originally posted on 3/15/23.In This episode of the Critical Media Studies podcast we discuss Guy Debord's The Society of the Spectacle. As the book is aphoristic, rather than trying to address the work as a whole, Barry and Mike look at what Debord means by Spectacle and hone in on a few particular sections (24-28). The focus of this episode settles around the question of whether or not there is a continuity between Debord's mediated society and our own digital mediasphere.We hope you enjoy and welcome any feedback or suggestions.

durée : 00:45:27 - La 20e heure - par : Eva Bester - Les deux réalisateurs, scénaristes et dialoguistes, épigones de Guy Debord, Nicolas Charlet et Bruno Lavaine, plus connus des téléspectateurs de Canal + sous le duo Nicolas et Bruno, sortent le 4 mars prochain leur nouveau film "Alter ego" avec Laurent Lafitte, Blanche Gardin et Zabou Breitman. - invités : Nicolas Charlet, Bruno LAVAINE - Nicolas Charlet :, Bruno Lavaine : - réalisé par : Lola COSTANTINI Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

Manda Aufochs Gillespie/ Folk U - Listen in on February 20th, 2026 to this episode of FolkU, which features a recording of Dr. Michael De Danann Datura's discussion of the spectacular (in the Guy Debord sense of the word) nature of ideology in late 20th and early 21st century culture. This included an exposé of the layered and concealed aspects of commodities via Kinder Surprise eggs; a critique of Hollywood's authoritarian master fantasies as embodied in Christopher Nolan's Batman trilogy, and a brief foray into what it might mean to embrace desire without stuff. Folk U Radio is taking old school viral every Friday at 1 p.m. and Mondays at 6:30 p.m./Wednesday at 6 a.m. @CKTZ89.5FM or livestreamed at cortesradio.ca. Find repeats anytime at www.folku.ca/podcasts.

Una reflexión sobre la forma en que vivimos hoy segun la perspectiva de Guy Debord sobre la Sociedad del Espectáculo.Únete a la comunidad de mecenas y sé parte de mis clases de filosofía.Sígueme en redes sociales y suscríbete gratis a mis newsletter en mi sitio oficial.

Você também tem a impressão de que tudo hoje parece falso e tem um ar de superficialidade? Vivemos em uma sociedade na qual as imagens possuem mais força que as próprias coisas que deveriam representar, sendo esta uma das principais características daquilo que o autor francês Guy Debord chamou de espetáculo.

L'invité culture est le journaliste Didier Varrod, directeur musical de Radio France. Il publie La chanson française, un peu, beaucoup, passionnément. aux éditions Le Robert. Une balade en 21 chapitres dans l'histoire de la chanson française. RFI : La chanson française, un peu, beaucoup, passionnément, c'est le titre de l'ouvrage en forme de déclaration d'amour que vous consacrez à votre passion, qui est aussi celle de beaucoup de gens dans le monde pour la chanson française. Il compte 21 chapitres, 21 moments qui retracent l'histoire moderne de cette chanson. Et en vous lisant, on comprend une chose essentielle : cette chanson française est aussi le miroir de la société dans toutes ses dimensions, ses revendications, ses soubresauts et ses crises. Didier Varrod : Contrairement à ce qu'avait dit Serge Gainsbourg sur un plateau de télévision, j'ai toujours pensé que la chanson était un art majeur, même si ce n'est pas un art académique. Je comprends la nuance gainsbourienne qui consiste à dire que pour faire de la peinture, il faut un apprentissage académique, il faut connaître toute l'histoire de la peinture, mais pour moi, la chanson m'a élevé « au grain ». C'est vrai que la littérature, les livres, le cinéma, ont été importants, mais la chanson a été une sorte de tuteur qui m'a accompagné dans mon éducation, dans mes prises de conscience, dans mes émotions et dans mon identité. Je pense que c'est comme ça pour beaucoup de Françaises et de Français et de gens dans le monde entier, d'ailleurs. Parce que la musique est « un cri qui vient de l'Intérieur », comme disait Bernard Lavilliers. C'est un terrain de jeu commun, un terrain qui fabrique du bien commun, du vivre-ensemble. Pour moi, c'est aussi une langue. Le français est peut-être ma première langue maternelle, mais la chanson française, en quelque sorte, est une deuxième langue. Elle m'a permis de communiquer avec des gens. Elle m'a permis d'entrer dans l'intimité des artistes que j'ai rencontré. Pour moi, elle fait socle. Et, j'ai toujours pensé aussi que si demain il y avait une catastrophe nucléaire ou une catastrophe épouvantable, et que dans un endroit secret était protégés des disques et des vinyles, on pourrait alors comprendre ce qu'était la France des années 1950 à aujourd'hui, rien qu'à travers des chansons. C'est pour ça qu'elle a cette importance pour moi. Dans ce livre, vous partez souvent d'un cas particulier, d'une rencontre, d'une anecdote, pour exhumer une tendance générale dans la chanson française. Prenons le cas des rapports entre le monde politique et la chanson. Est-ce que les personnels politiques ont toujours courtisé les chanteurs et chanteuses ? A contrario, est-ce que les artistes ont eu besoin des politiques ? C'est un phénomène qui est apparu progressivement avec l'émergence de la société du spectacle pour reprendre les termes de Guy Debord. Il est vrai que dans les années 1950 et les années début des années 1960, les artistes, la chanson d'un côté et le monde politique, de l'autre, étaient deux territoires relativement distincts. Ce qui a changé, c'est qu'à la fin des années 1950 et au début des années 1960, il y a une nouvelle catégorie sociologique qui apparait : la jeunesse. Dans les années 1950  ou 1940, voire avant la guerre, il n'y avait pas d'adolescence. L'adolescence n'était pas considérée comme une catégorie sociale à l'instar des enfants et des adultes. Et souvent d'ailleurs, les artistes qui sont issus des années 1960 le racontent. Leur révolution, c'est ça. C'est la prise en compte tout d'un coup d'une catégorie nouvelle qui s'appelle la jeunesse, l'adolescence. Et pour le coup, elle arrive avec sa propre langue, ses propres désirs d'apparence, sa volonté de se distinguer par des vêtements, par la musique, et puis progressivement par du cinéma, puis dans les années 1980 avec la BD.  Et ça, le monde politique le comprend... À partir du moment où cette catégorie est identifiée, elle devient attractive, et elle est convoitée par le personnel politique. D'autant plus avec l'instauration par Valéry Giscard d'Estaing (président de la France entre 1974 et 1981, NDLR) du droit de vote à 18 ans où, finalement, on sort de l'adolescence. Et on comprend que cette adolescence construit aussi les premières utopies, les premières convictions politiques. Je pense que ce qui a rapproché finalement le monde politique et le monde de la musique, c'est à la fois le courant des yéyés, la période de mai 1968, et aussi après les années s1970, la prise en compte de la jeunesse comme une véritable catégorie socioprofessionnelle. Et cette chanson française n'évolue pas en vase clos. Elle se fait la caisse de résonance des luttes de l'époque, des injustices, des combats. Il y a toujours eu une chanson d'auteur qui avait comme préoccupation de raconter le monde et de raconter en chanson quelles étaient les préoccupations sociales et politiques de leurs auteurs. Il y a eu, comme je le raconte dans le livre, des compagnons de route du Parti communiste français, notamment avec Jean Ferrat qui était un artiste extrêmement populaire à l'époque. À côté, il y avait des acteurs comme Yves Montand et Simone Signoret. Toute une sphère artistique très en lien avec le Parti communiste. Mais dans les années 1970, la France rattrape son retard dans la culture politique. John Fitzgerald Kennedy (président des États-Unis de 1961 à 1963, NDLR) est passé par là. Il a fait de sa campagne électorale, une campagne spectacle où le show business commençait à intervenir dans la vie politique américaine. Et du coup, Giscard, quand il arrive en 1974, applique un peu cette recette. Avec une volonté de resserrer les liens avec la sphère artistique. D'ailleurs, il vise les jeunes. Il fait fabriquer des t-shirts et il les fait porter aux artistes qui sont les plus populaires, les plus emblématiques. On a des photos de Claude François ou de Johnny Hallyday ou Sylvie Vartan avec le t-shirt « Giscard à la barre ». La chanson française se fait l'écho des revendications et des cris, enfin des revendications, des injustices, des combats. Dans les années 1970, il y a une nouvelle scène française, une nouvelle chanson française qui est une chanson d'auteur, portée par des auteurs, compositeurs, interprètes et non plus seulement par des interprètes qui se contentaient de faire des adaptations de standards américains ou anglais. Donc, à partir du moment où cette génération d'auteurs est arrivée, elle s'est inscrite dans la tradition française, celle de l'écrit qui dit quelque chose du monde, et qui existait déjà, du reste, dans les années 1920 ou 1930, avec des chanteurs qui utilisaient la chanson pour raconter à la fois leur intériorité, mais aussi leur relation au monde et leur volonté d'émancipation. Dans les années 1970, il y a la volonté d'accompagner un désir de changement, d'alternance. Il faut se remettre dans l'esprit une chose : à l'époque, les gens pensaient que l'alternance politique n'était qu'une utopie, qu'elle n'arriverait jamais. Dès lors, nous n'avions pour y croire que quelques enseignants qui nous enseignaient une vision alternative du monde. Et puis, nous avions les chanteurs. Renaud, Bernard Lavilliers, Alain Souchon, Daniel Balavoine qui exprimaient à travers leurs mots une conscience ouvrière, une volonté de changer le monde. Pour mon cas personnel, j'ai toujours pensé que les chansons de Renaud ont été bien plus efficaces que tous les cours d'éducation civique que je subissais à l'école. Quant à Balavoine, je le considère un peu comme un tuteur, un grand frère qui m'a appris la vie, qui m'a appris quel était le prix de l'émotion, qui m'a appris à « m'emporter pour ce qui m'importe », puisque c'était une des grandes phrases de Balavoine, « je m'emporte pour ce qu'il m'importe ». Alors, est-ce que pour autant les chansons changent le monde ? C'est Jean-Jacques Goldman qui a posé de façon assez judicieuse la question, sans réellement y répondre. Mais en tout cas, elles accompagnent les soubresauts politiques, elles accompagnent les mutations, et parfois, elles sont simplement la bande originale d'un moment. Chaque révolution à ses chansons. Dans ce livre, vous abordez aussi un chapitre très intéressant, c'est l'irruption du rap dans les années 1990 et la difficulté qu'a eue l'industrie musicale à intégrer le rap dans le champs de vision. Il a fallu le succès de MC Solaar, expliquez-vous, pour que finalement, on se rende compte que les banlieues avaient quelque chose à dire. Et elles le disaient d'une façon différente, mais qui était aussi de la chanson française. J'ai eu la chance de vivre personnellement ce moment. Je suis en 1991 appelé à la direction artistique de Polydor. Je ne suis pas un enfant du rap, loin de là. J'ai acheté quelques 45 tours de rap, Sugar Hill Gang qui tournait sur ma platine tout le temps. On commençait à voir des breakers comme Sydney à la télévision. Mais pour moi, c'était quand même un monde un peu étranger. Et quand j'arrive en 1991 chez Polydor, qui est vraiment le label très imprégné de chanson française, Serge Reggiani, Renaud, Maxime Le Forestier etc, il y a toute une nouvelle pop française qui émerge avec Niagara, Mylène Farmer, Patricia Kaas. Et au milieu, il y a une espèce de d'électron libre qui s'appelle MC Solaar, avec un projet hybride entre la chanson et le rap. Ce n'est pas tout à fait du rap au sens où on croit l'entendre, et ce n'est pas tout à fait de la chanson. Et de cette hybridité va naître effectivement une culture qui est celle du rap populaire qui va débouler sur les antennes de toutes les radios. Pourquoi l'industrie musicale a eu autant de mal à intégrer le rap dans ses raisonnements ? Parce que ces jeunes gens n'avaient jamais eu la chance d'être visibles, ni à la radio ni à la télé. Faut quand même rappeler que jusque dans les années 1980, il n'y a pas de « blacks » à la télé, il n'y a pas d'arabes à la télé. Et quand on les voit, c'est soit parce qu'il y a des émeutes, soit parce que tout d'un coup, il y a un élan collectif antiraciste. Donc tout d'un coup, cette jeunesse que l'on ne connaît pas arrive et remet en question la manière traditionnelle de faire la chanson. La chanson, ce n'est plus forcément un couplet, un refrain, un couplet, un refrain. Ça peut être un flow qui dure pendant trois minutes sans refrain. Ça peut être – oh scandale ! – l'arrivée du sampling dans cette musique. Et ce sampling déstabilise une partie des gens de la chanson française qui se disent « mais enfin, ils ne peuvent pas composer leur propre rythmique, ils ne peuvent pas employer un batteur et un bassiste pour créer une rythmique ! ». Et la chanson française a aussi refusé quelque part cette irruption de ce mode d'expression qui était nouveau, spontané, et aussi extrêmement écrit, mais dans une langue qui n'était pas tout à fait la langue académique. Et c'est vrai que finalement, Solaar a réussi à imposer une image de grand sage. Et il a réussi, tout d'un coup, à intéresser les tenants du patrimoine de la chanson française, c'est à dire les Aznavour, les Gainsbourg, les Juliette Gréco, tous ces artistes vraiment très patrimoniaux qui avaient connu la poésie surréaliste, qui avaient connu Boris Vian, qui avaient connu Jacques Canetti. Donc ça a été pour moi magnifique de vivre à la fois cette émergence, de comprendre aussi que ça grattait, que ça n'allait pas être facile. Finalement, puisque j'ai toujours une vision un peu historique de la chanson, je me dis que ce n'est pas si loin de ce qu'ont vécus dans les années 1960 Eddy Mitchell, Dick Rivers, Johnny Hallyday qui – comme par hasard – étaient tous des mômes issus des quartiers populaires, de la banlieue, qu'on n'appelait pas encore banlieue, et qui s'exprimaient avec des rythmes et des mots qui n'étaient pas ceux de la génération d'avant. On voit à nouveau avec le rap l'émergence d'une musique stigmatisée par l'establishment, adoubée par la rue et par le public. C'est ça qui est très intéressant. Mais encore aujourd'hui, on s'aperçoit par exemple avec la mort de Werenoi, une partie de la France s'interroge. C'est juste le plus gros vendeur de disque en France ! Et moi, je voulais aussi raconter ce long chemin de croix qu'ont vécu les rappeurs pourtant installés depuis le début des années 1990. Je ne vous dis pas le nombre de courriers que reçoit la médiatrice de France Inter (station de radio où travaille Didier Varrod, NDLR) tous les jours, toutes les semaines pour râler en disant « mais comment vous pouvez passer cette musique qui n'est pas de la musique ? ». On a eu la même chose avec la musique électronique. Mais c'est pour dire encore qu'aujourd'hui, même si cette musique-là est majoritaire économiquement dans le pays et qu'elle draine effectivement la majorité de la jeunesse, elle n'est pas la musique majoritaire pour l'institution. Dans ce livre, vous évoquez beaucoup d'artistes qui vous ont marqués. On ne va pas tous les citer. Il y a Véronique Sanson, bien évidemment. Et puis, vous parlez de Mylène Farmer. Et en lisant le chapitre sur Mylène Farmer, je me suis dit : est-ce que la chanson française fabrique des mythes ? Ou est-ce que ce sont les mythes qui s'incarnent dans la chanson française, comme ils pourraient s'incarner en littérature ou ailleurs ? C'est une question que je me suis posée plusieurs fois en écrivant ce chapitre sur Mylène Farmer. Est-ce qu'elle est née pour devenir mythologique, avec la volonté de le devenir ? Ou est-ce que finalement, c'est l'histoire de la chanson française dans son évolution qui a fabriqué ce mythe ? En fait, je pense très honnêtement que, c'est l'histoire de la chanson française qui crée le mythe autour de Mylène Farmer. Même si Mylène Farmer, quand elle arrive au début des années 1980, se nourrit d'un certain nombre de mythologies très fortes, de figures mythologiques qui cultivent à la fois le secret, un univers un peu sombre, etc. Mais en fait, c'est en regardant l'histoire de la chanson que l'on s'aperçoit que finalement, ce mythe va naître et se muscler et s'intensifier. Cette identité, parfois, se transmet de père en fils. Vous abordez parmi tous les phénomènes que génère la chanson dans une société. Celui de l'héritage et des familles : les Higelin, les Chedid, les Gainsbourg.. La chanson française, serait-elle transmissible génétiquement, si je puis dire ? C'est l'une de ses singularités. Et en fait, c'est un questionnement que j'ai eu parce souvent, quand on me présente un artiste, je me dis « Tiens, c'est la fille de ou le fils de... ». Il y a quand même ce truc en France qui rend un peu suspect la légitimité ou l'intégrité, lorsque l'on est fille ou fils de ou petit-fils ou petite fille de. Et c'est vrai que c'est une question. En fait, c'est l'une des singularités de l'histoire de la chanson française. Il y a Gainsbourg, il y a Chedid, il y a Hardy, Dutronc, France Gall... Une partie de l'histoire de la chanson s'est construite, édifiée et fut nourrie par ces familles. Et c'était aussi peut-être leur rendre alors ce qui m'a aussi poussé. J'ai beaucoup hésité à écrire ce chapitre, jusqu'au moment où je suis allé voir le spectacle d'Alain Souchon avec ses deux fils. Au départ, je me disais « Mais il ne peut pas faire un spectacle tout seul ou avec Laurent Voulzy (son complice de scène NDLR) ». Et en fait, de voir ces trois personnalités liées par le sang, par un amour inconditionnel et construire une œuvre d'art à l'intérieur d'une histoire de la chanson, ça m'a bouleversé. Je me suis dit : « Il faut rendre hommage à cette volonté de revendiquer à ciel ouvert une histoire de famille. » Et puis après, il y a aussi une dimension dans les histoires de famille que l'on aborde assez peu. C'est le phénomène de la statue du Commandeur, c'est-à-dire qu'il y a beaucoup d'artistes qui sont tellement impressionnés par l'image de la mère ou du père qui se disent « comment puis-je le dépasser ? ». Ce n'est pas simple pour tout le monde. Oui, et j'aurais pu aussi d'ailleurs évoquer dans le livre toutes les histoires de famille qui ont échoué, ou en tout cas, ces histoires d'enfants qui ont eu moins de succès ou ont eu plus de difficultés que leur maman ou leur papa. Et ça fera peut-être l'objet d'un tome 2, mais ce n'est jamais très agréable d'écrire sur les échecs. Mais ce que vous racontez là est vraiment juste. Quand on parle de Thomas Dutronc par exemple (fils de Jacques Dutronc et de Françoise Hardy, tous deux artistes NDLR), c'est quand même génial. Une jeune garçon, un fils de, avec un père et une mère qui ont marqué la chanson... Il fait son apprentissage en secret se disant « si j'ai une chance de réussir, il ne faut pas que je sois chanteur, ou en tout cas, il ne faut pas que mon fantasme premier soit d'être dans la lumière ». Et c'est très bouleversant, parce qu'en fait, il va devenir un immense musicien en s'imposant la clandestinité. Il est devenu guitariste de jazz manouche, pour aller dans un monde qui n'était ni celui de son père, ni celui de sa mère. Donc il y a des très belles histoires dans cette épopée de la chanson française.

L'invité culture est le journaliste Didier Varrod, directeur musical de Radio France. Il publie La chanson française, un peu, beaucoup, passionnément. aux éditions Le Robert. Une balade en 21 chapitres dans l'histoire de la chanson française. RFI : La chanson française, un peu, beaucoup, passionnément, c'est le titre de l'ouvrage en forme de déclaration d'amour que vous consacrez à votre passion, qui est aussi celle de beaucoup de gens dans le monde pour la chanson française. Il compte 21 chapitres, 21 moments qui retracent l'histoire moderne de cette chanson. Et en vous lisant, on comprend une chose essentielle : cette chanson française est aussi le miroir de la société dans toutes ses dimensions, ses revendications, ses soubresauts et ses crises. Didier Varrod : Contrairement à ce qu'avait dit Serge Gainsbourg sur un plateau de télévision, j'ai toujours pensé que la chanson était un art majeur, même si ce n'est pas un art académique. Je comprends la nuance gainsbourienne qui consiste à dire que pour faire de la peinture, il faut un apprentissage académique, il faut connaître toute l'histoire de la peinture, mais pour moi, la chanson m'a élevé « au grain ». C'est vrai que la littérature, les livres, le cinéma, ont été importants, mais la chanson a été une sorte de tuteur qui m'a accompagné dans mon éducation, dans mes prises de conscience, dans mes émotions et dans mon identité. Je pense que c'est comme ça pour beaucoup de Françaises et de Français et de gens dans le monde entier, d'ailleurs. Parce que la musique est « un cri qui vient de l'Intérieur », comme disait Bernard Lavilliers. C'est un terrain de jeu commun, un terrain qui fabrique du bien commun, du vivre-ensemble. Pour moi, c'est aussi une langue. Le français est peut-être ma première langue maternelle, mais la chanson française, en quelque sorte, est une deuxième langue. Elle m'a permis de communiquer avec des gens. Elle m'a permis d'entrer dans l'intimité des artistes que j'ai rencontré. Pour moi, elle fait socle. Et, j'ai toujours pensé aussi que si demain il y avait une catastrophe nucléaire ou une catastrophe épouvantable, et que dans un endroit secret était protégés des disques et des vinyles, on pourrait alors comprendre ce qu'était la France des années 1950 à aujourd'hui, rien qu'à travers des chansons. C'est pour ça qu'elle a cette importance pour moi. Dans ce livre, vous partez souvent d'un cas particulier, d'une rencontre, d'une anecdote, pour exhumer une tendance générale dans la chanson française. Prenons le cas des rapports entre le monde politique et la chanson. Est-ce que les personnels politiques ont toujours courtisé les chanteurs et chanteuses ? A contrario, est-ce que les artistes ont eu besoin des politiques ? C'est un phénomène qui est apparu progressivement avec l'émergence de la société du spectacle pour reprendre les termes de Guy Debord. Il est vrai que dans les années 1950 et les années début des années 1960, les artistes, la chanson d'un côté et le monde politique, de l'autre, étaient deux territoires relativement distincts. Ce qui a changé, c'est qu'à la fin des années 1950 et au début des années 1960, il y a une nouvelle catégorie sociologique qui apparait : la jeunesse. Dans les années 1950  ou 1940, voire avant la guerre, il n'y avait pas d'adolescence. L'adolescence n'était pas considérée comme une catégorie sociale à l'instar des enfants et des adultes. Et souvent d'ailleurs, les artistes qui sont issus des années 1960 le racontent. Leur révolution, c'est ça. C'est la prise en compte tout d'un coup d'une catégorie nouvelle qui s'appelle la jeunesse, l'adolescence. Et pour le coup, elle arrive avec sa propre langue, ses propres désirs d'apparence, sa volonté de se distinguer par des vêtements, par la musique, et puis progressivement par du cinéma, puis dans les années 1980 avec la BD.  Et ça, le monde politique le comprend... À partir du moment où cette catégorie est identifiée, elle devient attractive, et elle est convoitée par le personnel politique. D'autant plus avec l'instauration par Valéry Giscard d'Estaing (président de la France entre 1974 et 1981, NDLR) du droit de vote à 18 ans où, finalement, on sort de l'adolescence. Et on comprend que cette adolescence construit aussi les premières utopies, les premières convictions politiques. Je pense que ce qui a rapproché finalement le monde politique et le monde de la musique, c'est à la fois le courant des yéyés, la période de mai 1968, et aussi après les années s1970, la prise en compte de la jeunesse comme une véritable catégorie socioprofessionnelle. Et cette chanson française n'évolue pas en vase clos. Elle se fait la caisse de résonance des luttes de l'époque, des injustices, des combats. Il y a toujours eu une chanson d'auteur qui avait comme préoccupation de raconter le monde et de raconter en chanson quelles étaient les préoccupations sociales et politiques de leurs auteurs. Il y a eu, comme je le raconte dans le livre, des compagnons de route du Parti communiste français, notamment avec Jean Ferrat qui était un artiste extrêmement populaire à l'époque. À côté, il y avait des acteurs comme Yves Montand et Simone Signoret. Toute une sphère artistique très en lien avec le Parti communiste. Mais dans les années 1970, la France rattrape son retard dans la culture politique. John Fitzgerald Kennedy (président des États-Unis de 1961 à 1963, NDLR) est passé par là. Il a fait de sa campagne électorale, une campagne spectacle où le show business commençait à intervenir dans la vie politique américaine. Et du coup, Giscard, quand il arrive en 1974, applique un peu cette recette. Avec une volonté de resserrer les liens avec la sphère artistique. D'ailleurs, il vise les jeunes. Il fait fabriquer des t-shirts et il les fait porter aux artistes qui sont les plus populaires, les plus emblématiques. On a des photos de Claude François ou de Johnny Hallyday ou Sylvie Vartan avec le t-shirt « Giscard à la barre ». La chanson française se fait l'écho des revendications et des cris, enfin des revendications, des injustices, des combats. Dans les années 1970, il y a une nouvelle scène française, une nouvelle chanson française qui est une chanson d'auteur, portée par des auteurs, compositeurs, interprètes et non plus seulement par des interprètes qui se contentaient de faire des adaptations de standards américains ou anglais. Donc, à partir du moment où cette génération d'auteurs est arrivée, elle s'est inscrite dans la tradition française, celle de l'écrit qui dit quelque chose du monde, et qui existait déjà, du reste, dans les années 1920 ou 1930, avec des chanteurs qui utilisaient la chanson pour raconter à la fois leur intériorité, mais aussi leur relation au monde et leur volonté d'émancipation. Dans les années 1970, il y a la volonté d'accompagner un désir de changement, d'alternance. Il faut se remettre dans l'esprit une chose : à l'époque, les gens pensaient que l'alternance politique n'était qu'une utopie, qu'elle n'arriverait jamais. Dès lors, nous n'avions pour y croire que quelques enseignants qui nous enseignaient une vision alternative du monde. Et puis, nous avions les chanteurs. Renaud, Bernard Lavilliers, Alain Souchon, Daniel Balavoine qui exprimaient à travers leurs mots une conscience ouvrière, une volonté de changer le monde. Pour mon cas personnel, j'ai toujours pensé que les chansons de Renaud ont été bien plus efficaces que tous les cours d'éducation civique que je subissais à l'école. Quant à Balavoine, je le considère un peu comme un tuteur, un grand frère qui m'a appris la vie, qui m'a appris quel était le prix de l'émotion, qui m'a appris à « m'emporter pour ce qui m'importe », puisque c'était une des grandes phrases de Balavoine, « je m'emporte pour ce qu'il m'importe ». Alors, est-ce que pour autant les chansons changent le monde ? C'est Jean-Jacques Goldman qui a posé de façon assez judicieuse la question, sans réellement y répondre. Mais en tout cas, elles accompagnent les soubresauts politiques, elles accompagnent les mutations, et parfois, elles sont simplement la bande originale d'un moment. Chaque révolution à ses chansons. Dans ce livre, vous abordez aussi un chapitre très intéressant, c'est l'irruption du rap dans les années 1990 et la difficulté qu'a eue l'industrie musicale à intégrer le rap dans le champs de vision. Il a fallu le succès de MC Solaar, expliquez-vous, pour que finalement, on se rende compte que les banlieues avaient quelque chose à dire. Et elles le disaient d'une façon différente, mais qui était aussi de la chanson française. J'ai eu la chance de vivre personnellement ce moment. Je suis en 1991 appelé à la direction artistique de Polydor. Je ne suis pas un enfant du rap, loin de là. J'ai acheté quelques 45 tours de rap, Sugar Hill Gang qui tournait sur ma platine tout le temps. On commençait à voir des breakers comme Sydney à la télévision. Mais pour moi, c'était quand même un monde un peu étranger. Et quand j'arrive en 1991 chez Polydor, qui est vraiment le label très imprégné de chanson française, Serge Reggiani, Renaud, Maxime Le Forestier etc, il y a toute une nouvelle pop française qui émerge avec Niagara, Mylène Farmer, Patricia Kaas. Et au milieu, il y a une espèce de d'électron libre qui s'appelle MC Solaar, avec un projet hybride entre la chanson et le rap. Ce n'est pas tout à fait du rap au sens où on croit l'entendre, et ce n'est pas tout à fait de la chanson. Et de cette hybridité va naître effectivement une culture qui est celle du rap populaire qui va débouler sur les antennes de toutes les radios. Pourquoi l'industrie musicale a eu autant de mal à intégrer le rap dans ses raisonnements ? Parce que ces jeunes gens n'avaient jamais eu la chance d'être visibles, ni à la radio ni à la télé. Faut quand même rappeler que jusque dans les années 1980, il n'y a pas de « blacks » à la télé, il n'y a pas d'arabes à la télé. Et quand on les voit, c'est soit parce qu'il y a des émeutes, soit parce que tout d'un coup, il y a un élan collectif antiraciste. Donc tout d'un coup, cette jeunesse que l'on ne connaît pas arrive et remet en question la manière traditionnelle de faire la chanson. La chanson, ce n'est plus forcément un couplet, un refrain, un couplet, un refrain. Ça peut être un flow qui dure pendant trois minutes sans refrain. Ça peut être – oh scandale ! – l'arrivée du sampling dans cette musique. Et ce sampling déstabilise une partie des gens de la chanson française qui se disent « mais enfin, ils ne peuvent pas composer leur propre rythmique, ils ne peuvent pas employer un batteur et un bassiste pour créer une rythmique ! ». Et la chanson française a aussi refusé quelque part cette irruption de ce mode d'expression qui était nouveau, spontané, et aussi extrêmement écrit, mais dans une langue qui n'était pas tout à fait la langue académique. Et c'est vrai que finalement, Solaar a réussi à imposer une image de grand sage. Et il a réussi, tout d'un coup, à intéresser les tenants du patrimoine de la chanson française, c'est à dire les Aznavour, les Gainsbourg, les Juliette Gréco, tous ces artistes vraiment très patrimoniaux qui avaient connu la poésie surréaliste, qui avaient connu Boris Vian, qui avaient connu Jacques Canetti. Donc ça a été pour moi magnifique de vivre à la fois cette émergence, de comprendre aussi que ça grattait, que ça n'allait pas être facile. Finalement, puisque j'ai toujours une vision un peu historique de la chanson, je me dis que ce n'est pas si loin de ce qu'ont vécus dans les années 1960 Eddy Mitchell, Dick Rivers, Johnny Hallyday qui – comme par hasard – étaient tous des mômes issus des quartiers populaires, de la banlieue, qu'on n'appelait pas encore banlieue, et qui s'exprimaient avec des rythmes et des mots qui n'étaient pas ceux de la génération d'avant. On voit à nouveau avec le rap l'émergence d'une musique stigmatisée par l'establishment, adoubée par la rue et par le public. C'est ça qui est très intéressant. Mais encore aujourd'hui, on s'aperçoit par exemple avec la mort de Werenoi, une partie de la France s'interroge. C'est juste le plus gros vendeur de disque en France ! Et moi, je voulais aussi raconter ce long chemin de croix qu'ont vécu les rappeurs pourtant installés depuis le début des années 1990. Je ne vous dis pas le nombre de courriers que reçoit la médiatrice de France Inter (station de radio où travaille Didier Varrod, NDLR) tous les jours, toutes les semaines pour râler en disant « mais comment vous pouvez passer cette musique qui n'est pas de la musique ? ». On a eu la même chose avec la musique électronique. Mais c'est pour dire encore qu'aujourd'hui, même si cette musique-là est majoritaire économiquement dans le pays et qu'elle draine effectivement la majorité de la jeunesse, elle n'est pas la musique majoritaire pour l'institution. Dans ce livre, vous évoquez beaucoup d'artistes qui vous ont marqués. On ne va pas tous les citer. Il y a Véronique Sanson, bien évidemment. Et puis, vous parlez de Mylène Farmer. Et en lisant le chapitre sur Mylène Farmer, je me suis dit : est-ce que la chanson française fabrique des mythes ? Ou est-ce que ce sont les mythes qui s'incarnent dans la chanson française, comme ils pourraient s'incarner en littérature ou ailleurs ? C'est une question que je me suis posée plusieurs fois en écrivant ce chapitre sur Mylène Farmer. Est-ce qu'elle est née pour devenir mythologique, avec la volonté de le devenir ? Ou est-ce que finalement, c'est l'histoire de la chanson française dans son évolution qui a fabriqué ce mythe ? En fait, je pense très honnêtement que, c'est l'histoire de la chanson française qui crée le mythe autour de Mylène Farmer. Même si Mylène Farmer, quand elle arrive au début des années 1980, se nourrit d'un certain nombre de mythologies très fortes, de figures mythologiques qui cultivent à la fois le secret, un univers un peu sombre, etc. Mais en fait, c'est en regardant l'histoire de la chanson que l'on s'aperçoit que finalement, ce mythe va naître et se muscler et s'intensifier. Cette identité, parfois, se transmet de père en fils. Vous abordez parmi tous les phénomènes que génère la chanson dans une société. Celui de l'héritage et des familles : les Higelin, les Chedid, les Gainsbourg.. La chanson française, serait-elle transmissible génétiquement, si je puis dire ? C'est l'une de ses singularités. Et en fait, c'est un questionnement que j'ai eu parce souvent, quand on me présente un artiste, je me dis « Tiens, c'est la fille de ou le fils de... ». Il y a quand même ce truc en France qui rend un peu suspect la légitimité ou l'intégrité, lorsque l'on est fille ou fils de ou petit-fils ou petite fille de. Et c'est vrai que c'est une question. En fait, c'est l'une des singularités de l'histoire de la chanson française. Il y a Gainsbourg, il y a Chedid, il y a Hardy, Dutronc, France Gall... Une partie de l'histoire de la chanson s'est construite, édifiée et fut nourrie par ces familles. Et c'était aussi peut-être leur rendre alors ce qui m'a aussi poussé. J'ai beaucoup hésité à écrire ce chapitre, jusqu'au moment où je suis allé voir le spectacle d'Alain Souchon avec ses deux fils. Au départ, je me disais « Mais il ne peut pas faire un spectacle tout seul ou avec Laurent Voulzy (son complice de scène NDLR) ». Et en fait, de voir ces trois personnalités liées par le sang, par un amour inconditionnel et construire une œuvre d'art à l'intérieur d'une histoire de la chanson, ça m'a bouleversé. Je me suis dit : « Il faut rendre hommage à cette volonté de revendiquer à ciel ouvert une histoire de famille. » Et puis après, il y a aussi une dimension dans les histoires de famille que l'on aborde assez peu. C'est le phénomène de la statue du Commandeur, c'est-à-dire qu'il y a beaucoup d'artistes qui sont tellement impressionnés par l'image de la mère ou du père qui se disent « comment puis-je le dépasser ? ». Ce n'est pas simple pour tout le monde. Oui, et j'aurais pu aussi d'ailleurs évoquer dans le livre toutes les histoires de famille qui ont échoué, ou en tout cas, ces histoires d'enfants qui ont eu moins de succès ou ont eu plus de difficultés que leur maman ou leur papa. Et ça fera peut-être l'objet d'un tome 2, mais ce n'est jamais très agréable d'écrire sur les échecs. Mais ce que vous racontez là est vraiment juste. Quand on parle de Thomas Dutronc par exemple (fils de Jacques Dutronc et de Françoise Hardy, tous deux artistes NDLR), c'est quand même génial. Une jeune garçon, un fils de, avec un père et une mère qui ont marqué la chanson... Il fait son apprentissage en secret se disant « si j'ai une chance de réussir, il ne faut pas que je sois chanteur, ou en tout cas, il ne faut pas que mon fantasme premier soit d'être dans la lumière ». Et c'est très bouleversant, parce qu'en fait, il va devenir un immense musicien en s'imposant la clandestinité. Il est devenu guitariste de jazz manouche, pour aller dans un monde qui n'était ni celui de son père, ni celui de sa mère. Donc il y a des très belles histoires dans cette épopée de la chanson française.

Episode 86 In the early hours of November 1st, 1970, celebration turned to catastrophe when a fire tore through the Club Cinq-Sept near Saint-Laurent-du-Pont, France. Within minutes, 146 young people were dead — trapped behind padlocked exits, a full-height turnstile, and flammable décor that turned the dance floor into a death trap. This wasn't just a fire — it was the inevitable result of greed, negligence, and a system that valued profit over safety. In this episode, April breaks down how the building's design doomed its occupants, why its owners never should've been allowed to open, and how French philosopher Guy Debord later used the tragedy to expose the rot beneath a complacent society. Because not every fire should keep burning — and some should have never started at all. Listen to You Should Be Here on your favorite podcast app including Apple Podcasts and Spotify. The new season, Cases that Haunt us is out now! The Crime to Burn Patreon - The Cult of Steve - is LIVE NOW! Go join and get all the unhinged you can handle. Click here to be sanctified.  Inner Sanctum Acknowledgments: Eternal gratitude to our Inner Sanctum patrons, Jenny Mercer and Laura Pisciotta, for helping us bring light to the stories others would rather leave in the ashes. Listener discretion is advised. Background music by Not Notoriously Coordinated  Get your Crime to Burn Merch! https://crimetoburn.myspreadshop.com Please follow us on Instagram, X, Facebook, TikTok and Youtube for the latest news on this case. You can email us at crimetoburn@gmail.com We welcome any constructive feedback and would greatly appreciate a 5 star rating and review.  If you need a way to keep your canine contained, you can also support the show by purchasing a Pawious wireless dog fence using our affiliate link and use the code "crimetoburn" at checkout to receive 10% off. Pawious, because our dog Winston needed a radius, not a rap sheet.  Sources:  The Raven's Eye. France's Worst Discotheque Fire – The Horror of the Club 5-7 Disaster. YouTube, Sept 12 2021. https://www.youtube.com/watch?v=hJ_C77jqfW4&t=9s Manic Manor Podcast. The Club Cinq-Sept Fire. YouTube, Mar 19 2024. https://www.youtube.com/watch?v=7lnQIkFvw7s Time Magazine. France: An Unusual Silence. Nov 16 1970. https://time.com/archive/6838296/france-an-unusual-silence/ Guy Debord. On the Fire of Saint-Laurent-du-Pont (1971). Translated from French; introduction by René Viénet. BBC News. 1970: Nightclub Inferno ‘Wipes Out a Generation'. http://news.bbc.co.uk/onthisday/hi/dates/stories/november/1/newsid_2537000/2537937.stm Associated Press. 142 Are Killed by Fire in Locked Dance Hall in France. The New York Times, Nov 2 1970. https://www.nytimes.com/1970/11/02/archives/142-are-killed-by-fire-in-locked-dance-hall-in-france-20-survive.html

No cenário dinâmico do marketing digital e das vendas, a busca pela previsibilidade e eficiência tornou-se uma obsessão. Empresas de todos os portes anseiam por transformar o processo de vendas de uma “arte” intuitiva e, por vezes, caótica, em uma “ciência” replicável e escalável. Mas, seria essa transição meramente técnica? Ou há um profundo embate cultural e psicológico em jogo? O episódio do podcast Growth Diaries, com a participação de Daniel Lestinge, fundador da Blue Forecast, desvenda as complexidades dessa jornada, expondo a tensão entre a natureza humana dos vendedores e a frieza implacável dos dados. Mais do que um mero relatório de vendas, o que emerge é um manifesto sobre como a gestão de dados pode, paradoxalmente, humanizar e otimizar a máquina de receita, desde que se compreenda a intrincada dança entre pessoas, processos e algoritmos.A Evolução da Gestão Comercial: Do Grito ao AlgoritmoA história da gestão comercial é uma jornada fascinante, pontuada por transformações radicais. Houve um tempo em que o sucesso em vendas era sinônimo de carisma, persuasão e, muitas vezes, de uma boa dose de “gritos e motivação” por parte dos gestores. Era uma era onde a intuição reinava soberana, e a performance individual era celebrada, mas dificilmente replicável ou escalável. Max Weber, o sociólogo alemão, já observava no início do século XX a tendência da sociedade moderna à racionalização, onde a eficiência e a calculabilidade suplantariam a tradição e a emoção (Weber, 1978). Essa racionalização, que ele via nas burocracias, hoje se manifesta na busca incessante por métricas e processos no universo das vendas.Daniel Lestinge, com sua trajetória que migra de vendas para dados, é um testemunho vivo dessa evolução. Ele representa a nova guarda, que entende que a paixão e a motivação continuam sendo cruciais, mas precisam ser ancoradas em um arcabouço de dados e processos. O modelo artesanal, onde o “feeling” do vendedor era o KPI supremo, cede lugar a uma gestão que busca transformar a operação de vendas em uma “fábrica de receita” previsível. Não se trata de desumanizar, mas de otimizar. Como argumenta Peter Drucker, “o que não pode ser medido, não pode ser gerenciado” (Drucker, 1954). E no mundo das vendas, gerenciar significa entender o que funciona, por que funciona, e como replicar esse sucesso em escala.O Calcanhar de Aquiles Humano: Vendedores e o CRMApesar da inegável lógica por trás da gestão de vendas baseada em dados, o maior desafio reside, ironicamente, no elemento humano. Vendedores, por sua própria natureza, são movidos pela emoção, pela conexão pessoal e pela liberdade de ação. A ideia de preencher meticulosamente um CRM, seguir roteiros rígidos ou aderir a processos padronizados pode soar como uma camisa de força para muitos. Essa resistência não é meramente uma questão de preguiça ou má vontade; é um reflexo de vieses cognitivos e da aversão à perda, conceitos explorados por Daniel Kahneman e Amos Tversky em sua Teoria da Perspectiva (Kahneman & Tversky, 1979). A mudança de um método familiar para um novo, mesmo que comprovadamente mais eficiente, é percebida como uma perda de autonomia ou de um “jeito de fazer” que já trouxe resultados.A Blue Forecast, ao se deparar com essa realidade, precisou desenvolver uma abordagem que não apenas implementasse ferramentas de dados, mas que também promovesse uma profunda mudança cultural. A solução não está em impor, mas em demonstrar o valor. Quando os vendedores percebem que o CRM não é um instrumento de controle, mas uma ferramenta que os ajuda a fechar mais negócios, a gerenciar melhor seu pipeline e a identificar oportunidades que antes passariam despercebidas, a resistência diminui. É uma questão de traduzir a linguagem dos dados para a linguagem dos resultados tangíveis na vida do vendedor. Como Lestinge aponta, a gestão comercial precisa de visibilidade e controle, especialmente em ambientes remotos, e essa visibilidade só é alcançada com dados confiáveis, gerados por processos bem definidos.Data as a Service: O Modelo Blue Forecast e a Democratização da AnáliseA complexidade de montar e manter uma equipe de dados interna é um obstáculo significativo para muitas empresas, especialmente as de médio porte que faturam acima de 10 milhões por ano, mas que ainda não possuem a maturidade para um departamento de dados robusto. É nesse vácuo que o modelo “time de dados por assinatura” da Blue Forecast se posiciona como uma solução estratégica. Esse modelo reflete uma tendência econômica mais ampla: a “economia de serviços” ou “as-a-service” (SaaS, PaaS, IaaS), onde empresas podem acessar expertise e infraestrutura de ponta sem os custos fixos e os desafios de recrutamento e retenção de talentos.Ao oferecer times de dados por assinatura, a Blue Forecast democratiza o acesso à inteligência de negócios avançada. Empresas como Embracon e Ser Ronda, que talvez hesitassem em investir em uma estrutura de dados própria, podem agora alavancar análises sofisticadas para otimizar suas operações de vendas. Isso permite que se concentrem em seu core business, enquanto especialistas gerenciam a complexidade dos dados. É uma terceirização estratégica que não apenas reduz custos, mas também acelera a curva de aprendizado e a implementação de melhores práticas, conforme o conceito de vantagem competitiva de Michael Porter (Porter, 1985).A “Fábrica de Receita”: Previsibilidade em um Mundo IncertoA visão de transformar a operação de vendas em uma “fábrica de receita” é o cerne da proposta da Blue Forecast e um conceito poderoso para o marketing digital. Em um mercado cada vez mais volátil e competitivo, a previsibilidade é um ativo inestimável. Uma “fábrica de receita” implica um sistema onde as entradas (leads, atividades de vendas) são processadas de forma consistente para gerar saídas (vendas, receita) com uma taxa de conversão conhecida e gerenciável. Isso exige a aplicação de princípios de gestão de processos, como os popularizados pelo Lean Manufacturing e Six Sigma na indústria, adaptados para o universo das vendas (Womack & Jones, 2003).A chave para essa previsibilidade é a definição clara de processos e a medição constante de KPIs. Sem dados confiáveis, a “fábrica” operaria no escuro, sujeita a flutuações e ineficiências. Com eles, é possível identificar gargalos, otimizar etapas e prever resultados com maior acurácia. A previsibilidade não elimina a necessidade de inovação ou de adaptação a mudanças de mercado, mas fornece uma base sólida para a tomada de decisões, permitindo que as empresas reajam de forma proativa, e não apenas reativa.Governança de Dados: O Alicerce InvisívelUm dos pontos cruciais levantados por Lestinge é a necessidade de homologação dos dados. Em muitos casos, as empresas sequer possuem uma definição clara do que constitui uma “venda” ou um “lead qualificado”. Sem essa padronização, qualquer análise de dados será falha, construída sobre areia movediça. A governança de dados, portanto, torna-se o alicerce invisível sobre o qual toda a “fábrica de receita” é construída.A homologação envolve alinhar critérios, criar campos padronizados no CRM e garantir que todos os membros da equipe compreendam e sigam esses padrões. É um trabalho minucioso, mas essencial. Filosoficamente, pode-se traçar um paralelo com a busca pela verdade e consistência na epistemologia. Para que o conhecimento (neste caso, os insights de dados) seja válido, ele precisa ser fundamentado em premissas claras e consistentes. Dados inconsistentes levam a conclusões equivocadas e, consequentemente, a decisões de negócios erradas. Como alertam Davenport e Dyché, sem uma boa governança, os dados podem se tornar um passivo, não um ativo (Davenport & Dyché, 2013).Além dos Dashboards: A Cultura Data-Driven na PráticaTer dashboards bonitos é um bom começo, mas a verdadeira transformação acontece quando os dados permeiam a cultura organizacional. Daniel Lestinge destaca como as reuniões se transformam após a implementação das soluções da Blue Forecast. De debates improdutivos focados em atribuição de culpa, elas evoluem para sessões focadas em soluções e acompanhamento de iniciativas, utilizando ferramentas como PDCA (Plan-Do-Check-Act) e 5W2H.Essa mudança de cultura é um desafio sociológico e psicológico complexo. Requer que os líderes modelem o comportamento desejado, que a equipe seja treinada para interpretar e agir com base nos dados, e que haja um ambiente de segurança psicológica onde os erros sejam vistos como oportunidades de aprendizado, não de punição. Edgar Schein, renomado teórico da cultura organizacional, enfatiza que a cultura é moldada por artefatos, valores e pressupostos básicos, e que a mudança cultural é um processo lento e deliberado (Schein, 2017). Ao transformar a forma como as reuniões são conduzidas, a Blue Forecast está, de fato, reescrevendo os rituais e as normas que sustentam a cultura de vendas de seus clientes.O Dilema da Imagem vs. Entrega: Lições do Ecossistema DigitalUm dos insights mais provocadores do episódio do Growth Diaries foi a reflexão sobre a influência das redes sociais e os “influenciadores corporativos”. Daniel e Victor observaram que, muitas vezes, há um foco excessivo na imagem dos fundadores e na retórica inspiradora, em detrimento da entrega real de valor estruturado. Essa crítica ressoa com a teoria da “sociedade do espetáculo” de Guy Debord, que descrevia uma sociedade onde as relações sociais são mediadas por imagens e o consumo de representações se sobrepõe à experiência direta e autêntica (Debord, 1994).No contexto do marketing digital e da educação corporativa, essa tendência pode ser perigosa. Empresas e indivíduos que constroem sua reputação apenas na imagem, sem a substância de processos sólidos e resultados concretos, correm o risco de se tornar “castelos de areia”. A mensagem de Daniel é clara: a entrega de resultados tangíveis e a transformação contínua são o que realmente fidelizam o cliente. Em uma era de excesso de informação e de “gurus” instantâneos, a autenticidade e a capacidade de gerar valor real são os diferenciais competitivos mais poderosos.A Autonomia do Cliente: Infraestrutura e FlexibilidadeUm aspecto técnico, mas de grande impacto estratégico, é a decisão da Blue Forecast de implantar todas as soluções na infraestrutura do cliente. Essa abordagem, que pode parecer mais trabalhosa à primeira vista, é fundamental para garantir a autonomia do cliente e evitar a chamada “dependência de fornecedor” (vendor lock-in). Ao hospedar os dados e as ferramentas na própria infraestrutura do cliente (seja AWS, GCP ou outra), a Blue Forecast assegura que o cliente mantém a posse e o controle de seus ativos digitais.Essa estratégia reflete uma compreensão profunda do valor a longo prazo para o cliente. Não se trata apenas de entregar uma solução, mas de capacitar o cliente. Em um mundo onde a segurança e a soberania dos dados são cada vez mais críticas, essa escolha técnica se traduz em um benefício estratégico, reforçando a confiança e a parceria. Além disso, a flexibilidade em adaptar-se à stack tecnológica do cliente demonstra uma abordagem centrada no cliente, um pilar fundamental para o sucesso de qualquer empresa de serviços, como ressaltado por autores como Frederick Reichheld sobre a lealdade do cliente (Reichheld, 1996).O ROI da Transparência: Casos de Sucesso e RetençãoO valor da análise de dados em vendas é mais bem ilustrado pelos casos de sucesso. Lestinge citou o exemplo de uma empresa de Telecom do Espírito Santo que, após a implementação de dashboards e processos estruturados, viu sua retenção (Customer Success) saltar de 27% para 54%. Esse é um testemunho poderoso do ROI da transparência e da governança de dados. A retenção de clientes é, muitas vezes, mais lucrativa do que a aquisição de novos, um princípio econômico bem estabelecido no marketing.O aumento da retenção não é um resultado mágico; é a consequência direta de uma melhor compreensão do cliente, da identificação proativa de riscos de churn e da capacidade de agir com base em insights. Quando a equipe de CS tem acesso a dados confiáveis sobre o comportamento do cliente, o uso do produto e o histórico de interações, ela pode intervir de forma mais eficaz, oferecendo soluções personalizadas e fortalecendo o relacionamento. Esse é o poder de transformar dados em ações estratégicas que impactam diretamente o resultado final.O Caminho à Frente: Priorizando o EssencialA mensagem final de Daniel Lestinge é um lembrete valioso em um mundo saturado de informações e soluções complexas: comece simples. Ele orienta focar inicialmente em construir processos claros, definir poucos KPIs essenciais e garantir que o time de vendas funcione de forma coesa, antes de buscar soluções excessivamente complexas. Essa abordagem minimalista e pragmática ecoa o Princípio de Pareto (80/20), onde a maioria dos resultados advém de um número limitado de causas (Koch, 1998).No contexto do marketing digital e da gestão de vendas, isso significa resistir à tentação de implementar todas as ferramentas e métricas disponíveis de uma vez. Em vez disso, a prioridade deve ser estabelecer uma base sólida de dados confiáveis e processos operacionais eficientes. A jornada é gradual, e o principal é progredir com foco e “mão na massa”. É um convite à ação deliberada e estratégica, em vez de uma corrida desenfreada por todas as inovações tecnológicas.Conclusão: A Sinfonia de Dados e HumanidadeO bate-papo no Growth Diaries com Daniel Lestinge transcendeu a mera discussão sobre análise de dados e vendas. Ele nos convidou a uma reflexão profunda sobre a natureza do trabalho, a psicologia humana e a evolução da gestão na era digital. A “fábrica de receita” não é um ideal frio e desumano; é a materialização da busca por eficiência e previsibilidade, que, quando bem implementada, pode liberar os vendedores para se concentrarem no que fazem de melhor: conectar-se com pessoas.A verdadeira maestria reside em orquestrar a sinfonia entre a precisão dos algoritmos e a intuição humana, entre a rigidez dos processos e a flexibilidade da criatividade. O futuro das vendas e do marketing digital não é apenas sobre coletar dados, mas sobre interpretá-los com sabedoria, aplicar essa sabedoria com propósito e, acima de tudo, lembrar que, no final das contas, estamos lidando com pessoas. A jornada é contínua, os desafios são constantes, mas a promessa de uma operação de receita mais eficiente e previsível, que respeita e amplifica o potencial humano, é um horizonte que vale a pena perseguir. É hora de salvar, reparar e decidir: vamos construir fábricas de receita que nutrem a alma humana ou nos perderemos na busca incessante por métricas vazias? A escolha é nossa.Referências (Estilo MLA)Davenport, Thomas H., and Jill Dyché. The New IT: How Technology Leaders Are Shaping the Digital Future. McGraw-Hill Education, 2013.Debord, Guy. The Society of the Spectacle. Translated by Donald Nicholson-Smith, Zone Books, 1994.Drucker, Peter F. The Practice of Management. Harper & Row, 1954.Kahneman, Daniel, and Amos Tversky. “Prospect Theory: An Analysis of Decision under Risk.” Econometrica, vol. 47, no. 2, 1979, pp. 263–91.Koch, Richard. The 80/20 Principle: The Secret to Achieving More with Less. Doubleday, 1998.Porter, Michael E. Competitive Advantage: Creating and Sustaining Superior Performance. Free Press, 1985.Reichheld, Frederick F. The Loyalty Effect: The Hidden Force Behind Growth, Profits, and Lasting Value. Harvard Business School Press, 1996.Schein, Edgar H. Organizational Culture and Leadership. 5th ed., Wiley, 2017.Weber, Max. Economy and Society: An Outline of Interpretive Sociology. Edited by Guenther Roth and Claus Wittich, University of California Press, 1978.Womack, James P., and Daniel T. Jones. Lean Thinking: Banish Waste and Create Wealth in Your Corporation. Free Press, 2003. To hear more, visit victormignone.substack.com

No episódio 621 do podcast Cinem(ação), colocamos o mundo sob o mesmo holofote que iluminou Truman Burbank. O clássico O Show de Truman (1998), estrelado por Jim Carrey, serve como ponto de partida para uma reflexão profunda sobre liberdade, vigilância e a nossa relação com a mídia e as redes sociais.Rafael Arinelli e o time de convidados: Mateus Nascimento, Raquel Rocha e Reinaldo Feurhuber (todos do Perdidos na Paralaxe) - analisam como o filme, dirigido por Peter Weir, antecipa discussões que hoje dominam o cotidiano: o controle social invisível, a exposição constante e a transformação da vida em espetáculo. De Platão a Foucault, passando por Guy Debord, o episódio conecta filosofia e cinema para revelar o quanto nos tornamos, voluntariamente, personagens de um grande reality show.A conversa também destaca o papel de Christoph, o diretor onipresente do O Show de Truman, como símbolo da mídia e dos bilionários da tecnologia que moldam nossas percepções de mundo - um “deus” moderno que decide o que é real e o que é apenas conteúdo.Entre reflexões sobre o panóptico, o biopoder e a servidão voluntária das redes sociais, o episódio questiona: será que ainda temos autonomia para sair da bolha?Prepare-se para uma análise intensa e provocadora sobre a busca pela verdade em uma era de algoritmos, aparências e roteiros prontos. Dê o play e descubra se estamos vivendo… ou apenas sendo assistidos, assim como em O Show de Truman.• 05m50: Pauta Principal• 1h19m51: Plano Detalhe• 1h33m11: EncerramentoOuça nosso Podcast também no:• Spotify: https://cinemacao.short.gy/spotify• Apple Podcast: https://cinemacao.short.gy/apple• Android: https://cinemacao.short.gy/android• Deezer: https://cinemacao.short.gy/deezer• Amazon Music: https://cinemacao.short.gy/amazonAgradecimentos aos padrinhos: • Bruna Mercer• Charles Calisto Souza• Daniel Barbosa da Silva Feijó• Diego Alves Lima• Eloi Xavier• Flavia Sanches• Gabriela Pastori Marino• Guilherme S. Arinelli• Thiago Custodio Coquelet• William SaitoFale Conosco:• Email: contato@cinemacao.com• X: https://cinemacao.short.gy/x-cinemacao• BlueSky: https://cinemacao.short.gy/bsky-cinemacao• Facebook: https://cinemacao.short.gy/face-cinemacao• Instagram: https://cinemacao.short.gy/insta-cinemacao• Tiktok: https://cinemacao.short.gy/tiktok-cinemacao• Youtube: https://cinemacao.short.gy/yt-cinemacaoApoie o Cinem(ação)!Apoie o Cinem(ação) e faça parte de um seleto clube de ouvintes privilegiados, desfrutando de inúmeros benefícios! Com uma assinatura a partir de R$30,00, você terá acesso a conteúdo exclusivo e muito mais! Não perca mais tempo, torne-se um apoiador especial do nosso canal! Junte-se a nós para uma experiência cinematográfica única!Plano Detalhe:• (Reinaldo): Filme: Free Guy: Assumindo o Controle• (Raquel): Filme: A Rainha dos Condenados• (Raquel): Youtube: Lorelay Fox - Mistérios Ocultos• (Mateus): Série: Alice in Borderland• (Mateus): Livro: Não durma, há cobras• (Rafa): Filme: Homem com HEdição: ISSOaí

This week we conclude the two episode miniseries we began last week with Dick and Don of Fourth Reich Archaeology. We continue our discussion of Guy Debord's The Society of the Spectacle and try to make sense of the explosion of violence and fake disclosures that have dominated the first year of the second Trump administration.   All interstitial music provided by the excellent Angleton's Orchids (Don).   You can gaze into the heart of the Spectacle on Twitter: @fourthreichpod (Twitter and Instagram) @angletonorchids @leftunreadpod (Twitter and Instagram) @poorfidalgo @gluten_yung   You can subscribe to us on Patreon at: https://www.patreon.com/LeftUnread   You can reach out to us at leftunreadpod@gmail.com. Suggestions, questions, and hate mail welcome.   Theme music by Interesting Times Gang. Check them out at: itgang.bandcamp.com

In this episode recorded live at Shakespeare and Company, historian and cultural critic Andrew Hussey joins Adam Biles to discuss his powerful new book, Fractured France: A Journey Through a Divided Nation. With wit, erudition, and decades of on-the-ground insight, Hussey examines how France—once the model of revolutionary ideals and republican universalism—has splintered along social, cultural, and political lines. From the banlieues to the boulevards, from secularism to identity politics, Hussey traces the fractures that now define the French experience and asks whether the nation can still live up to its promise of liberté, égalité, fraternité. Their conversation moves between history, journalism, and personal reflection, exploring nationalism, colonial legacies, and the uneasy relationship between Paris and the rest of the country. Fractured France is both an elegy and a challenge: can a republic built on unity survive in an age of division?Buy Fractured France: https://www.shakespeareandcompany.com/books/fractured-france*Andrew Hussey was Director of the Centre for Post-Colonial Studies in the School of Advanced Study, University of London. He is a regular contributor to the Guardian and the New Statesman, and the writer/presenter of several BBC documentaries on French food and art. He is the author of The Game of War: The Life and Death of Guy Debord (2001), and Paris: The Secret History (2006). He was awarded an OBE in the 2011 New Years Honours list for services to cultural relations between the United Kingdom and France. His latest book, The French Intifada, was published by Granta Books in 2014. He lives in Paris.Adam Biles is Literary Director at Shakespeare and Company.Listen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Hosted on Acast. See acast.com/privacy for more information.

The LU Boys are joined this week by Dick and Don of the Fourth Reich Archaeology podcast for part one of a two part series on Guy Debord's 1967 work The Society of the Spectacle and his 1988 followup Comments on the Society of the Spectacle. We use these works as a lens to decrypt the first year of the Trump 2 administration and the explosion of violence and confusion that has followed in its wake.   All interstitial music provided by the excellent Angleton's Orchids (Don).   You can unearth the secrets of the Fourth Reich on Twitter: @fourthreichpod @angletonorchids @leftunreadpod (Twitter and Instagram) @poorfidalgo @gluten_yung   You can subscribe to us on Patreon at: www.patreon.com/LeftUnread   You can reach out to us at: leftunreadpod@gmail.com Suggestions, questions, and hate mail welcome.   Theme music by Interesting Times Gang. Check them out at: itgang.bandcamp.com

We're back—and this time it's all about labor. Guiding Ryan and Jamie's conversation is one of the sharpest voices on work, capitalism, and the platform economy: Ursula Huws. From living in a Situationist house with Guy Debord to breaking down today's gig economy and platform labor, Ursula has seen and done it all.Together, we dig into her typology of labor—paid, unpaid, productive, reproductive—and how these shifting categories help us understand the changes in our economic system. We ask: what does it mean when almost every aspect of life gets folded into capitalism? Is there a way out of the crisis of social reproduction? And what happens when everything, even the future, is up for rent?On your Marx, get set—let's go!Marx · Ursula Hews · Connecting the Dots · Gig Work · Platform Capitalism · Renting the Future · 400 Blows 

Rediffusion de l'épisode 68 avec Ovidie et Tancrède Ramonet, publié le 11/10/2023. Une rencontre importante, et un entretien dont je suis très fière. "La chair est triste hélas" d'Ovidie, est adapté au théâtre avec Anna Mouglalis, mis en scène par Ovidie, au théâtre de l'Atelier, du 9 septembre 2025 au 25 octobre 2025 https://www.theatre-atelier.com/event/la-chair-est-triste-helas-ovidie-annamouglalis2025/. C'est l'occasion d'écouter ou réécouter cet échange, toujours aussi percutant. Je suis TELLEMENT fière et heureuse d'avoir eu la chance, l'honneur, de rencontrer Ovidie ❤️

This week Chris and Jason signed on to give an update on the status of the spectacular nature of American Capitalism. Trump's useless strikes on Iran and false declaration of victory prompted us to revisit Guy Debord's concept of the spectacle in relation to contemporary American politics. Revenge of the Spectacle: This Time It's Personalhttp://www.redwedgemagazine.com/online-issue/revenge-of-the-spectacle-this-time-its-personal The Game of War. Guy Debord and the Society of the Spectacle.https://www.threemonkeysonline.com/the-game-of-war-guy-debord-and-the-society-of-the-spectacle/ Send us a message (sorry we can't respond on here). Support the show

This episode is available as a youtube video with reference images, visual gags, and other additional content at https://www.youtube.com/watch?v=WpPZKdXGOUY    The gang discusses how aesthetics took over political life thanks to the influence of Ed Bernays and mass media, and what that means for the information age. We use the works of Walter Benjamin and Guy Debord to help us answer the question: Can you still make real art?

Hello Interactors,This week, the European Space Agency launched a satellite to "weigh" Earth's 1.5 trillion trees. It will give scientists deeper insight into forests and their role in the climate — far beyond surface readings. Pretty cool. And it's coming from Europe.Meanwhile, I learned that the U.S. Secretary of Defense — under Trump — had a makeup room installed in the Pentagon to look better on TV. Also pretty cool, I guess. And very American.The contrast was hard to miss. Even with better data, the U.S. shows little appetite for using geographic insight to actually address climate change. Information is growing. Willpower, not so much.So it was oddly clarifying to read a passage Christopher Hobson posted on Imperfect Notes from a book titled America by a French author — a travelogue of softs. Last week I offered new lenses through which to see the world, I figured I'd try this French pair on — to see America, and the world it effects, as he did.PAPER, POWER, AND PROJECTIONI still have a folded paper map of Seattle in the door of my car. It's a remnant of a time when physical maps reflected the reality before us. You unfolded a map and it innocently offered the physical world on a page. The rest was left to you — including knowing how to fold it up again.But even then, not all maps were neutral or necessarily innocent. Sure, they crowned capitals and trimmed borders, but they could also leave things out or would make certain claims. From empire to colony, from mission to market, maps often arrived not to reflect place, but to declare control of it. Still, we trusted it…even if was an illusion.I learned how to interrogate maps in my undergraduate history of cartography class — taught by the legendary cartographer Waldo Tobler. But even with that knowledge, when I was then taught how to make maps, that interrogation was more absent. I confidently believed I was mediating truth. The lines and symbols I used pointed to substance; they signaled a thing. I traced rivers from existing base maps with a pen on vellum and trusted they existed in the world as sure as the ink on the page. I cut out shading for a choropleth map and believed it told a stable story about population, vegetation, or economics. That trust was embodied in representation — the idea that a sign meant something enduring. That we could believe what maps told us.This is the world of semiotics — the study of how signs create meaning. American philosopher Charles Sanders Peirce offered a sturdy model: a sign (like a map line) refers to an object (the river), and its meaning emerges in interpretation. Meaning, in this view, is relational — but grounded. A stop sign, a national anthem, a border — they meant something because they pointed beyond themselves, to a world we shared.But there are cracks in this seemingly sturdy model.These cracks pose this question: why do we trust signs in the first place? That trust — in maps, in categories, in data — didn't emerge from neutrality. It was built atop agendas.Take the first U.S. census in 1790. It didn't just count — it defined. Categories like “free white persons,” “all other free persons,” and “slaves” weren't neutral. They were political tools, shaping who mattered and by how much. People became variables. Representation became abstraction.Or Carl Linnaeus, the 18th-century Swedish botanist who built the taxonomies we still use: genus, species, kingdom. His system claimed objectivity but was shaped by distance and empire. Linnaeus never left Sweden. He named what he hadn't seen, classified people he'd never met — sorting humans into racial types based on colonial stereotypes. These weren't observations. They were projections based on stereotypes gathered from travelers, missionaries, and imperial officials.Naming replaced knowing. Life was turned into labels. Biology became filing. And once abstracted, it all became governable, measurable, comparable, and, ultimately, manageable.Maps followed suit.What once lived as a symbolic invitation — a drawing of place — became a system of location. I was studying geography at a time (and place) when Geographic Information Systems (GIS) and GIScience was transforming cartography. Maps weren't just about visual representations; they were spatial databases. Rows, columns, attributes, and calculations took the place of lines and shapes on map. Drawing what we saw turned to abstracting what could then be computed so that it could then be visualized, yes, but also managed.Chris Perkins, writing on the philosophy of mapping, argued that digital cartographies didn't just depict the world — they constituted it. The map was no longer a surface to interpret, but a script to execute. As critical geographers Sam Hind and Alex Gekker argue, the modern “mapping impulse” isn't about understanding space — it's about optimizing behavior through it; in a world of GPS and vehicle automation, the map no longer describes the territory, it becomes it. Laura Roberts, writing on film and geography, showed how maps had fused with cinematic logic — where places aren't shown, but performed. Place and navigation became narrative. New York in cinema isn't a place — it's a performance of ambition, alienation, or energy. Geography as mise-en-scène.In other words, the map's loss of innocence wasn't just technical. It was ontological — a shift in the very nature of what maps are and what kind of reality they claim to represent. Geography itself had entered the domain of simulation — not representing space but staging it. You can simulate traveling anywhere in the world, all staged on Google maps. Last summer my son stepped off the train in Edinburgh, Scotland for the first time in his life but knew exactly where he was. He'd learned it driving on simulated streets in a simulated car on XBox. He walked us straight to our lodging.These shifts in reality over centuries weren't necessarily mistakes. They unfolded, emerged, or evolved through the rational tools of modernity — and for a time, they worked. For many, anyway. Especially for those in power, seeking power, or benefitting from it. They enabled trade, governance, development, and especially warfare. But with every shift came this question: at what cost?FROM SIGNS TO SPECTACLEAs early as the early 1900s, Max Weber warned of a world disenchanted by bureaucracy — a society where rationalization would trap the human spirit in what he called an iron cage. By mid-century, thinkers pushed this further.Michel Foucault revealed how systems of knowledge — from medicine to criminal justice — were entangled with systems of power. To classify was to control. To represent was to discipline. Roland Barthes dissected the semiotics of everyday life — showing how ads, recipes, clothing, even professional wrestling were soaked in signs pretending to be natural.Guy Debord, in the 1967 The Society of the Spectacle, argued that late capitalism had fully replaced lived experience with imagery. “The spectacle,” he wrote, “is not a collection of images, but a social relation among people, mediated by images.”Then came Jean Baudrillard — a French sociologist, media theorist, and provocateur — who pushed the critique of representation to its limit. In the 1980s, where others saw distortion, he saw substitution: signs that no longer referred to anything real. Most vividly, in his surreal, gleaming 1986 travelogue America, he described the U.S. not as a place, but as a performance — a projection without depth, still somehow running.Where Foucault showed that knowledge was power, and Debord showed that images replaced life, Baudrillard argued that signs had broken free altogether. A map might once distort or simplify — but it still referred to something real. By the late 20th century, he argued, signs no longer pointed to anything. They pointed only to each other.You didn't just visit Disneyland. You visited the idea of America — manufactured, rehearsed, rendered. You didn't just use money. You used confidence by handing over a credit card — a symbol of wealth that is lighter and moves faster than any gold.In some ways, he was updating a much older insight by another Frenchman. When Alexis de Tocqueville visited America in the 1830s, he wasn't just studying law or government — he was studying performance. He saw how Americans staged democracy, how rituals of voting and speech created the image of a free society even as inequality and exclusion thrived beneath it. Tocqueville wasn't cynical. He simply understood that America believed in its own image — and that belief gave it a kind of sovereign feedback loop.Baudrillard called this condition simulation — when representation becomes self-contained. When the distinction between real and fake no longer matters because everything is performance. Not deception — orchestration.He mapped four stages of this logic:* Faithful representation – A sign reflects a basic reality. A map mirrors the terrain.* Perversion of reality – The sign begins to distort. Think colonial maps as logos or exclusionary zoning.* Pretending to represent – The sign no longer refers to anything but performs as if it does. Disneyland isn't America — it's the fantasy of America. (ironically, a car-free America)* Pure simulation – The sign has no origin or anchor. It floats. Zillow heatmaps, Uber surge zones — maps that don't reflect the world, but determine how you move through it.We don't follow maps as they were once known anymore. We follow interfaces.And not just in apps. Cities themselves are in various stages of simulation. New York still sells itself as a global center. But in a distributed globalized and digitized economy, there is no center — only the perversion of an old reality. Paris subsidizes quaint storefronts not to nourish citizens, but to preserve the perceived image of Paris. Paris pretending to be Paris. Every city has its own marketing campaign. They don't manage infrastructure — they manage perception. The skyline is a product shot. The streetscape is marketing collateral and neighborhoods are optimized for search.Even money plays this game.The U.S. dollar wasn't always king. That title once belonged to the British pound — backed by empire, gold, and industry. After World War II, the dollar took over, pegged to gold under the Bretton Woods convention — a symbol of American postwar power stability…and perversion. It was forged in an opulent, exclusive, hotel in the mountains of New Hampshire. But designed in the style of Spanish Renaissance Revival, it was pretending to be in Spain. Then in 1971, Nixon snapped the dollar's gold tether. The ‘Nixon Shock' allowed the dollar to float — its value now based not on metal, but on trust. It became less a store of value than a vessel of belief. A belief that is being challenged today in ways that recall the instability and fragmentation of the pre-WWII era.And this dollar lives in servers, not Industrial Age iron vaults. It circulates as code, not coin. It underwrites markets, wars, and global finance through momentum alone. And when the pandemic hit, there was no digging into reserves.The Federal Reserve expanded its balance sheet with keystrokes — injecting trillions into the economy through bond purchases, emergency loans, and direct payments. But at the same time, Trump 1.0 showed printing presses rolling, stacks of fresh bills bundled and boxed — a spectacle of liquidity. It was monetary policy as theater. A simulation of control, staged in spreadsheets by the Fed and photo ops by the Executive Branch. Not to reflect value, but to project it. To keep liquidity flowing and to keep the belief intact.This is what Baudrillard meant by simulation. The sign doesn't lie — nor does it tell the truth. It just works — as long as we accept it.MOOD OVER MEANINGReality is getting harder to discern. We believe it to be solid — that it imposes friction. A law has consequences. A price reflects value. A city has limits. These things made sense because they resist us. Because they are real.But maybe that was just the story we told. Maybe it was always more mirage than mirror.Now, the signs don't just point to reality — they also replace it. We live in a world where the image outpaces the institution. Where the copy is smoother than the original. Where AI does the typing. Where meaning doesn't emerge — it arrives prepackaged and pre-viral. It's a kind of seductive deception. It's hyperreality where performance supersedes substance. Presence and posture become authority structured in style.Politics is not immune to this — it's become the main attraction.Trump's first 100 days didn't aim to stabilize or legislate but to signal. Deportation as UFC cage match — staged, brutal, and televised. Tariff wars as a way of branding power — chaos with a catchphrase. Climate retreat cast as perverse theater. Gender redefined and confined by executive memo. Birthright citizenship challenged while sedition pardoned. Even the Gulf of Mexico got renamed. These aren't policies, they're productions.Power isn't passing through law. It's passing through the affect of spectacle and a feed refresh.Baudrillard once wrote that America doesn't govern — it narrates. Trump doesn't manage policy, he manages mood. Like an actor. When America's Secretary of Defense, a former TV personality, has a makeup studio installed inside the Pentagon it's not satire. It's just the simulation, doing what it does best: shining under the lights.But this logic runs deeper than any single figure.Culture no longer unfolds. It reloads. We don't listen to the full album — we lift 10 seconds for TikTok. Music is made for algorithms. Fashion is filtered before it's worn. Selfhood is a brand channel. Identity is something to monetize, signal, or defend — often all at once.The economy floats too. Meme stocks. NFTs. Speculative tokens. These aren't based in value — they're based in velocity. Attention becomes the currency.What matters isn't what's true, but what trends. In hyperreality, reference gives way to rhythm. The point isn't to be accurate. The point is to circulate. We're not being lied to.We're being engaged. And this isn't a bug, it's a feature.Which through a Baudrillard lens is why America — the simulation — persists.He saw it early. Describing strip malls, highways, slogans, themed diners he saw an America that wasn't deep. That was its genius he saw. It was light, fast paced, and projected. Like the movies it so famously exports. It didn't need justification — it just needed repetition.And it's still repeating.Las Vegas is the cathedral of the logic of simulation — a city that no longer bothers pretending. But it's not alone. Every city performs, every nation tries to brand itself. Every policy rollout is scored like a product launch. Reality isn't navigated — it's streamed.And yet since his writing, the mood has shifted. The performance continues, but the music underneath it has changed. The techno-optimism of Baudrillard's ‘80s an ‘90s have curdled. What once felt expansive now feels recursive and worn. It's like a show running long after the audience has gone home. The rager has ended, but Spotify is still loudly streaming through the speakers.“The Kids' Guide to the Internet” (1997), produced by Diamond Entertainment and starring the unnervingly wholesome Jamison family. It captures a moment of pure techno-optimism — when the Internet was new, clean, and family-approved. It's not just a tutorial; it's a time capsule of belief, staged before the dream turned into something else. Before the feed began to feed on us.Trumpism thrives on this terrain. And yet the world is changing around it. Climate shocks, mass displacement, spiraling inequality — the polycrisis has a body count. Countries once anchored to American leadership are squinting hard now, trying to see if there's anything left behind the screen. Adjusting the antenna in hopes of getting a clearer signal. From Latin America to Southeast Asia to Europe, the question grows louder: Can you trust a power that no longer refers to anything outside itself?Maybe Baudrillard and Tocqueville are right — America doesn't point to a deeper truth. It points to itself. Again and again and again. It is the loop. And even now, knowing this, we can't quite stop watching. There's a reason we keep refreshing. Keep scrolling. Keep reacting. The performance persists — not necessarily because we believe in it, but because it's the only script still running.And whether we're horrified or entertained, complicit or exhausted, engaged or ghosted, hired or fired, immigrated or deported, one thing remains strangely true: we keep feeding it. That's the strange power of simulation in an attention economy. It doesn't need conviction. It doesn't need conscience. It just needs attention — enough to keep the momentum alive. The simulation doesn't care if the real breaks down. It just keeps rendering — soft, seamless, and impossible to look away from. Like a dream you didn't choose but can't wake up from.REFERENCESBarthes, R. (1972). Mythologies (A. Lavers, Trans.). Hill and Wang. (Original work published 1957)Baudrillard, J. (1986). America (C. Turner, Trans.). Verso.Debord, G. (1994). The Society of the Spectacle (D. Nicholson-Smith, Trans.). Zone Books. (Original work published 1967)Foucault, M. (1977). Discipline and Punish: The Birth of the Prison (A. Sheridan, Trans.). Vintage Books.Hind, S., & Gekker, A. (2019). On autopilot: Towards a flat ontology of vehicular navigation. In C. Lukinbeal et al. (Eds.), Media's Mapping Impulse. Franz Steiner Verlag.Linnaeus, C. (1735). Systema Naturae (1st ed.). Lugduni Batavorum.Perkins, C. (2009). Philosophy and mapping. In R. Kitchin & N. Thrift (Eds.), International Encyclopedia of Human Geography. Elsevier.Raaphorst, K., Duchhart, I., & van der Knaap, W. (2017). The semiotics of landscape design communication. Landscape Research.Roberts, L. (2008). Cinematic cartography: Movies, maps and the consumption of place. In R. Koeck & L. Roberts (Eds.), Cities in Film: Architecture, Urban Space and the Moving Image. University of Liverpool.Tocqueville, A. de. (2003). Democracy in America (G. Lawrence, Trans., H. Mansfield & D. Winthrop, Eds.). University of Chicago Press. (Original work published 1835)Weber, M. (1958). The Protestant Ethic and the Spirit of Capitalism (T. Parsons, Trans.). Charles Scribner's Sons. (Original work published 1905) This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit interplace.io

Carmen Inés Rivera Lugo José Ángel Gandía Pabón Luis Raúl Sánchez Pedraza Martha Figueroa Gesualdo, consejera psicóloga Primer segmento Muerte del Papa Retos de la Iglesia Conflictos: Conservadores vs progresistas Órdenes vs movimientos laicos Norte global vs sur global Sociedad del Espectáculo de Guy Debord como punto de partida Segundo segmento Primeros 100 días de la administración Jgo LUMA Ambiente Nombramientos ¿Podcast? Tercer y cuarto segmento Primeros 100 días de la administración Jgo LUMA Ambiente Nombramientos ¿Podcast?

So, you think you had some judgments? TOO BAD THEY ARE ALL REFUTED!This week Jason and Andrew watched and discussed Guy Debord's follow up to his Society of the Spectacle film, which is essentially a clapback at his haters. As any good Regrettable discussion goes, the film was the anchor, but the topics ranged far and wide. Enjoy!Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film “The Society of the Spectacle" (1975)https://www.ubu.com/film/debord_refutation.html Send us a textSupport the show

Fabrizio Guarducci"Il richiamo del sentimento"Lorenzo de' Medici Presswww.lorenzodemedicipress.itElvira, una studiosa, inizia una complessa ricerca sul movimento religioso dei Catari e sull'attualità del loro messaggio spirituale.Vuole scrivere un nuovo libro sull'argomento Il suo percorso procede con importanti testi antichissimi di religione, partendo dalle pagine del trattato gnostico Kephalaia: tra questi un raro e dimenticato vangelo gnostico – la Pistis Sophia – in cui Gesù spiega agli apostoli cosa accade all'uomo dopo la morte e che cosa c'è nell'aldilà. Secondo la Pistis Sophia, Gesù dopo la morte rimase 11 anni con gli Apostoli per spiegare loro questi segreti e la via verso il raggiungimento del divino.Elvira sente di compiere, al tempo stesso, anche un viaggio dentro il proprio animo. Ma sarà un'inattesa presenza, incontrata casualmente, a trasportarla verso un modo completamente diverso di considerare il sentimento, l'animo umano e la ricerca del vero significato del divino.La sua ricerca è diventata un'altra cosa e il suo libro è davvero il punto di arrivo per una nuova scoperta del sentimento.Fabrizio Guarducci si è formato nella concezione sociale e umana di Giorgio La Pira. Dopo aver vissuto il movimento Underground alla fine degli anni Sessanta negli Stati Uniti e aver conosciuto Guy Debord in Francia, ha aderito convintamente al Situazionismo.Ha fondato il Dipartimento di Antropologia culturale dell'Istituto Internazionale Lorenzo de' Medici di Firenze. Ha insegnato Mistica, Estetica e Tanatologia, dedicandosi interamente alla ricerca dei linguaggi come strumenti per migliorare l'interiorità dell'individuo e per trasformare in positivo la realtà che ci circonda. È, inoltre, autore cinematografico: Paradigma italiano (premiato al PhilaFilm, 1993), Two days (2003) e Il mio viaggio in Italia (vincitore del Golden Eagle, 2005). Come autore, produttore e regista ha realizzato i film Mare di grano (2018), Una sconosciuta (2021), Anemos (2022) e La partita delle emozioni (2025). Ha pubblicato i saggi La parola ritrovata (2013), Theoria. Il divino oltre il dogma (2020) e i romanzi Il quinto volto (2016), La parola perduta (2019), La sconosciuta (2020), Duetto (2021), Amor (2022), Il villaggio dei cani che cantano (2022), La partita delle emozioni (2023) ed Eclissi (2023, selezione Premio Strega 2024).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Bonus 5 - Greg Bennick, a fascinating guest of this episode, has led a life as eclectic as it is inspiring. From his upbringing in a small Connecticut town with career renegade parents to his gritty move to Seattle where he immersed himself in the punk music scene, Greg's journey underscores the beauty of living life on one's own terms. We explore his transition from aspiring rockstar to embracing roles in acting, music, and public speaking, along with his love for numismatics. His story is a testament to the power of pursuing passions and redefining success, promising listeners an engaging exploration of a life lived authentically.In a riveting account, Greg shares a pivotal moment from his youth that taught him the importance of focus and presence. Using the metaphor of "keeping your eyes on the knife," he emphasizes the necessity of attention amidst life's distractions. This concept is central to his book, "Reclaim the Moment: Seven Strategies to Build a Better Now," where he challenges the superficial allure of modern society. Inspired by Guy Debord's "Society of the Spectacle," Greg urges us to engage directly with life, encouraging listeners to seize opportunities and live beyond the superficial distractions that often cloud our experiences.Finally, listeners are taken on a global journey featuring Greg's spoken word tour across Russia and Ukraine, which highlights the shared humanity that transcends cultural boundaries. Greg challenges fear-driven narratives as he shares lessons on kindness from his travels to places like South Africa, Rwanda, and Thailand. These adventures underscore his belief in the innate goodness of people and the essential role of kindness in our lives. This episode promises to entertain, educate, and inspire, unearthing the extraordinary stories and the philosophy that guides Greg's life.To learn more about Greg please visit his website www.gregbennick.com. You can also follow Greg on Instagram @gregbennick.To sign up for my newsletter and a chance to win a Sacred Spaces Gift Box please visit www.journeywithjake.net/newsletter. To learn more about Sacred Spaces Volume 3 please visit www.colleenaviscoaching.com/events. Visit geneticinsights.co and use the code "DISCOVER25" to enjoy a sweet 25% off your first purchase.

This is an old episode of our friend Andrew's podcast that was recorded a few years ago. The podcast is now defunct, but we thought y'all deserved to hear it. In this episode Jason and Andrew watched and discussed Guy Debord's 1974 film version of The Society of the Spectacle.Enjoy and Happy New Year.Send us a textSupport the show

O debate na universidade: https://www.youtube.com/watch?v=OGSobRn3IPo&t=0s Imagine que estamos vivendo dentro de uma vitrine gigantesca, onde tudo o que fazemos, pensamos ou sonhamos precisa ser exibido, comentado, avaliado e, principalmente, consumido. Parece exagero? Pois esse é o mundo que Guy Debord, lá em 1967, descreveu com lucidez desconcertante no livro “A Sociedade do Espetáculo”. Debord não tinha redes sociais, mas cravou o conceito: vivemos uma cultura onde o espetáculo substituiu a realidade.See omnystudio.com/listener for privacy information.

O debate na universidade: https://www.youtube.com/watch?v=OGSobRn3IPo&t=0s Imagine que estamos vivendo dentro de uma vitrine gigantesca, onde tudo o que fazemos, pensamos ou sonhamos precisa ser exibido, comentado, avaliado e, principalmente, consumido. Parece exagero? Pois esse é o mundo que Guy Debord, lá em 1967, descreveu com lucidez desconcertante no livro “A Sociedade do Espetáculo”. Debord não tinha redes sociais, mas cravou o conceito: vivemos uma cultura onde o espetáculo substituiu a realidade.See omnystudio.com/listener for privacy information.

durée : 00:02:16 - L'Humeur du matin par Guillaume Erner - par : Guillaume Erner - La Société du spectacle est un essai écrit par Guy Debord. Dedans, il critique la société de consommation et dénonce le capitalisme. Le groupe automobile franco-italo-américain, Stellantis, en est l'exemple même aujourd'hui. - réalisation : Félicie Faugère

durée : 01:00:42 - Les Nuits de France Culture - par : Albane Penaranda, Mathias Le Gargasson, Antoine Dhulster - Par Thibault Henneton - Avec Emmanuel Guy, Patrick Marcolini, Pierre-Ulysse Barranque, Omer Corlaix, Isabelle Barbéris, Laurence Le Bras et Alexander Neumann - Réalisation Isabelle Yhuel - réalisation : Massimo Bellini

durée : 00:58:10 - Avec philosophie - par : Géraldine Muhlmann, Antoine Ravon - Né en 1931, Guy Debord a quinze ans de moins que Roland Barthes. En 1967, le philosophe publie "La Société du spectacle", critique du capitalisme, tandis que Barthes s'éloigne des tonalités marxistes de ses "Mythologies". Pourtant, leurs œuvres convergent, dénonçant mythes et spectacle. - réalisation : Nicolas Berger - invités : Eric Marty Écrivain et universitaire; Vincent Kaufmann Professeur émérite de littérature et d'histoire des médias à l'université de St. Gall en Suisse

I talk about the relationship between gender transition, the work of Guy Debord, and the howling terror of grief. ~~~Support Haus of Decline on Patreon!Visit hausofdecline.comNostalgia is fleeting,but @hausofdecline is foreverPlease email complaints, suggestions, or requests to hausofdecline@gmail.com  Thank you for listening.Explicit Content Warning. You WERE warned.  That's what the little E signifies.    ★ Support this podcast on Patreon ★

Entretien mené par Christian Casaubon & Julie Gresh Tandis qu'au volant de sa voiture de location, il fait le tour de la France par les bords, Philippe Jaenada ne peut s'ôter de la tête l'image de cette jeune femme qui, à l'aube du 28 novembre 1953, s'est écrasée sur le trottoir de la rue Cels, derrière le cimetière du Montparnasse. Elle s'appelait Jacqueline Harispe, elle avait vingt ans, on la surnommait Kaki. Elle passait son existence Chez Moineau, un café de la rue du Four où quelques très jeunes gens, serrés les uns contre les autres, jouissaient de l'instant sans l'ombre d'un projet d'avenir. Sans le vouloir ni le savoir, ils inventaient une façon d'être sous le regard glacé du jeune Guy Debord qui, plus tard, fera son miel de leur désinvolture suicidaire. Dans ce livre magnifique, Philippe Jaenada a cherché à savoir, à comprendre pourquoi une si jolie jeune femme, intelligente et libre, entourée d'amis, une fille que la vie semblait amuser, amoureuse d'un beau soldat américain, s'est jetée, un matin d'automne, par la fenêtre d'une chambre d'hôtel. En préambule, l'équipe de la Femelle du requin nous proposera un petit retour sur l'oeuvre de Philippe Jaenada (à qui un dossier est consacré dans le dernier numéro) mettant ainsi en perspective ce nouveau livre. À lire – Philippe Jaenada, La désinvolture est une bien belle chose, Mialet-Barrault, 2024. Revue La Femelle du Requin, n°59

Support this work: https://www.patreon.com/HorsesPT   https://www.horses.land Sources: The Society of the Spectacle, Guy Debord Comments on the Society of the Spectacle, Guy Debord Simulacra and Simulation, Jean Baudrillard Jean Baudrillard in Cyberspace: Internet, Virtuality, and Postmodernity, Mark Nunes An Illustrated Guide to Guy Debord's ‘The Society of the Spectacle', Tiernan Morgan & Lauren Purje Music: Into the Night - Franz Gordon Light's Gone - Nylon Lullaby for Lilly - William Claeson Reflections - American Legion Restful Hearts - Elm Lake Rosee de Matin - Dex 1200 Saint Valentine - Vendla Soma Theatre of Distorted Love - Par Still Waters - Amber Glow Tangeh - Dex 1200 Twilight Waltz - Megan Wofford With Some Hope - Dex 1200 Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode is about Guy Debord's idea of the spectacle: a social system where life is mediated by images and appearances. It's not just about watching TV or scrolling through social media—though those are clear examples—but about how everything in society becomes a performance, a show. The spectacle turns real, lived experiences into representations, where appearances matter more than substance. It's a world where being has turned into appearing, and we are constantly performing, not living. Inspired by: The Philosophize this Podcast  Society of the Spectacle

Rachel Kushner's fourth novel Creation Lake is a spy novel stacked with ideas. As our fast-thinking, gun-packing protagonist wends her way down to the south of France, charged—by forces unknown—with infiltrating and sowing chaos at a commune of eco-warriors, her mission leads her into exhilarating reflections on activism, on charisma, on neanderthals and other lost races of archaic humans, on the remodelling—some might say devastation—of rural France in the name of progress, on loss in its myriad forms, on the shadows loss leaves behind, on Guy Debord, on the apparently charmed life of Louis Ferdinand Céline, on Daft Punk's ubiquitous Get Lucky, on space, on time, on spacetime, and on the many paths she has and hasn't taken in her life… As that list hopefully demonstrates, the scope of Creation Lake is vast, stretching from the micro of the personal to the macro of the cosmos—and touching on everything in between. And yet incredibly, Creation Lake never feels weighed down by all this. Quite the opposite. It hurls forward at exactly the dizzying speed you'd expect from the wise-cracking secret agent at its heart. All in all, Creation Lake is quite the ride. Recorded in Paris in March 2024.Buy Creation Lake: https://www.shakespeareandcompany.com/books/creation-lake-3*Rachel Kushner is the author of the internationally acclaimed novels THE MARS ROOM, THE FLAMETHROWERS, and TELEX FROM CUBA, as well as a book of short stories, THE STRANGE CASE OF RACHEL K. Her new book, THE HARD CROWD: ESSAYS 2000-2020 will be published in April 2021. She has won the Prix Médicis and been a finalist for the Booker Prize, the National Book Critics Circle Award, the Folio Prize, the James Tait Black Prize, the Dayton Literary Peace Prize, and was twice a finalist for the National Book Award in Fiction. She is a Guggenheim Foundation Fellow and the recipient of the Harold D. Vursell Memorial Award from the American Academy of Arts and Letters. Her books have been translated into twenty-six languages. Adam Biles is Literary Director at Shakespeare and Company. His latest novel, Beasts of England, a sequel of sorts to Animal Farm, is available now. Buy a signed copy here: https://www.shakespeareandcompany.com/books/beasts-of-englandListen to Alex Freiman's latest EP, In The Beginning: https://open.spotify.com/album/5iZYPMCUnG7xiCtsFCBlVa?si=h5x3FK1URq6SwH9Kb_SO3w Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Edward J. Matthews teaches philosophy, writing, and communications in the School for Language and Liberal Studies at Fanshawe College in London, Ontario, Canada. He is also a part-time lecturer and instructor at the Centre for the Study of Theory and Criticism at Western University. His most recent publications include Arts & Politics of the Situationist International 1957-1972: Situating the Situationists (Lexington Books, 2021) and Guy Debord's Politics of Communication: Liberating Language from Power (Lexington Books, 2023). He has also published book reviews in Extrapolation, (vol. 63, no. 3, 2022) and Heavy Feather Journal (February 16, 2024, and September 9, 2024). He is currently working on a new book entitled, Heretical Materialism: An Archaeological Inquiry, which is due out in Fall 2025. Matthew's book: https://www.amazon.co.uk/Guy-Debords-Politics-Communication-Liberating-ebook/dp/B0CFZYMBW2 ---Become part of the Hermitix community:Hermitix Twitter - ⁠⁠⁠ / hermitixpodcast⁠⁠ ⁠Support Hermitix:Patreon - ⁠⁠⁠ patreon.com/hermitix⁠⁠ ⁠Donations: - ⁠⁠⁠https://www.paypal.me/hermitixpod⁠⁠⁠Hermitix Merchandise - ⁠⁠⁠http://teespring.com/stores/hermitix-...Bitcoin Donation Address: 3LAGEKBXEuE2pgc4oubExGTWtrKPuXDDLKEthereum Donation Address: 0x31e2a4a31B8563B8d238eC086daE9B75a00D9E74

We invited podcast alumnus, Jess, back to talk about how terrible everything is. We touch on Tiktok houses, literature, and the death of the future. The End of The Future                            https://jacobin.com/2024/03/left-politics-future-history-capitalism-progress Why Is Our Culture So Obsessed With Individual Experiencehttps://jacobin.com/2024/03/anna-kornbluh-immediacy-individualism-capitalism/Guy Debord's Society of the Spectacle: Are We Defined by How We Appear https://www.thecollector.com/guy-debord-society-of-the-spectacle/ The Anxiety of Influencershttps://harpers.org/archive/2021/06/tiktok-house-collab-house-the-anxiety-of-influencers/Support the Show.

Send us a Text Message.This week I dive back into some philosophical theory related to why we are so prone to struggle with anxiety, addiction and alienation in today's world. Guy Debord wrote The Society of the Spectacle more than 50 years ago, and in it he explained the current state of so-called "Western Cultures" as having moved from the importance of being  to a culture where the importance is on having, and eventually, on to the importance being placed on appearance only (to appear to own something by snapping a photo is good enough).As a culture, we are now completely preoccupied with and focused on the spectacle, not the real. It's more important to change your Facebook banner to an LGBTQ+ flag on the right day to show your support than it is to support LGBTQ+ people in your heart. It's more important to be seen as having the perfect family or the perfect life than it is to actually build the perfect family or the perfect life. Some people drive $60k cars and live in crumbling homes. In today's cultural setting, a reputation for success requires the complete abandonment of one's personal identity in exchange for the stock characteristics that the audience wants in a performer — whether Marylin Manson actually drinks blook or Ozzy Osborn actually worships the devil doesn't matter. Only the spectacle of performance is valued.I also cover Marx's theory of capitalism increasing alienation, the Frankfurt School's and the Situationists' (many of the same people) work on how Marx's world of commodity fetishism expanded to spectacle fetishism (the appearance came to be more important than the real), and Debord's (and re-Marx's) concept of magic properties bestowed upon commodities if producers can manage to hide the actual process of manufacturing from the public. Before you listen to this episode, you might want to take a moment to listen to Macklemore's "Wings." on YouTube here, or anywhere you stream music. Check out the Nike commercial from that song on YouTube for a great example of recuperation (pt 2), and check out the corporate logo US flag for a great example of détournement (pt 2). Support the Show.

Send us a Text Message.This week I dive back into some philosophical theory related to why we are so prone to struggle with anxiety, addiction and alienation in today's world. Guy Debord wrote The Society of the Spectacle more than 50 years ago, and in it he explained the current state of so-called "Western Cultures" as having moved from the importance of being  to a culture where the importance is on having, and eventually, on to the importance being placed on appearance only (to appear to own something by snapping a photo is good enough). As a culture, we are now completely preoccupied with and focused on the spectacle, not the real. It's more important to change your Facebook banner to an LGBTQ+ flag on the right day to show your support than it is to support LGBTQ+ people in your heart. It's more important to be seen as having the perfect family or the perfect life than it is to actually build the perfect family or the perfect life. Some people drive $60k cars and live in crumbling homes. In today's cultural setting, a reputation for success requires the complete abandonment of one's personal identity in exchange for the stock characteristics that the audience wants in a performer — whether Marylin Manson actually drinks blook or Ozzy Osborn actually worships the devil doesn't matter. Only the spectacle of performance is valued. I also cover Marx's theory of capitalism increasing alienation, the Frankfurt School's and the Situationists' (many of the same people) work on how Marx's world of commodity fetishism expanded to spectacle fetishism (the appearance came to be more important than the real), and Debord's (and re-Marx's) concept of magic properties bestowed upon commodities if producers can manage to hide the actual process of manufacturing from the public.  Before you listen to this episode, you might want to take a moment to listen to Macklemore's "Wings." on YouTube here, or anywhere you stream music. Check out the Nike commercial from that song on YouTube for a great example of recuperation (pt 2), and check out the corporate logo US flag for a great example of détournement (pt 2). Support the Show.

Rivka and Frank are joined by comedian Jaffer Khan for a conversation about the 1998 Peter Weir / Jim Carrey masterpiece, The Truman Show. They discuss how Truman's arc serves as a metaphor for radicalization, Guy Debord's Society of the Spectacle and the commodification of genuine human experience, and how the film prophesied the self-surveillance state of social media. CeasefireToday.com 5Calls For next week's movie, we'll be watching the 1998 Robert Zemeckis film Who Framed Roger Rabbit.

durée : 00:03:32 - Le Regard culturel - par : François Angelier - Poète et voyou, provocateur littéraire, fondateur du Club des ratés, ami de Guy Debord et initiateur du "Scandale de Notre-Dame", Pierre Berna a défié l'ordre établi et le sacré. Ses textes, publiés en revues, viennent d'être réédités.

Second in a double podcast about the Angry Brigade, Britain's first home-grown urban guerrilla group, in the 1960s and 70s, in conversation with John Barker, who was put on trial as part of the group.Our podcast is brought to you by our patreon supporters. Our supporters fund our work, and in return get exclusive early access to podcast episodes, ad-free episodes, bonus episodes, free and discounted merchandise and other content. Join us or find out more at patreon.com/workingclasshistoryContinuing our recent series of episodes about the UK in the 1970s, this is a re-edited, improved and re-released version of our episodes 2-3. It contains numerous additional audio clips, and written narrative to provide context and more information.More informationGordon Carr, The Angry Brigade: A History Of Britain's First Urban Guerilla Group (PM Press, 2010) – a detailed history of the Angry Brigade.The Angry Brigade 1967-1984: Documents And Chronology (Active Distribution) – a pamphlet containing a detailed chronology of the organisation and the scene of which it was a part, as well as documents produced by the groupThe Angry Brigade: The Spectacular Rise And Fall Of Britain's First Urban Guerilla Group – a DVD documentary by Gordon Carr on the history of the group.John Barker, Futures (PM Press, 2014) – novel by John Barker set in Thatcher's Britain.Timeline of Stories about the Angry BrigadeTheHarrier.net – John Barker's website including his other books and writings.Anselm Jappe, Guy Debord (PM Press, 2018) – the best biography of Situationist intellectual Guy Debord.Red Army Faction books – a collection of books about the German RAF.John Barker's radical London playlist – a collection of tracks which Brigaders were listening to at the time.AcknowledgementsThanks to our patreon supporters for making this podcast possible. Special thanks to Jazz Hands, Jamison D. Saltsman and Fernando López Ojeda.Edited by Tyler HillTheme tune is ‘Bella Ciao', thanks for permission to use it from Dischi del Sole. You can purchase it here or stream it here.More information, sources, and eventually a transcript on the webpage for this episode: https://workingclasshistory.com/podcast/e83-4-angry-brigade/

Double podcast about the Angry Brigade, Britain's first home-grown urban guerrilla group, in the 1960s and 70s, in conversation with John Barker, who was put on trial as part of the group.Our podcast is brought to you by our patreon supporters. Our supporters fund our work, and in return get exclusive early access to podcast episodes, ad-free episodes, bonus episodes, free and discounted merchandise and other content. Join us or find out more at patreon.com/workingclasshistoryContinuing our recent series of episodes about the UK in the 1970s, this is a re-edited, improved and re-released version of our episodes 2-3. It contains numerous additional audio clips, and written narrative to provide context and more information.More informationGordon Carr, The Angry Brigade: A History Of Britain's First Urban Guerilla Group (PM Press, 2010) – a detailed history of the Angry Brigade.The Angry Brigade 1967-1984: Documents And Chronology (Active Distribution) – a pamphlet containing a detailed chronology of the organisation and the scene of which it was a part, as well as documents produced by the groupThe Angry Brigade: The Spectacular Rise And Fall Of Britain's First Urban Guerilla Group – a DVD documentary by Gordon Carr on the history of the group.John Barker, Futures (PM Press, 2014) – novel by John Barker set in Thatcher's Britain.Timeline of Stories about the Angry BrigadeTheHarrier.net – John Barker's website including his other books and writings.Anselm Jappe, Guy Debord (PM Press, 2018) – the best biography of Situationist intellectual Guy Debord.Red Army Faction books – a collection of books about the German RAF.John Barker's radical London playlist – a collection of tracks which Brigaders were listening to at the time.AcknowledgementsThanks to our patreon supporters for making this podcast possible. Special thanks to Jazz Hands, Jamison D. Saltsman and Fernando López Ojeda.Edited by Tyler HillTheme tune is ‘Bella Ciao', thanks for permission to use it from Dischi del Sole. You can purchase it here or stream it here.More information, sources, and eventually a transcript on the webpage for this episode: https://workingclasshistory.com/podcast/e83-4-angry-brigade/

Today we talk about a famous call to action by the philosopher Guy Debord.