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Morgan Stanley Research analyst Mark Schmidt and Investment Management's Craig Brandon discuss the heightened uncertainty in the U.S. municipal bonds market.Read more insights from Morgan Stanley.For a full list of episode disclosures click here.----- Transcript -----Mark Schmidt: Welcome to Thoughts on the Market. I'm Mark Schmidt, Morgan Stanley's Head of Municipal Strategy.Craig Brandon: I'm Craig Brandon, Co-Director of Municipal Investments at Morgan Stanley Investment Management.Mark Schmidt: Today, let's talk about the biggest market you hardly ever hear about – municipal bonds, a $4 trillion asset class.It's Monday, May 5th at 10am in Boston.Mark Schmidt: If you've driven, flown, gone to school or turned on a tap, chances are munis made it happen. Although munis are late cycle haven, they were not immune to the latest bout of market volatility. Craig, why was April so tough?Craig Brandon: So, what we say in April, it was sort of the trifecta of things that happened that were a little different than other asset classes. The first thing that happened is we saw a significant increase in treasury rates – and munis are generally correlated to treasuries. We're a very high-quality asset class, that's viewed as a duration asset class. So, one thing we saw were rates going up. When we see rates going up, you generally see money coming out of the market, right? So, I think investors were a little bit impacted by the higher rates, the correlation to treasuries, the duration, and saw some flows out of the market.Secondly, what we saw is conversation about the tax exemption in Washington D.C. What that did is it caused muni issuers to pull their issuance forward. So, if you're an infrastructure issuer, you are issuing bonds in the next year to year and a half; you're going to pull that forward because if there's any risk of loss of the tax exemption, you want to get these bonds issued today. So that's basically what drives technicals. It's supply and demand. So, what we saw was a decrease in demand because of higher rates; an increase in supply because of issuance being pulled forward.And the third part of the trifecta we refer to is the conversations about the economy. So, I would put that, it's sort of a distant third, but there's still conversations about maybe credit weakness driven by a slowing economy.Mark Schmidt: Craig, your team has been through a lot of tough market cycles. Given your experience, how did the most recent selloff compare? And why was it not like 2008?Craig Brandon: I started my career back in 1998 during the long-term capital management crisis. I lived through 2008. I lived through the COVID crisis, and you know, really when I look at the crisis in 2008 – no banks went out of business three weeks ago, right? In 2008 we were really sitting on a trading desk wondering where this was going to end.You know, we had a number of meetings with our staff, over the last couple weeks explaining to them why it was different and how. Yes, there was some volatility here, but you could see that there was going to be an end to this, and this was not going to be a permanent restructuring of the market. So, I think we felt comfortable. It was very different than 2008 and it really felt different than COVID.Mark Schmidt: That's reassuring. But with economic growth set to slow sharply, how does your credit team think the fiscal health of America's state and local governments will hold up?Craig Brandon: Well, remember state and local governments, and when we're talking about munis, we're also talking about other infrastructure asset classes like water and sewer bonds. Like, you know, transportation, bonds, airports. We're talking about toll roads.They went into this with a very strong balance sheet, right? Remember, there was a lot of infrastructure money spent by the federal government during COVID to give issuers money to make it through COVID. There's still a lot of money on balance sheets. So, what we do is we're going into this crisis with a lot of cash on balance sheets, allowing issuers to be able to withstand some weakness in the economy and get through to the other side of this.Mark Schmidt: Not only do state and local governments have a lot of cash, but they're just not that impacted by tariffs, right? So why did muni yields perform worse than U.S. treasuries over the past couple of weeks?Craig Brandon: Right. It really… We're technically driven, right? The U.S. muni market is more retail driven than some other asset classes. Remember – investment grade corporates, treasury bonds, there's a lot of institutional buyers in those markets. In the municipal market, it's primarily retail driven.So, when you know, individual retail investors get nervous, they tend to pull money out of the market. So, what we saw was money coming out of the market. At the same time, we saw an individual increase in more bonds, which just led to very weak technicals, which when we see that it eventually reverses itself.Mark Schmidt: Now I almost buried the lede, right? Why invest in munis? Well, they're great credit quality, but they're also tax free. In fact, muni bonds have been exempt from federal taxes for over a century. You have a lot of experience putting together tax bills, and right now people are worried about tax reform. Do you think investors should be concerned?Craig Brandon: Listen. I'm not really losing a lot of sleep at night over the tax exemption. And I think there's other, you know, issues to worry about. Why do I say that?As you mentioned Mark, I spent the early years of my career working for the New York State Assembly Ways and Means Committee. I spent seven years negotiating budgets and what that did is it gave me a window – into how, you know, not only state budgets, but the federal budget gets put together.So, what it also showed me was the relationship between state and local elected officials and your representatives in Congress and your representatives in the Senate. So, I know firsthand that members of Congress and members of the Senate in Washington have very close relationships with members of the state legislatures, with governors, with mayors, with city council members, with school board members – who are all delivering the message that significantly higher financing costs that could potentially happen from the loss of the exemption, could be meaningful to them.And I think members of Congress and members of the Senate and Washington get it. They understand it because they were all there when it happened. The last time the muni exemption came under fire was back in 2012; and in 2012, a lot of members of Congress were in the state legislature back then, so they understand it.Mark Schmidt: That's reassuring because right now, tax equivalent yields in the muni market are 7 to 8 per cent. That's equal to or greater than the long run rate of return on the stock market. So, whether to invest in the muni market seems pretty straightforward. How to invest in the muni market? Well, with 50,000 issuers, that's a little complicated. How do you recommend investors get exposure to tax-free munis right now?Craig Brandon: Well, and that is a very common question. The muni market can be very confusing because there are just so many bonds out there. You know, over 50,000 issuers, there's over a million individual CUSIPs in the muni market.So as an individual investor, where do you start? There's different coupon structures, different call structures, different maturity structures, ratings. There's so many different variables that go into a decision in investing in muni bonds.I can make an argument that you could probably mimic the S&P 500 with 500 different stocks. But most muni indices are over 50,000 constituents. It's very difficult to replicate the muni market by yourself, which is why a lot of people, you know, they let professional money managers, do the investing for them. Whether you're looking at mutual funds, whether you're looking at separately managed accounts, whether you're looking at exchange traded fund ETFs, there's a lot of different ways to get exposure to the muni market. But with the huge amount of choices you have to make, I think a lot of individual investors would just let a professional with the experience do it.Mark Schmidt: And active managers let you customize portfolios to your unique tax situation and risk tolerance. So, Craig, a final question for you. How do munis fit into a diversified portfolio?Craig Brandon: Munis are generally the stable part of most people's portfolios. Remember, you don't have a choice of whether you're going to pay your taxes or not. You have to pay your taxes, you have to pay your water bill, you have to pay your power bill. You have to pay tolls on highways. You have to pay airport fees when you buy an airline ticket, right?It's not an option. So, because the revenue streams are so stable, you see most muni bonds rated AA or AAA. The default rate for rated munis is significantly below 1 per cent. It's something in the ballpark of about 0.2 per cent*. So, with such a low default rate – listen, we're technically driven, as I said. You see ups and downs in the market. But over a longer period of time, munis can give you generally stable returns, tax exempt income over the long term, and they're one of the more stable asset classes that you see in your overall portfolio.Mark Schmidt: That sounds boring, and I mean that in the best possible way. Craig, thanks so much for your time today.Craig Brandon: Thanks, Mark, happy to be hereMark Schmidt: And thank you for listening. If you enjoy Thoughts on the Market, please leave us a review wherever you listen and share the podcast with a friend or colleague today.*“US Municipal Bond Defaults and Recoveries, 1970-2021” – Moody's Investor ServicesDisclosure: Past performance is no guarantee of future results. The returns referred to in the commentary are those of representative indices and are not meant to depict the performance of a specific investment.Risk ConsiderationsDiversification does not eliminate the risk of loss.There is no assurance that a portfolio will achieve its investment objective. Portfolios are subject to market risk, which is the possibility that the market values of securities owned by the portfolio will decline and that the value of portfolio shares may therefore be less than what you paid for them. 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À travers un parcours impressionnant dans les plus grands palaces parisiens (Bristol, Shangri-La, Crillon, Lutetia et Royal Monceau), Charles-Henri Chantegrelet a su allier passion pour l'hôtellerie et maîtrise des chiffres. Aujourd'hui Directeur Administratif et Financier du Royal Monceau Raffles Paris, il jongle entre gestion des coûts, négociations stratégiques et digitalisation des processus. Son rôle est un véritable jeu d'équilibriste entre les attentes du propriétaire, de la marque et des opérations. Dans un secteur où l'expérience client est primordiale, il met en place des stratégies financières qui garantissent rentabilité, innovation et qualité de service. Avec les Jeux Olympiques 2024, le palace a atteint une année record avec 57 M € de chiffre d'affaires, confirmant le dynamisme du secteur hôtelier parisien. Son défi majeur ? Accélérer la digitalisation sans perdre l'essence humaine de l'hôtellerie. Grand passionné de football et supporter du Paris Saint-Germain, il espère autant une victoire de son équipe qu'une croissance continue du Royal Monceau.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Nos invités ce soir sont des acteurs clés du secteur de la franchise. Tout d'abord, Michel Kahn, le président de l'IREF (Fédération des réseaux européens de partenariat et de franchise), nous éclaire sur les tendances et les enjeux de ce modèle d'affaires. Avec plus de 40 ans d'expérience dans le domaine, il nous fait bénéficier de son expertise et de son regard avisé.Nous rencontrons également Saloua Maslaga, la présidente du directoire d'Emova Group, la maison mère de l'enseigne Monceau Fleurs. Elle nous raconte le succès de ce réseau de fleuristes, devenu un véritable modèle de franchise florissante. Avec 200 magasins, dont 175 en franchise, Monceau Fleurs illustre parfaitement la capacité de ce modèle à se développer rapidement tout en offrant un accompagnement solide à ses franchisés.Nous découvrons également FullPlate, une jeune entreprise qui se positionne comme un acteur innovant dans le secteur de la restauration rapide. Léon Bouchard, son fondateur, nous explique comment son entreprise entend bousculer les codes de la franchise en proposant de nouveaux concepts à des enseignes établies.Enfin, nous retrouvons Constance de Champeray, la dynamique fondatrice de The New Me, un réseau de studios de pilates en pleine expansion. En seulement deux ans, elle a réussi à ouvrir 15 studios en propre et à signer 16 contrats de franchise, un véritable exploit ! Son témoignage nous montre comment la franchise peut être un levier de croissance rapide pour une jeune entreprise ambitieuse.Notre équipe a utilisé un outil d'Intelligence artificielle via les technologies d'Audiomeans© pour accompagner la création de ce contenu écrit.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Dans Les Filles du feu, un recueil publié en 1854, le poète Gérard de Nerval raconte une promenade dans les environs de l'abbaye de Chailly, pas loin de Ermenonville, où, un siècle plus tôt, Jean-Jacques Rousseau avait passé les dernières semaines de sa vie, un paysan montre à Gérard de Nerval une tour en ruine et lui dit Voici la tour où était enfermée la belle Gabrielle. Tous les soirs, Rousseau venait pincer de la guitare sous sa fenêtre, et le roi, qui était jaloux, le guettait souvent et a fini par le faire mourir. Le paysan commet alors un anachronisme étonnant. 200 ans séparent Gabrielle d'Estrées, le grand amour d'Harry quatre, et Jean-Jacques Rousseau, et Rousseau n'a pas été assassiné par un roi jaloux. Enfin, la belle Gabrielle ne réside pas dans une tour située près de l'abbaye de Chailly, mais dans le château royal de Monceau, château que lui avait offert Henri IV. Parce que lorsqu'une narration devient hégémonique, lorsqu'elle s'impose au détriment de toutes les autres, lorsqu'elle efface jusqu'à la possibilité des autres récits, alors pas de doute, nous sommes en enfer. Cet enfer, c'est le règne de Louis XIV. Bienvenue dans la France de Louis XIV ! Bienvenue en enfer !

Ainsi donc, le 17 mai prochain, ce sera la dernière tournée de Michel Polnareff, chez nous, à Bruxelles. Lui dont l'absence sur scène avait résonné jusqu'au mythe aura finalement aligné pas mal de Forest National ces vingt dernières années. Un dernier coucou me revoilou qui nous fait prendre conscience, qu'il est le tout dernier des géants de cette génération des années 60 à se produire encore.En fait, Michel est toujours là où on ne l'attend pas. Personnage atypique dans le panthéon non pas de la chanson française mais de la chanson en français, il a donné tout ce qu'une star peut offrir à la légende. Depuis ses éternelles lunettes noires à monture blanche à sa fuite en paquebot vers les Etats-Unis, en passant par ses fesses affichées sur les murs de Paris et son séjour de deux ans à l'hôtel Monceau, Michel Polnareff les a toutes faites. Tenez, jusqu'à une attente insupportable de 28 ans entre deux albums. Et là où on croit qu'il n'y en aura plus jamais, voilà qu'il revient en 2025, avec de nouvelles chansons.Mais tout cela serait de l'ordre de l'agitation, s'il n'y avait un génie de la musique derrière le personnage qui l'a entraîné là où il n'aurait jamais imaginer aller quand, petit garçon, il souffrait durant d'interminables et sévères leçons de piano. Car aucun interprète, compositeur, arrangeur, producteur, puis enfin, auteur, n'a réussi à se hisser à ce niveau dès ses débuts, et durant des décennies. Si à cela, vous ajoutez un sens de l'image et du show, qui fut avant-gardiste à une époque où personne ne l'était à Paris, ça fait beaucoup pour un seul homme.Alors évidemment, comme beaucoup d'artistes qui ont marqué plusieurs générations, il y a l'obstacle impossible à franchir : créer de nouveaux titres à la hauteur du passé idéalisé de leur public. Mais le plus important n'est-il pas de faire le compte du nombre de chansons qui sont aujourd'hui immortelles ? Et au vu de la longueur de la liste, on prend la mesure que Michel Polnareff n'a pas de concurrent. Toutes ces mélodies, toutes ces orchestrations, toutes ces voix, c'est lui. Un groupe à lui tout seul.Il y a ces années 60 où il débarque avec sa guitare, une génération satisfaction à la française qui préfigure déjà le monde des années 70. Et quand cette fameuse décennie arrive enfin, Polnareff est déjà plus loin avec son piano transparent, le rock symphonique des Anglais, le free jazz des Américains, le disco des Allemands, évidemment, mais rien ne sonne comme eux chez Polnareff.Alors elles sont là, ses chansons, dans notre mémoire, quelle que soit notre génération. Que nous l'ayons découvert avec le son venu d'ailleurs de La Poupée qui fait non ou de Lettre à France dix ans plus tard … et puis de l'incroyable production des années 80 qu'il fait sienne la décennie suivante, sans oublier évidemment la Marylou qui préfigure les années internet … Oui vraiment, on se demande sous quelle étoile est né Polnareff, à défaut d'en être une lui-même.

Ainsi donc, le 17 mai prochain, ce sera la dernière tournée de Michel Polnareff, chez nous, à Bruxelles. Lui dont l'absence sur scène avait résonné jusqu'au mythe aura finalement aligné pas mal de Forest National ces vingt dernières années. Un dernier coucou me revoilou qui nous fait prendre conscience, qu'il est le tout dernier des géants de cette génération des années 60 à se produire encore. En fait, Michel est toujours là où on ne l'attend pas. Personnage atypique dans le panthéon non pas de la chanson française mais de la chanson en français, il a donné tout ce qu'une star peut offrir à la légende. Depuis ses éternelles lunettes noires à monture blanche à sa fuite en paquebot vers les Etats-Unis, en passant par ses fesses affichées sur les murs de Paris et son séjour de deux ans à l'hôtel Monceau, Michel Polnareff les a toutes faites. Tenez, jusqu'à une attente insupportable de 28 ans entre deux albums. Et là où on croit qu'il n'y en aura plus jamais, voilà qu'il revient en 2025, avec de nouvelles chansons.Mais tout cela serait de l'ordre de l'agitation, s'il n'y avait un génie de la musique derrière le personnage qui l'a entraîné là où il n'aurait jamais imaginer aller quand, petit garçon, il souffrait durant d'interminables et sévères leçons de piano. Car aucun interprète, compositeur, arrangeur, producteur, puis enfin, auteur, n'a réussi à se hisser à ce niveau dès ses débuts, et durant des décennies. Si à cela, vous ajoutez un sens de l'image et du show, qui fut avant-gardiste à une époque où personne ne l'était à Paris, ça fait beaucoup pour un seul homme.Alors évidemment, comme beaucoup d'artistes qui ont marqué plusieurs générations, il y a l'obstacle impossible à franchir : créer de nouveaux titres à la hauteur du passé idéalisé de leur public. Mais le plus important n'est-il pas de faire le compte du nombre de chansons qui sont aujourd'hui immortelles ? Et au vu de la longueur de la liste, on prend la mesure que Michel Polnareff n'a pas de concurrent. Toutes ces mélodies, toutes ces orchestrations, toutes ces voix, c'est lui. Un groupe à lui tout seul. Il y a ces années 60 où il débarque avec sa guitare, une génération satisfaction à la française qui préfigure déjà le monde des années 70. Et quand cette fameuse décennie arrive enfin, Polnareff est déjà plus loin avec son piano transparent, le rock symphonique des Anglais, le free jazz des Américains, le disco des Allemands, évidemment, mais rien ne sonne comme eux chez Polnareff. Alors elles sont là, ses chansons, dans notre mémoire, quelle que soit notre génération. Que nous l'ayons découvert avec le son venu d'ailleurs de La Poupée qui fait non ou de Lettre à France dix ans plus tard … et puis de l'incroyable production des années 80 qu'il fait sienne la décennie suivante, sans oublier évidemment la Marylou qui préfigure les années internet … Oui vraiment, on se demande sous quelle étoile est né Polnareff, à défaut d'en être une lui-même.

Psal se 22. říjen roku 1797, když André-Jacques Garnerin v pařížském parku Monceau nastoupil do proutěného koše svého vodíkového balonu a vznesl se s ním do výšky kolem devíti set metrů. Naposledy pohlédl k Zemi, kde se tísnil početný dav přihlížejících lidí, svědků jeho odvážného činu. Francouzský dobrodruh přeřízl lano, spojující koš s balonem.

Psal se 22. říjen roku 1797, když André-Jacques Garnerin v pařížském parku Monceau nastoupil do proutěného koše svého vodíkového balonu a vznesl se s ním do výšky kolem devíti set metrů. Naposledy pohlédl k Zemi, kde se tísnil početný dav přihlížejících lidí, svědků jeho odvážného činu. Francouzský dobrodruh přeřízl lano, spojující koš s balonem.Všechny díly podcastu Příběhy z kalendáře můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

In meiner jüngsten Podcast-Folge hatte ich die Gelegenheit, mit Roel Pollen, dem Geschäftsführer von Monceau Automobiles, über eine bemerkenswerte Nische im Automobilbereich zu sprechen: die Restaurierung und Elektrifizierung von Mercedes-Benz Klassikern. Monceau Automobiles, ein belgisches Unternehmen, hat sich auf diesen speziellen Markt spezialisiert und bietet einzigartige Umbauten für Modelle der Baureihen W111 und W107 an, die ursprünglich in den 1960er bis 1980er Jahren produziert wurden. Roel Pollen, der selbst ein begeisterter Liebhaber von Mercedes-Benz ist, erklärte mir, wie es zur Gründung des Unternehmens kam. „Wir wollten der Brabus für elektrische Mercedes Klassiker werden,“ erzählte Roel, und das Unternehmen hat sich dieses Ziel ernsthaft auf die Fahne geschrieben. Von Anfang an lag der Fokus darauf, die besten elektrischen Umbauten für diese Fahrzeuge anzubieten. Dabei verlässt sich Monceau Automobiles nicht nur auf die Elektrifizierung, sondern auch auf eine umfassende Restaurierung, um die Qualität und den Charakter der originalen Autos zu bewahren. Interessanterweise bietet Monceau zwei Optionen für ihre Kunden an: Zum einen können sie ihren eigenen Pkw zur Elektrifizierung bringen, oder das Unternehmen übernimmt die vollständige Restaurierung und den Umbau eines von ihnen beschafften Models. Dies ist ein intensiver Prozess, der etwa 12 bis 18 Monate dauert. „Jedes Auto, das wir in die Hände bekommen, wird komplett demontiert, restauriert und auf den neuesten Stand der Technik gebracht,“ so Roel. Es wurde deutlich, dass Monceau Automobiles Wert auf jedes Detail legt, um den hohen Qualitätsstandards gerecht zu werden. Technisch gesehen sind die umgebauten Autos äußerst beeindruckend. Roel erklärte mir, dass die Autos mit bis zu 80 Kilowatt DC laden können und eine Reichweite von etwa 250 Kilometern haben. „Uns war es wichtig, das Gewicht des Fahrzeugs nahe am Original zu halten und die Bauqualität mit der Mercedes-Benz Philosophie in Einklang zu bringen,“ betonte er. Trotz der modernen Technologie bleibt der ursprüngliche Charakter des Fahrzeugs erhalten – eine Philosophie, die das Unternehmen von Anfang an verfolgt hat. Die Zielgruppe von Monceau Automobiles ist klar definiert: „Unsere typischen Kunden sind keine klassischen Petrolheads, sondern Menschen, die sich für alte Autos begeistern und zugleich umweltbewusst sind,“ erklärte Roel weiter. Diese Kunden schätzen nicht nur die Ästhetik und das Design der Oldtimer, sondern auch den nachhaltigen Ansatz, den das Unternehmen verfolgt. Mit einem Team von über zehn Mitarbeiter:innen und der kürzlichen Übernahme eines Software-Engineering-Büros, das für die Entwicklung der Steuerungssoftware verantwortlich ist, hat Monceau Automobiles nahezu alle Prozesse intern optimiert. „Die Preise für unsere Umbauten liegen zwischen 229.000 und 400.000 Euro aufwärts,“ fügte Roel hinzu und machte deutlich, dass diese einzigartigen E-Klassiker ihren Preis wert sind. Für alle, die neugierig geworden sind: Monceau Automobiles war auch beim aktuellen E-Cannonball im September vertreten, wo Interessierte die Möglichkeit hatten, eines ihrer E-Oldtimer live zu erleben. Wenn du mehr erfahren willst, schaue im aktuellen Nachbericht des E-Cannonball vorbei oder noch besser höre in die aktuelle Podcast-Folge rein.

Le groupe compte 312 magasins pour un chiffre d'affaires de 30 millions d'euros en 2023. Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Le visiteur parisien désireux de faire un saut dans le temps peut déambuler dans les allées du cimetière du Père-Lachaise, où reposent tant de gans illustres.Mais il est un autre lieu, beaucoup moins connu, qui peut, lui aussi, réveiller les souvenirs du passé. Cet endroit, c'est le cimetière de Picpus. Situé dans le 12e arrondissement de la capitale, il a été aménagé sur d'anciennes fosses communes.Ce cimetière a une particularité : il n'abrite que les sépultures des personnes guillotinées durant la Révolution française. Au moment de la Terreur instituée par le Comité de salut public, en 1793 et 1794, la guillotine fonctionnait en effet tous les jours, envoyant à la mort des milliers de victimes.Au début de la Révolution, le "hachoir national", comme on avait baptisé l'invention du docteur Guillotin, s'élevait sur la place de la Concorde. Les corps mutilés étaient ensuite transportés dans des charrettes et enterrés, dans des fosses communes, près du parc Monceau, au cimetière des Errancis. Un endroit qui disparut dans les transformations urbaines de Paris, au XIXe siècle.Mais les riverains et les habitants des maisons situées sur le parcours des convois finissent par se plaindre. Ils ne peuvent plus supporter la vue quotidienne des corps suppliciés ni les odeurs pestilentielles se dégageant des fosses.Aussi la guillotine est-elle transférée sur la place de la Bastille, puis, dans le 12e arrondissement, sur celle du Trône-Renversé, aujourd'hui place de l'Île-de-la-Réunion.Il faut alors trouver un lieu d'inhumation à proximité. Il ne faut pas chercher bien loin pour découvrir, à quelques mètres de là, le jardin d'un ancien couvent de religieuses.Deux grandes fosses communes y sont aussitôt creusées. De juin 1793 à juillet 1794, ce nouveau cimetière accueille les corps de plus de 1 300 guillotinés, dont ceux de nombreux nobles. C'est notamment là qu'avait été inhumé le marquis de La Fayette.Lieu longtemps tenu secret, puis racheté, à la fin du XVIIIe siècle, par une aristocrate allemande, le cimetière de Picpus est aujourd'hui dédié à la mémoire des victimes de la Terreur. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Felicia is joined by Duran Aziz to discuss Éric Rohmer's foray to the medieval era in Perceval (1978). We chat about the incredibly unique set design and Rohmer's desire to create a space that would be a reflection of paintings from that era. Send us your thoughts on the episode - are you satisfied with our protagonist's ending? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Duran Here: IG (Chapman University Students for Justice in Palestine): @sjpchapman Chapman University SJP divestment petition: https://www.change.org/p/demand-chapman-university-to-divest-from-the-military-industrial-complex-sjp-chapman?source_location=psf_petitions Sources: https://www.sensesofcinema.com/2017/cteq/perceval-le-gallois/#fnref-29831-2 https://decentfilms.com/reviews/perceval https://www.sensesofcinema.com/2010/feature-articles/the-tale-of-perceval-le-gallois-and-the-young-althusserians/ https://www.avclub.com/a-french-master-found-droll-comedy-in-one-of-the-earlie-1843630606 OUTRO SONG: Six Queens by Larrikin Love FILMS MENTIONED: Star Wars (George Lucas 1977) The Great Dictator (Charlie Chaplin 1940) My Night at Maud's (Éric Rohmer 1970) Pauline at the Beach (Éric Rohmer 1983) The Green Ray (Éric Rohmer 1986) Love in the Afternoon (Éric Rohmer 1972) Claire's Knee (Éric Rohmer 1970) The Aviator's Wife (Éric Rohmer 1981) The Marquise of O (Éric Rohmer 1976) Catherine de Heilbronn (Éric Rohmer 1980) Lancelot du lac (Robert Bresson 1974) A Tale of Winter (Éric Rohmer 1992) The Bakery Girl of Monceau (Éric Rohmer 1963) Suzanne's Career (Éric Rohmer 1963) Juliet of the Spirits (Federico Fellini 1965) Lars von Trier (Dogville 2003) Cabinet of Dr. Caligari (Robert Wiene, 1919)

Nous sommes le 12 octobre 1799, en France. La foule est réunie sur la plaine Monceau, à Paris pour assister à une grande première. Jeanne Labrosse, une jeune femme pleine d'assurance, monte dans la nacelle d'un ballon à hydrogène qui s'apprête à décoller. À 24 ans, elle va devenir la première femme parachutiste de l'histoire. Julien te raconte toute l'histoire de cette invention mise au point par l'ingénieur André-Jacques Garnerin…

Felicia is joined by Nathan Cowles to discuss Éric Rohmer's first film in his A Tale of Four Season series, about a man being tossed around by three different women in A Summer's Tale (1996). We chat about Rohmer's way of writing women, his choice to work with a woman cinematographer and how that lends to a unique gaze behind the camera. Along with the importance of the script and the quiet moments that expose the protagonists inner truth. This is the Rohmer series opener and I'm beyond excited to share this series with you - we've got four great guests to cover a wide range of Rohmer's work this month - I hope you follow along! Send us your thoughts on the episode - are you satisfied with our protagonist's ending? Let us know by sending us a message on any of our social platforms or by email: seeingfacesinmovies@gmail.com Follow Nathan here: Letterboxd: @cowles YouTube: @Cowles IG: @cowles.mov Sources: https://agoodmovietowatch.com/a-summers-tale-1996/ https://variety.com/1996/film/reviews/a-summer-s-tale-1200445995/#! https://mubi.com/en/notebook/posts/dangling-man-close-up-on-eric-rohmers-a-summers-tale https://www.criterion.com/films/29650-a-tale-of-summer https://cinemasentries.com/a-summers-tale-movie-review-dissecting-love-and-sex-with-philosophical-precision/ https://www.nytimes.com/2014/06/20/movies/a-summers-tale-from-eric-rohmers-seasons-cycle.html https://www.criterion.com/current/posts/8387-eric-rohmer-s-tales-of-the-four-seasons-another-year https://www.youtube.com/watch?v=hHoU9_3pmq4&t=128s&ab_channel=TIFFOriginals OUTRO SONG: Fille de corsaire by Sebastien Erms FILMS MENTIONED: A Clockwork Orange (Stanley Kubrick 1972) Eraserhead (David Lynch 1978) Inglorious Basterds (Quentin Tarantino 2009) Funny Games (Michael Haneke 1997) My Night at Maud's (Éric Rohmer 1970) The Green Ray (Éric Rohmer 1986) Suzanne's Career (Éric Rohmer 1963) Breathless (Jean-Luc Godard 1961) Call Me By Your Name (Luca Luca Guadagnino 2017) Aftersun (Charlotte Wells 2022) The Bakery Girl of Monceau (Éric Rohmer 1963) Claire's Knee (Éric Rohmer 1971) La belle noiseuse (Jacques Rivette 1991) The Fifth Seal (Zoltán Fábri 1976) Design For Living (Ernst Lubitsch 1933) Les amours imaginaires (Xavier Dolan 2010) Mommy (Xavier Dolan 2014) Tom at the Farm (Xavier Dolan 2015)

De Rey dans Star Wars à Tris dans Divergente en passant par She-Hulk dans la série Marvel ou Mary Jane dans le jeu Spider-Man, Jessica Monceau a prêté sa voix à de nombreuses héroïnes iconiques de la pop culture. La comédienne évoque sa carrière au micro de Voix Ouf et relève le défi de nos jeux autour de ses doublages mémorables.Équipe Voix-Ouf : Vincent Formica, Manon Maroufi, Thomas ImbertMontage : Kellian Sarrazin

Nella puntata di oggi analizziamo i sei film appartenenti al ciclo dei racconti morali di Éric Rohmer, nell'ordine: La fornaia di Monceau (1962), La carriera di Suzanne (1963), La mia notte con Maud (1969), La collezionista (1967), Il ginocchio di Claire (1970), L'amore il pomeriggio (1972).

This play is sponsored by the California Civil Liberties Public Education Program, a state-funded grant project of the California State Library.In Vichy, France, in 1942, nine men are detained under a shadowy pretext. As the tension builds, the men are questioned – are they the sort of people whom the new Nazi regime considers "inferior?"Recorded before a live audience at the Skirball Cultural Center, Los Angeles in February 2002.Directed by Richard MasurProducing Director: Susan Albert LoewenbergAn L.A. Theatre Works Full-Cast Performance Featuring:Ben Diskin as A BoyArye Gross as Bayard, An ElectricianJamie Hanes as Rom/Police CaptainAndrew Hawkes as A MajorGregory Itzin as Monceau, An ActorRobert Lesser as Police Guard/Marchand, A Businessman/Ferrand, A Café ProprietorJon Matthews as Lebeau, A PainterLawrence Pressman as Von Berg, A PrinceRaphael Sbarge as Leduc, A DoctorArmin Shimerman as First Detective/Professor HoffmanShahar Sorek as A Waiter/Second DetectiveSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Erste Veröffentlichung Tucholskys aus seiner Pariser Zeit: Ein kleines Pastell über das Ausruhen im Park (Weltbühne, 15.5.1924).

FCPR TIKEHAU FINANCEMENT DECARBONATION géré par Tikehau Investment Management. Le Fonds Commun de Placement à Risques (FCPR) Tikehau Financement Décarbonation est géré par Tikehau Investment Management, une société de gestion du groupe Tikehau Capital, et exclusivement accessible au sein de contrats d'assurance vie en Unité de Compte (UC). Tikehau Capital, société par actions simplifiée - 491 909 446 RCS Paris - Siège Social : 32, rue de Monceau, 75008 Paris - Numéro d'agrément AMF : GP-07000006. Les supports non cotés permettent d'investir dans des entreprises ou des projets qui ne sont pas soumis aux fluctuations des marchés financiers et présentent un risque de perte en capital. Les performances passées ne préjugent pas des performances futures. Vie Plus, filière commerciale de Suravenir dédiée au CGP et courtiers : Tour Ariane – La Défense 9 – 5 place de la Pyramide – 92088 Paris La Défense Cedex. Suravenir, société anonyme à directoire et conseil de surveillance au capital entièrement libéré de 1 235 000 000 €. Siège social : 232, rue Général Paulet - BP 103 - 29802 Brest Cedex 9. Société mixte régie par le code des assurances. SIREN 330 033 127 RCS Brest. Société soumise au contrôle de l'Autorité de Contrôle Prudentiel et de Résolution (4, place de Budapest – CS 92459 – 75436 Paris cedex 9) Document publicitaire dépourvu de valeur contractuelle Pour en savoir plus sur les engagements des sociétés, consultez leur site internet ou référez-vous à la brochure gamme Tremplin. Retrouvez les informations publiées en application du règlement européen dit « SFDR » : reglementaire-priips.suravenir.fr

No te dejes llevar por el encanto de la primera escena del episodio, un dulce paseo de Odette y Satur por el parc Monceau de París, dibujando sueños que compartir. La trama se complicará esa misma noche en la habitación de Odette con un tercero en discordia, Antonio. Mientras, los protagonistas de la época actual comienzan a compartir sus proyectos de negocio, realizables gracias a la herencia recibida. Terminamos regresando de nuevo a París, 40 años atrás, con la visita de Odette a Satur para contarle el grave incidente que acaba de vivir. Las cosas no siempre son como las soñamos.

S'inscrire à la masterclass ce mercredi 21 février : https://masterclass.sanscravate.fr/financementDans ce nouvel épisode de l'Immo Sans Cravate, on accueille Etienne Monceau, notre associé chez Sans Cravate Immobilier.Dans cet épisode un peu plus technique que d'habitude, on va chercher à comprendre un peu mieux le contexte économique dans lequel on se trouve pour en identifier les menaces et les opportunités.Fort de son background en analyse financiere, Etienne nous partage son expérience en donnant sa vision de l'économie actuelle et en nous apprenant comment elle fonctionne.Alors est-ce que nous sommes réellement dans une crise de l'immobilier et quelles perspectives peut-on attendre ? Vous découvrirez tout ça dans cet épisode.On aborde plusieurs sujets dans cet épisode, qui vous aideront à mieux appréhender l'économie:Se renseigner auprès des bonnes sourcesLe contexte économique de la période CovidBaisse des prix de l'immobilier et augmentations localesComment réagissent les prix de l'immobilier face à la montée des taux ?Etat du marché en septembre 2023 (inflation, taux directeurs, taux immo, chomage, …)L'inversion de la courbe des tauxLe concept du prix de la detteLes opportunités à venirOutils et ressources cités dans cet épisode:Le compte Linkedin d'Etienne.Pour nous soutenir ❤️Dites nous ce que vous pensez de l'épisode en commentaire sur Apple Podcasts et SpotifyAbonnez vous au podcast sur votre plateforme préféréeLaissez une note 5 ⭐ sur Apple Podcasts et SpotifyEt surtout, parlez-en autour de vous !Pour continuer à explorer l'écosystème Sans Cravate ou nous contacter: InstagramTiktokFacebookYoutube

Het bekersprookje van voetbalclubs FC Ganshoren en Crossing Schaarbeek krijgt een vervolg. Beide clubs gaan na een overwinning dit weekend door naar de volgende ronde. De eerste won van Monceau na een strafschoppenreeks, de tweede na een doelpunt tegen Verviers in de blessuretijd. Coach van Crossing Schaarbeek Dave De Herdt is alvast benieuwd naar wat hen nog te wachten staat.

2023-06-11 Homélie - Eglise St Charles de Monceau (Festival Medj Do It) by Radio Maria France

Park Monceau - von Kurt Tucholsky

durée : 00:04:46 - Le coup de coeur des libraires France Bleu Belfort Montbéliard

Avec "Filles de Roi" et "Au Cœur des Hommes"

Jim and Justine and John sitting in a tree, J-U-R-A-I-N-G!!!! Folks, looks like we have another certified bad boy banger ep as three aging millenials try to unweave their souls from the Jura. But also, holy shit, we drank some wild stuff. Please subscribe to children's atlas of wine, drink Kalche whenever and wherever, and get ready for TONS of ABV events soon. ////LIST////Jacques Puffeny, Arbois Trousseau, 'Cuvee ' 2014//Peggy et Jean Pascal Buronfosse, Cotes du Jura Savagnin, 'Monceau,' 2019Benedicte and Stephane Tissot, Arbois Savagnin, 'Traminer,' 2018//Nicolas Jacob, L'Etoile Chardonnay, 'La-Haut,' 2016//Support the show

Dans Historiquement Vôtre, Clémentine Portier-Kaltenbach vous plonge dans l'intimité de Marcel Proust (1871-1922), à l'occasion du centenaire de sa disparition. En 1892, le jeune Marcel Proust fait son entrée au salon de Madeleine Lemaire. Situé dans un hôtel particulier de la rue Monceau, on y croise des personnalités du Paris mondain comme Sarah Bernhardt, Stéphane Mallarmé ou les frères Goncourt. Le 22 mai 1894, tous s'y pressent pour une représentation musicale attendue. Assis au piano, le compositeur Reynaldo Hahn interprète "Les chansons grises", une mise en musique des vers de Paul Verlaine. Dès les premières notes, Proust tombe amoureux. C'est le début d'une passion interdite entre l'auteur d'”À la recherche du temps perdu” et ce compositeur de génie.

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Ongelooflijk, maar dit is de tiende aflevering en het is ook de laatste. We made it. Le temps passe si vite, zong Marcel Mouloudji en zeker in Parijs is dat zo. Maar de verhalen houden nooit op en nadat we al hoorden dat er rechtvaardige misdaden gepleegd werden, doen we er in dit einde nog een schepje bovenop. Met nieuwe rechtvaardige misdaden. Om tenslotte nog één vrouw recht te doen. Een vrouw die in New York staat, maar die in Parijs gemaakt werd. Vive ma liberté. Knallende pistolen en karabijnen, gierende motoren en schurende banden, bevelen van schutters, gekerm van gewonden en gereutel van stervenden. In Parijs luidt een orgie van geweld de heropstanding in van een fenomeen waarvan iedereen dacht dat het uitgestorven was: de rechtvaardige misdadigers. Ze zijn terug. In de laatste dagen voor Kerstmis 1911 ontbinden de anarchistische bandits tragiques al hun duivels. Met extreem geweld houden ze de stad vier maanden in hun greep. Met een innovatief wapen ook: de automobiel. Aan het stuur: Jules Bonnot. Aan de trekker: zijn bende, La Bande à Bonnot. De rue de Chazelles, begin jaren 1880. In tegenstelling tot wat men zoudenken, ergeren de inwoners zich niet aan het oorverdovend kloppen enslaan. Integendeel, het vervult hen met trots. In hun quartier, La PlaineMonceau, tussen Les Ternes en Batignolles, rijst uit de Ateliers Gagetet Gauthier, aan de overkant van het parc Monceau, een gedaante tenhemel. Hoger en hoger. Door de stellingen heen kijkt weldra een reusachtigevrouw over de daken van Parijs. Op haar hoofd draagt ze een kroonmet zeven pinnen. Tegen haar hart houdt ze een tablet waarin een datumis gegrift: 4 juli 1776 – the Fourth of July – de dag van de Amerikaanseonafhankelijkheidsverklaring. Hoog boven haar hoofd houdt ze een fakkel.Om de wereld te verlichten. Zoals de Eiffeltoren in 1889 het symboolwordt van Frankrijk, zo wordt zes jaar eerder het Vrijheidsbeeld, eencadeau van de Fransen aan de Amerikanen, het symbool van een heelcontinent. Noord-Amerika. Stemmen: Dirk Velghe en Rik Van Puymbroeck Scenario en regie: Karel Dierickx Montage: Stef Lenaerts Mix en muziek: Jordan Hudson Alle originele muziek werd gecomponeerd en gearrangeerd door Jordan Hudson. In deze aflevering horen we ook fragmenten uit: 'Suite Bergamasque, L.75_III_Clair De Lune', Claude Debussy 'Waltz No. 3 in A Minor Op 23 No 2', Frédéric Chopin 'Foster Favourites Medly', Stephen Foster 'Apres un Reve Op 7 No 1', Gabriel Fauré 'Requiem For 3 Cellos and Piano, Op 66', Frédéric Chopin 'Give Me Your Tired, Your Poor', Tekst: Emma Lazarus, Muziek: Irving Berlin See omnystudio.com/listener for privacy information.

In this episode, we visit to one of the most beautiful and historically fascinating of Paris' parks, designed for lovers and popular with lovers today! Special guest, leading garden historian Dr. Susan Taylor Leduc, offers her wonderful insight into the origins of this unique and very romantic garden. Join us on Patreon: patreon.com/parisundergroundradioFind Us OnlineWebsite: https://www.parisundergroundradio.com/romancinginparisFacebook: https://www.facebook.com/parisundergroundradioInstagram: https://www.instagram.com/parisundergroundradio/CreditsHost: Lily Heise https://www.parisundergroundradio.com/lilyheise; @JeTaimeMeNeither; Website: http://jetaimemeneither.comProducer: Jennifer Geraghty. https://www.parisundergroundradio.com/jenniferfoxgeraghty; @jennyphoria; Website: http://jennyphoria.comAbout UsJoin Paris's leading romantic expert, Lily Heise of the blog Je T'Aime Me Neither, as we travel around the city to discover Paris's top romantic places per arrondissement. Many of these gems are lesser known, and each spot will have its own captivating story to tell. Perfect for lovers… or lovers of Paris!

La belle Renée vit avec son mari Aristide Saccard et son beau-fils Maxime dans un magnifique hôtel particulier à côté du parc Monceau. Mais Renée s'ennuie et a des rêves troubles...

Festival Medj Do It

Jeudi 26 mai, Stéphane Pedrazzi a reçu Sabrina Quagliozzi, correspondante de BFM Business à New York, Étienne Bracq, journaliste de BFM Business, Étienne Monceau, analyste chez Zone Bourse, Gilles Moëc, chef économiste du Groupe AXA, Olivier Rozenfeld, conseil du groupe Harvest et consultant, Alain Pitous, Senior advisor ESG, ainsi que Marc Sartori, fondateur de Deeptinvest, Jean-Louis Cussac, trader pour compte propre chez Perceval Finance Conseil, Gregori Volokhine, président de Meeschaert Financial Services, Johann Schneider, fondateur de Monconseilboursier.fr, Valentin Nicaud, membre de la cellule infos d'experts de Bourse Direct, Adli Takkal Bataille, président du Cercle du Coin et associé-fondateur de Shift Capital, Raphaël Bloch, cofondateur et rédacteur en chef de The Big Whale, Valentine Ainouz, responsable adjointe de la recherche et stratégie des marchés développés chez Amundi, Thibault Prébay, DG adjoint Financière Arbevel, ainsi qu'Aymeric Lang, gérant Erasmus Gestion, dans l'émission BFM Bourse sur BFM Business. Retrouvez l'émission du lundi au vendredi et réécoutez la en podcast.

Jeudi 26 mai, Stéphane Pedrazzi a reçu Sabrina Quagliozzi, correspondante de BFM Business à New York, Étienne Bracq, journaliste de BFM Business, Étienne Monceau, analyste chez Zone Bourse, Gilles Moëc, chef économiste du Groupe AXA, Olivier Rozenfeld, conseil du groupe Harvest et consultant, Alain Pitous, Senior advisor ESG, ainsi que Marc Sartori, fondateur de Deeptinvest, dans l'émission BFM Bourse sur BFM Business. Retrouvez l'émission du lundi au vendredi et réécoutez la en podcast.

Cette semaine, l'invité du "Paris des Arts" est Corneille. Le chanteur nous présente son nouvel album, "Encre rose", empreint d'espoir et de bonne humeur et où l'on retrouve les rythmes funky et soul qui ont fait sa marque de fabrique. Nous partons ensemble à la découverte du parc Monceau, poumon vert du nord-ouest de Paris et témoin de l'histoire mouvementée de la capitale. Puis nous rencontrons l'artiste guadeloupéen Elladj Lincy Deloumeaux et ses œuvres qui explorent le déracinement et l'héritage afro-caribéen.

Video: Topics Beer review / sponsor - Shirt Thread Dan's urgent Lexicon situationGABS Festival Beer Update Sections 2-6 with Hendo and Dan's 5 beers to must try list Brewdog giving up millions in shares Drink West Competition Indies 10 year roadmap Neapolitan debate Feral staying with Coke Mighty Craft Results - and Brews News article here Food standards suggestion Monceau non alc taproom

Mercredi 29 décembre, Vincent Touraine a reçu Benjamin Louvet, gérant matières premières chez OFI AM, Louis de Montalembert, président de Pléiade AM, Étienne Bracq, journaliste de BFM Business, Julien Quistrebert, directeur des investissements chez Montségur Finance, et Étienne Monceau, analyste financier chez Zonebourse, dans l'émission BFM Bourse sur BFM Business. Retrouvez l'émission du lundi au vendredi et réécoutez la en podcast.

Mercredi 29 décembre, Vincent Touraine a reçu Sabrina Quagliozzi, correspondante de BFM Business à New York, Étienne Bracq, journaliste de BFM Business, Julien Quistrebert, directeur des investissements chez Montségur Finance, Victor Lequillerier, économiste et vice-président du Think Tank "BSI Economics", Raphaël Oziel, président de La Boutique des placements, Nicolas Goetzmann, chef économiste chez La Financière de la Cité, Bastien Jallet, gérant chez Eiffel Investment Group, Quentin Chaperon, directeur du sourcing et des relations châteaux chez U'Wine, Christian Fontaine, directeur de la rédaction adjoint du magazine "Le Revenu", Inès Segueni, gérante-analyste chez La Financière Responsable, Vincent Boy, analyste marchés chez IG, Benjamin Louvet, gérant matières premières chez OFI AM, Louis de Montalembert, président de Pléiade AM, ainsi qu'Étienne Monceau, analyste financier chez Zonebourse, dans l'émission BFM Bourse sur BFM Business. Retrouvez l'émission du lundi au vendredi et réécoutez la en podcast.

durée : 00:58:59 - Les Nuits de France Culture - par : Philippe Garbit - Évocation de quelques-unes des mille et une facettes du cinéaste Eric Rohmer, dans ce numéro d' "Une vie une ouvre" de novembre 2012, avec les témoignages de ses amis et collaborateurs. C'est une histoire qui commence dans les années 1920, dans une maison de Tulle (Corrèze). Une maison étroite et verticale à plusieurs étages, pleine de recoins, secrète et assez refermée, avec une bibliothèque vitrée remplie de livres classiques. Dans la maison de la famille Schérer, Maurice, l'aîné des deux garçons, est un enfant timide et discret, qui observe par la fenêtre, les enfants jouer dehors.  * Antoine de Baecque : C'était quelqu'un de très timide, qui avait beaucoup de difficulté à se faire comprendre . Les frères Schérer s'entendent à merveille, partagent le même goût pour la littérature et le spectacle et s'amusent à monter des petites pièces de théâtre dans le grenier, en compagnie de leurs jeunes cousines. Les deux frères se suivent même dans les études littéraires en prépa au lycée Henri IV, note l'historien et critique de cinéma Antoine de Baecque : « La seule différence entre les deux frères, c'est que René, le petit frère, réussissait tout, et Maurice, le grand timide, ne réussissait rien. ».  Recalé aux concours de Normale Sup et de l'agrégation de lettres, Maurice se tourne alors vers l'écriture, publie un roman en 1944 et entretient secrètement une passion pour le cinéma, son "pêché mignon" comme le souligne son ami le cinéaste Jean Douchet, qui lui prêtera sa caméra 16mm. Époque de mue décisive où Maurice Schérer se transforme en Eric Rohmer, et s'installe progressivement dans un rôle de critique de cinéma. Noël Herpe :  En 1955, Eric Rohmer écrit une importante série d'articles dans les _Cahiers du Cinéma, "_Le celluloïd et le marbre", où il montre que de tous les arts, seul le cinéma peut donner accès à la totalité de l'être.  En marge de ses activités de critique, Eric Rohmer réalise des courts-métrages depuis le début des années 1950, années de bricolage et d'amateurisme, dont témoigne Jackie Raynal qui fut l'assistante-monteuse de Rohmer (La Carrière de Suzanne, 1963 ; La Boulangère de Monceau, 1963 ; La Collectionneuse, 1967).  Quant à l'image "rohmérienne", elle est extrêmement élégante, simple, et fluide, complète Diane Baratier qui fut sa directrice de la photographie depuis 1993. Diane Baratier :  L'image d'Eric Rohmer est extrêmement élégante, simple, fluide. Il n'y a pas de filtre entre le spectateur, le texte et les  acteurs   Françoise Fabian qui fut l'une des muses de Rohmer (Ma nuit chez Maud, 1969), se souvient de ses déjeuners avec le cinéaste "qui parlait toujours de profil, jamais de face". Elle confie, émue :  Rohmer a dépeint quelque chose qui est en moi et qui survit. Je ne peux pas être autre chose qu'une image de Rohmer. Il a trouvé la quintessence de ce que je peux représenter, en tant que comédienne.  Par Hélène Frappat  Réalisation : Angélique Tibau Une vie, une oeuvre - Eric Rohmer : 1920-2010 (1ère diffusion : 03/11/2012) Rédaction web : Sylvain Alzial,  Documentation Sonore de Radio France Archive Ina-Radio France

Graf Moïse de Camondo lebte in der Rue de Monceau in unmittelbarer Nachbarschaft von Edmund de Waals Vorfahren, den Ephrussi. Camondo baute ein spektakuläres Palais und füllte es mit der größten privaten Sammlung französischer Kunst des 18. Jahrhunderts für seinen Sohn Nissim. Für sein neues Buch erkundet der britische Bestsellerautor Edmund de Waal die prunkvollen Räume der noblen Residenz, konsultiert deren Archive und rekonstruiert anhand von imaginären Briefen an den Bankier Moïse de Camondo die vielfältigen Beziehungen zwischen den befreundeten Familien. Mit freundlicher Genehmigung des Verlages können wir die Sendungen bis 31. Oktober 2021 als kostenlosen Podcast anbieten.

Trung tuần tháng 9/2021, sự kiện văn hoá nghệ thuật thu hút nhiều sự chú ý nhất tại Paris đó là tác phẩm « Khải hoàn môn bọc vải» của Christo-Jeanne Claude, từ ngày 18/09 đến ngày 03/10. Chỉ hiện hữu trong thời gian ngắn ngủi 2 tuần lễ, cũng như mọi lần, tác phẩm của cặp đôi cố nghệ sỹ danh tiếng lại làm dấy lên những tranh cãi gay gắt trong công chúng. Nhưng cũng vì thế, đây là cơ hội để những người quan tâm đến chiêm ngưỡng tác phẩm cuối cùng này, tìm hiểu lại sự nghiệp, đặc biệt là quãng thời gian Christo-Jeanne Claude sống tại Pháp, nơi đặt nền móng cho khuynh hướng sáng tác sau này của họ.  Paris - nơi khởi nguồn sự nghiệp                   Trốn chạy khỏi Bulgari năm 1956, Christo Vladimiroff Javacheff bỏ ngang việc theo học trường đại học Mỹ Thuật Sofia, nơi ông được đào tạo về mỹ thuật, điêu khắc và kiến trúc. Sau khi sang Praha (Tiệp Khắc), ông lần lượt tìm đến Vienna (Áo) rồi Thụy Sỹ. Sau cùng, Christo đến tị nạn ở Paris từ năm 1958 và bắt đầu sự nghiệp nghệ thuật ở đây. Ông bắt đầu cuộc sống chật vật, bằng nhiều việc làm tạm bợ, rồi vẽ tranh chân dung cho các gia đình khá giả, ký tranh với gia đình họ Javacheff. Cũng chính nhờ việc vẽ tranh này, ông làm quen với gia đình tướng De Guillebon danh giá, để rồi nhen nhóm tình yêu với Jeanne-Claude, cô con gái riêng đầy cá tính của bà Guillebon. Từ đó, cặp đôi sinh cùng ngày 13/06/1935 luôn sát cánh cùng nhau trên mọi bước đường thực hiện những dự án nghệ thuật chung. Từ năm 1994, các tác phẩm của họ đồng ký tên : Christo-Jeanne Claude.    Nhưng song song với vẽ tranh để kiếm sống, Christo còn tìm tòi con đường và dấu ấn nghệ thuật riêng, bằng việc thử nghiệm bọc mọi đồ vật thường ngày, treo kín trên các bức tường trong căn phòng trọ gác mái ở phố Saint-Sénoch, không xa Khải Hoàn Môn. Hướng sáng tác của ông nhanh chóng ngả theo trường phái hiện đại, giàu tính hình khối điêu khắc, tìm tòi các hiệu ứng trên các chất liệu như vải, nilon bằng cách gói bọc các đồ vật, người mẫu, tượng và dần phác thảo các ý tưởng quy mô lớn hơn trong không gian công cộng ... Trên những tác phẩm này, ông bắt đầu ký tên Christo. Vì thế, 6 năm sinh sống tại Paris là những năm tháng quan trọng, định hình phong cách cho cả sự nghiệp nổi tiếng thế giới, nhưng cũng gây nhiều tranh cãi, của cặp đôi Christo-Jeanne Claude.     Gói ghém cả thế giới, hay tâm thế của kẻ tha hương ?   Được mệnh danh là « người muốn gói bọc cả thế giới », với những dự án đầy tham vọng và điên rồ, bao bọc những cảnh quan và công trình nổi tiếng, phong cách nghệ thuật của Christo bắt đầu từ việc bọc kín tất cả những vật dụng lớn nhỏ gần gũi quanh mình.    Ông đào sâu khai thác vật liệu mềm bao phủ, chủ yếu là vải, phát triển, tổng hợp để tìm kiếm những hiệu ứng, màu sắc, chất cảm, sức bền, đáp ứng từng ý tưởng trên các điều kiện địa hình, khí hậu đa dạng đặc biệt khắp thế giới. Những đường xếp li mềm mại của chất liệu vải là một yếu tố chủ đạo trong hội hoạ và điêu khắc, đặc biệt lôi cuốn Christo. Lột tả vẻ đẹp tinh tế của từng nếp vải vừa thể hiện tài năng của người nghệ sỹ tạo hình, vừa để giản lược, che giấu những chi tiết vụn vặt, đồng thời tôn lên những đường nét tiêu biểu khái quát nhất.  Với các tác phẩm của mình, Christo dùng vải để tạo sự đa dạng chất cảm và độ nổi khối cho bề mặt. Sự nhạy cảm và am hiểu vật liệu vải phần nào còn được lý giải bởi bối cảnh gia đình : cha ông từng là chủ một nhà máy dệt.    Về ý tưởng dùng vải bọc và dây cuốn kín mọi thứ, Christo nhắc đến khởi nguồn từ trải nghiệm của một người sống cuộc đời tha hương nay đây mai đó. Những vật dụng được bọc lại gợi nhớ những chuyến đi, khi người ta gói ghém đồ đạc, tài sản để mang theo. Trong khoảng thời gian nhất định đó, đồ vật được gói ghém tạm mất đi công dụng và biến thành một thứ khác (1). Để rồi, như với những kẻ du mục, tấm vải bọc lấy hành trang, khi tìm được nơi dừng chân, tấm vải lại mở ra, trở thành mái lều che chở, và đồ vật lại được trả lại chức năng vốn có.    Christo : « Bởi Paris là thành phố của nghệ thuật và văn hoá »   Trong những năm khởi đầu sự nghiệp ở Paris, Christo có triển lãm ở Đức các tác phẩm bọc vật dụng, đồ đạc. Ông cũng bắt đầu ấp ủ những phác thảo táo bạo tác động vào không gian công cộng và những công trình di sản lớn của Paris. « Tôi muốn làm những dự án tầm vóc hơn, những dự án liên quan đến nghệ thuật và văn hoá, bởi Paris không phải là một đô thị quân sự, tài chính, tôn giáo, mà là thành phố của nghệ thuật và văn hoá », Christo từng chia sẻ (2).    Những dự án quá táo bạo do người nghệ sỹ trẻ tuổi chưa mấy tiếng tăm đề xuất liên tục bị chính quyền Pháp từ chối. Hơn 6 năm sau ngày đặt chân đến Paris, Christo và Jeanne Claude rời nước Pháp sang Mỹ, tìm chân trời tự do hơn nữa, hòng kiếm tìm cơ hội thực hiện những giấc mơ nghệ thuật của mình. Nhưng dù xa châu Âu, hai người vẫn tiếp tục sáng tác và theo đuổi mong ước được thực hiện tác phẩm tại Pháp và không ngừng nghỉ tìm cách vận động các nhà chức trách cho phép họ thực hiện.    Sau nhiều thập kỷ vươn lên khẳng định, thương lượng và thuyết phục không mệt mỏi, sáng tác của Christo - Jeanne Claude cuối cùng cũng được có mặt ở Paris. Với các tác phẩm ở đây, họ đều chọn những công trình ở những vị trí tâm điểm văn hoá và giàu tính biểu tượng nhất. Ngoài hai tác phẩm được thực hiện, Christo còn có các phác thảo bọc vải hàng cây trên đại lộ Champs Elysée, hay bọc toà nhà Trường Quân sự Paris.   Vào năm 1985, Cầu Mới - Pont Neuf, cây cầu cổ nhất của thủ đô, vắt qua đảo Ile de la Cité trên sông Seine, được bọc bằng những nếp vải ánh vàng lấp lánh, là dự án đầu tiên đánh dấu sự trở lại của họ tại châu Âu. Còn dự án bọc vải Khải Hoàn Môn, được phê duyệt năm 2017, bị trì hoãn nhiều lần do bối cảnh dịch bệnh Covid-19, là tác phẩm cuối cùng ra mắt công chúng khi hai nghệ sỹ đã từ trần. Tuy nhiên, đây lại là một trong những ý tưởng đầu tiên của họ, ra đời cách đây tròn 60 năm tại Paris. Tìm về bản thể của sự vật    Bản phác thảo sơ khai năm 1962 gói kín toàn bộ Khải Hoàn Môn thành một khối chữ nhật, cuốn dây buộc chằng chịt. Sau này, khi tiếp tục nghiên cứu các phác thảo phối cảnh cắt ghép ảnh và vẽ tay mới, Christo mới chọn bọc với những nếp xếp li vải mềm mại, ôm trọn và tôn hình khối cơ bản của công trình. Những sợi dây buộc giản lược hơn, chỉ đủ nhấn nổi bật những đường nét cấu trúc. Phong cách này thống nhất trong các dự án bao bọc Pont Neuf và Reichstag - toà nhà Quốc Hội Đức. Để giải thích cho cách tiếp cận này, Christo nói: « Tất cả bị xoá nhoà, làm nổi bật những đường nét thuần tuý kiến trúc, là bản thể của sự vật » (3)    Bằng việc tìm cách bọc các công trình, ông đã khái quát hoá đường nét, để chắt lọc những mảng khối chủ đạo. Những sợi cáp níu giữ lớp vải bao bọc, đồng thời làm nhiệm vụ gợi lại những trục, cấu trúc chính. Nhờ đó mà sự giản lược chi tiết không làm mất đi vẻ đẹp của tỉ lệ, sự cân xứng của các mảng khối. Khi những chi tiết được lược bỏ, mọi sự chú ý sẽ hướng về hiệu quả thị giác của vật liệu vải, lớp áo tạm.   Chính Christo đã nhận định khi nói về tác phẩm bọc Cầu Mới - Pont Neuf ở Paris : « Người ta không còn nhìn thấy những chi tiết, những điêu khắc, chạm trổ (...) Nhưng chính vì thế, người ta muốn lại gần, chạm tay vào tấm vải, để tìm lại những chi tiết mà nó bao bọc. Bình thường chẳng ai có ý nghĩ chạm tay vào một bức tường, những phiến đá, hay những tấm kính toà nhà. Chính lớp vải tạo ra mối nối kết bằng xúc giác, bằng cảm nhận với chính sự vật đó ». (4)  Có lẽ để được trải nghiệm lại kinh nghiệm thị giác và xúc giác hiếm có này, được thêm một lần nữa chạm vào lớp vải óng ánh bạc, nhiều khách du lịch Đức đã sang Pháp trong hai ngày cuối tuần, chỉ nhằm mục đích được ngắm « Khải Hoàn Môn bọc vải » . Máy ảnh trên tay, ngắm nhìn tác phẩm trong ngày khai trương 18/09, một người phụ nữ đến từ Đức hào hứng kể lại với RFI Việt ngữ: « Tôi đã có mặt ở Reichstag, nó thật tuyệt vời, với chất liệu giống như thế này nhưng xám hơn. Chính vì thế tôi mới đến đây để được xem tác phẩm cuối cùng của Christo ».   Và ngay cả lần đầu được ngắm nhìn tác phẩm, nó vẫn có thể chạm đến tim những khách tham quan. Chị Kurtava Fidanka, người Bulgari sống tại vùng Paris, đã đến ngắm nhìn từ ngày dựng tác phẩm, rồi lại có mặt thật sớm trong ngày khai trương 18/09. Chị xúc động chia sẻ với RFI tiếng Việt : « Được biết tin có một nghệ sỹ gốc Bulgari rất nổi tiếng, quyết tâm thực hiện một tác phẩm như thế này, tôi xúc động đến tận tâm can (...) Khi tôi đến đây, đứng nhìn nó,  tôi đã bật khóc, nó thật có chất lượng. Tôi tự nhủ nếu ông ấy còn sống, có lẽ cũng như tôi lúc này, chắc ông ấy sẽ vỡ oà vì vui sướng. Ông ấy đã thực hiện được giấc mơ của mình. »  Thách thức những lối mòn tư duy và cảm xúc  Về những tác phẩm phát triển ý tưởng trên những tầm vóc lớn, tác động vào cảnh quan tự nhiên, toà nhà, cây cối, giới phân tích cho rằng ý đồ này tìm cách, trong một thời gian ngắn ngủi, đột ngột làm thay đổi những cảnh quan, công trình vốn đã vô cùng quen thuộc, thậm chí là biểu tượng của nơi chốn đó. Như một lẽ hiển nhiên, con người quen với sự bất biến của chúng và khung cảnh đến độ thờ ơ, thậm chí quên lãng chúng. Những tác phẩm táo bạo của Christo và Jeanne-Claude bất ngờ « chiếm dụng » và che giấu chúng đi.    Đó có thể bị cho là một sự thách thức ngược ngạo và điên rồ. Cũng như với tác phẩm bọc Pont Neuf cách nay hơn ba thập kỷ, « Khải Hoàn Môn bọc vải » lại khuấy lên những phản ứng sôi nổi của công chúng với những thái cực trái ngược, thậm chí gay gắt. Nhiều người chê trách các nghệ sỹ đã ích kỷ chơi đùa với những gì thiêng liêng và thân thuộc với họ, hoặc so sánh một gói bọc khổng lồ tối giản chi tiết, quá xấu xí so với công trình tuyệt tác mà nó bao bọc. Hay đơn thuần, người ta không hiểu mục đích và ý nghĩa. Thêm vào đó, khoản chi phí khổng lồ lên đến 14 triệu euro, ngay cả đều do hai nghệ sỹ chi trả mà không có nhà tài trợ, vẫn bị chỉ trích như một sự lãng phí.     Nhưng với những con mắt khác, điều thú vị của những tác phẩm kỳ công phù du này, chính là mục đích xáo trộn thị giác, đem đến một cái nhìn tươi mới về một khung quảnh quen thuộc, đánh thức người xem khỏi lối mòn trong cái nhìn về không gian đô thị, hoặc nhắc họ nhớ đến giá trị và vẻ đẹp của những gì thân quen đã đột ngột biến mất.   Trao đổi với RFI tiếng Việt, Elise Monceau, kiến trúc sư và nhà dàn dựng sân khấu, cho rằng: « Với tôi, các sáng tác của Christo đặt câu hỏi cho khái niệm « tác phẩm nghệ thuật », bởi đó không phải là một đồ vật người ta có thể di chuyển được, nắm bắt được. Nó là một cảnh quan được trình bầy lại (...) Khải Hoàn Môn khi khánh thành có thể được coi một tác phẩm nghệ thuật, nhưng rồi theo thời gian, nó hoà nhập dần vào không gian, công trình trở thành một bộ phận của cảnh quan đô thị. Việc làm mới nó thành một tác phẩm, là một cách, đem lại một tầm vóc khác cho công trình lịch sử này ».   Kiến trúc sư Monceau còn đưa ra một góc nhìn mới : « Mặt khác, hình ảnh một cái gì đó bị bao bọc lại, rồi sau đó lại sẽ được gỡ bỏ, gợi lại khái niệm của một tác phẩm nghệ thuật. Hành động sau đó gỡ bỏ tấm vải bọc được cảm nhận như công trình lại được cắt băng khánh thành một lần nữa »                                                   Chỉ là niềm hân hoan và cái đẹp để sẻ chia   Bao công sức có khi kéo dài hàng chục năm, kỹ lưỡng và sáng tạo trong từng chi tiết, hàng ngàn người miệt mài làm việc, với chi phí chóng mặt, chỉ để “phù phép” những tác phẩm trong hai tuần lễ ngắn ngủi, như thời gian của một niềm vui, một chuyến phiêu lưu, một niềm hạnh phúc, thường luôn hữu hạn. Như chính Jeanne Claude đã luôn nói : “Những tác phẩm của chúng tôi không để thương mại hoá,  nó không có ý nghĩa gì lớn lao, nó chỉ là niềm vui, là cái đẹp chúng tôi chia sẻ với quý vị, và sự ngắn ngủi của nó nhắc chúng ta hãy trân quý sống trọn vẹn từng thời khắc” (5).  Thủ đô Paris là nơi gặp gỡ, và ghi dấu các tác phẩm đầu tay của cặp nghệ sỹ vô danh thủa ấy. Một lần cuối, Paris chia sẻ với hai cố nghệ sỹ niềm vui thực hiện được giấc mơ thủa ban đầu. Dù tác phẩm tồn tại ngắn ngủi chỉ để góp cho đời một khoảnh khắc vui hữu hạn, nhưng sẽ để lại trong tâm trí mỗi người viếng thăm một kỷ niệm khó phai.   Giờ đây, sự nghiệp nổi tiếng thế giới của họ đã khép lại, bằng cách quay trở về toả sáng tại chính điểm bắt đầu. Như khúc ca khải hoàn ngày về, tại Khải Hoàn Môn lịch sử, giữa quảng trường Những Vì Tinh Tú.   Chú thích : (1) - (3) - (4) : Phóng sự tài liệu “ Christo-Jeanne Claude - nghệ thuật che giấu - nghệ thuật hé mở”, kênh truyền hình ARTE. https://www.arte.tv/fr/videos/101401-000-A/christo-jeanne-claude-l-art-de-cacher-l-art-de-devoiler/ (2) - (5) : Phỏng vấn do Michel Bousseyroux, Nicole Bousseyroux và André Ghighi thực hiện, New York, 29/10/2004. https://www.cairn.info/revue-l-en-je-lacanien-2005-1-page-159.htm

Graf Moïse de Camondo lebte in der Rue de Monceau in unmittelbarer Nachbarschaft von Edmund de Waals Vorfahren, den Ephrussi. Camondo baute ein spektakuläres Palais und füllte es mit der größten privaten Sammlung französischer Kunst des 18. Jahrhunderts für seinen Sohn Nissim. Für sein neues Buch erkundet der britische Bestsellerautor Edmund de Waal die prunkvollen Räume der noblen Residenz, konsultiert deren Archive und rekonstruiert anhand von imaginären Briefen an den Bankier Moïse de Camondo die vielfältigen Beziehungen zwischen den befreundeten Familien. Mit freundlicher Genehmigung des Verlages können wir die Sendungen bis 31. Oktober 2021 als kostenlosen Podcast anbieten.

2021-06-13 Homélie Eglise Saint Charles de Monceau (Paris) by Radio Maria France

What Did Director Do?'nun bu bölümünde yazarımız Tuba Büdüş La boulangère de Monceau (Monceau'nun Pastaneci Kızı) filmini analiz ediyor. Keyifli dinlemeler!

63 rue de Monceau, Paris Dear friend, As you may have guessed by now, I am not in your house by accident. I know your street rather well. Count Moïse de Camondo lived a few doors away from Edmund de Waal's forebears, the Ephrussi, first encountered in his bestselling memoir The Hare with Amber Eyes. Like the Ephrussi, the Camondos were part of belle époque high society. They were also targets of anti-semitism. Camondo created a spectacular house and filled it with the greatest private collection of French eighteenth-century art for his son to inherit. But when Nissim was killed in the First World War, it became a memorial and, on the Count's death, was bequeathed to France. The Musée Nissim de Camondo has remained unchanged since 1936. Edmund de Waal explores the lavish rooms and detailed archives and uncovers new layers to the family story. In a haunting series of letters addressed to the Count, he tells us what happened next. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/pbliving/message Support this podcast: https://anchor.fm/pbliving/support

   15 novembre 1876 : naissance à Paris d'Anna-Elisabeth de Brancovan-Basarab. Son père, Grégoire Bibesco, prince de Brancovan-Basarab était originaire de Bucarest ; sa mère, Rachel Musurus, était née à Constantinople en 1847, et avait vécu l'essentiel de sa vie à Londres. En octobre 1875 était né son frère aîné, Constantin ; sa petite sœur Hélène naîtra le 30 juin 1878. Les premières années d'Anna se déroulent entre l'hôtel particulier de ses parents avenue Hoche, entre l'Etoile et le parc Monceau, et un chalet au bord du lac Léman, à Amphion. Ses parents mènent une vie mondaine, reçoivent beaucoup ; entre autres, Robert de Montesquiou, ami proche de Marcel Proust. Mai 1901 : le Cœur Innombrable ; la même année, Moréas, Reignier, Jammes, Samain et Renée Vivien publient aussi des recueils. « Il semblait qu'Anna redonnait le goût de la poésie à un public lassé de tous les excès comme de tous les conformismes, issus du Parnasse, du symbolisme et du naturalisme. » (François Broche, p. 165) – grand succès : Anna devient célèbre. Proust en particulier lui témoigne une admiration qui ne se démentira jamais.

Pourquoi investir et gagner en bourse avec un PEA ? Lors de cet épisode du podcast de La Bonne Fortune, Étienne Monceau, co-fondateur de Sans Cravate (avec Thibault Rouquayrol et Alexandre Fines) et auteur du livre "Débuter en bourse, comprendre et investir sur les marchés financiers", nous dévoile les aspects très positifs (et aussi quelques limites) du Plan d'Épargne en Action (PEA) qui permet de construire et développer son patrimoine financier et de se créer de nouveaux revenus. - Fiscalité avantageuse avec 0 impôt à l'intérieur de ce véhicule d'investissement "étanche" - Possibilité d'investir sur des entreprises françaises et européennes que l'ont connait tous - Création de nouvelles sources de revenus via les dividendes - Etc... Voici quelques points, qui, depuis la crise du coronavirus et les multiples confinements, ont motivé beaucoup de personnes à commencer a investir sur les marchés financiers en bourse et faire littéralement explosé le nombre d'ouverture de compte. Il nous donnera même une petite astuce pour ceux qui souhaitent s'exposer sur les marchés américains et hors Europe.  

Sébastien Krebs, Martin Lange et Ombline Roche vous proposent un tour de l'actualité du jour.

Revivez le podcast du FG Invite le Royal Monceau avec Jean-Edouard Lipa du mercredi 21 avril 2021

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Françoise Hiraux, historienne, archiviste à l’UCLouvain. « Yves du Monceau, avancer toujours » aux éd. Académia-L’Harmattan.

Columna dedicada a la saga de los “Cuentos morales”, la primera del reconocido cineasta francés Éric Rohmer (1920-2010). Las películas en total son seis: “La panadera de Monceau” (1963), “La carrera de Suzanne” (1963), “La coleccionista” (1967), “Mi noche con Maud” (1969), “La rodilla de Claire” (1970) y “El amor después del mediodía” (1972).

巴黎養蜂傳統已經超過百年，城市養蜂沒有太多規管，唯一要求是蜂箱距離鄰居窗台或陽台不少於15英尺。 法國巴黎大皇宮Grand Palais和盧森堡花園，它們既是著名地標，也是蜜蜂的豪宅。從市中心的Louis Vuitton 總部陽台、19區的學校屋頂、Monceau公園裡的高地……都設有養蜂箱，經過培訓的職業城市養蜂人數量也在不斷增長。 向來以豪華內裝質感、大排量引擎自豪的英國車廠賓利，首批「聯名」天價蜂蜜「Bentley Honey」也已經推出；未來除了進一步提高蜂蜜的產量外，也希望幫助達到保護英國當地生物多樣性的首要目的。 YouTube: Go潮生活 Podcast Anchor: https://anchor.fm/vic-liang Breaker: https://www.breaker.audio/gochao-sheng-huo Pocket Casts: https://pca.st/pip6qwsv Spotify: https://open.spotify.com/show/1x9cWijAsecL7ZywPV38yn Radio Public: https://radiopublic.com/go-6r3q1k Google Podcasts: https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8zMGM4NTI4Yy9wb2RjYXN0L3Jzcw== --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/gofreshfashion/support

“Carmontelle” ou le temps de la douceur de vivreau Cabinet d'Arts Graphiques Domaine de Chantillydu 5 septembre 2020 au 3 janvier 2021Domaine de ChantillyExtrait du communiqué de presse :Commissariat :Nicole Garnier-Pelle, conservateur général du Patrimoine chargée du musée Condé.Auteur dramatique, dessinateur, paysagiste, Louis Carrogis, dit Carmontelle (Paris, 1717-1806) est un brillant amateur dont les multiples talents reflètent le milieu cultivé et cosmopolite dans lequel il évolue. Ordonnateur des fêtes du duc d'Orléans, célèbre pour ses portraits comme pour ses comédies improvisées appelées Proverbes, il dessine le parc Monceau à Paris pour le duc de Chartres et met au point les transparents, rouleaux de papier faisant défiler de riants paysages.De Mozart à Buffon, de Rameau au baron Grimm, il dresse le portrait fidèle du tout-Paris du milieu du XVIIIe siècle : princes du sang, écrivains, philosophes, musiciens, scientifiques, belles élégantes du « temps de la douceur de vivre », selon le mot de Talleyrand sur l'Ancien Régime. Grâce à Henri d'Orléans, duc d'Aumale (1822-1897), descendant des Orléans qui rachète la majeure partie de ce fonds en 1877, le musée Condé à Chantilly conserve la plus belle collection au monde de Carmontelle avec 484 portraits dessinés et un transparent. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Today I am speaking with Alexis Robillard. Alexis has been working in the cosmetic industry for over 15 years in Paris, working for several international fragrance or skincare brands including Dior, Burberry, Jimmy Choo fragrances. He is now the founder of ALL TIGERS:  100% natural, vegan and ferociously stylish lipsticks and nail lacquers.This series features conversations I conducted with individuals who have dedicated their work and lives to Vegan research, businesses, art, and society. This podcast series is hosted by Patricia Kathleen and Wilde Agency Media. https://en.all-tigers.com/@alltigers_organics TRANSCRIPTION[00:00:10] Hi, I'm Patricia. And this is investigating Vegan life with Patricia Kathleen. This series features interviews and conversations I conduct with experts from food and fashion to tech and agriculture, from medicine and science to health and humanitarian arenas. Our inquiry is an effort to examine the variety of industries and lifestyle tenants in the world of Vegan life. To that end. We will cover topics that have revealed themselves as Kofman and integral when exploring veganism. The dialog captured here is part of our ongoing effort to host transparent and honest rhetoric. For those of you who, like myself, find great value in hearing the expertize and opinions of individuals who have dedicated their work and lives to their ideals. You can find information about myself and my podcast at Patricia Kathleen dot com. Welcome to Investigating Vegan Life. Now let's start the conversation.  [00:01:13] Hi, everyone, and welcome back. I am your host, Patricia. And today I am sitting down with Alexis Robillard.  [00:01:20] He is the founder of All Tigers, which is a hundred percent natural Vegan and ferociously stylish lipstick and nail liqueurs line. You can find them online at e n dot all hyphen tigers' dot com. That is e n dot all hyphen t ig e r s dot com. Welcome, Alexis.  [00:01:42] Thank you for having me. Absolutely. I'm very excited to climb through.  [00:01:46] You the first French Vegan company that we've spoken to. I've spoken to Irish and Australian. So I can't wait to climb through everything. And for everyone listening. I'm going to read a bio on Alexis to give everyone a good platform for where he's coming from. But before I do that, a roadmap of today's podcast will first look at Alexis's history and brief background on academia and his prolific professional life in the cosmetic and beauty industry. And then we'll start unpacking all tigers. The impetus for why it was founded, as well as some of the logistics of the who, what, when, where hot while and why, such as funding, co-founders, those types of things. And then we'll get further into the philosophy and the ethos behind the line, why Alexis chose to make it Vegan the story behind it and all of those questions within that. We'll wrap everything up with advice that Alexis may have, an information he can share with those of you who are looking to get involved with what he's doing, purchases, items and perhaps emulate some of his career success. A quick bio on Alexis before I pepper him with questions. Alexis is a French citizen who has been working in the cosmetic industry for over 15 years in Paris, working for several international fragrances or skincare brands including Dior, Burberry, Jimmy Choo fragrances. The idea came to him when his pre-teen daughter started to get into makeup.  [00:03:07] He noticed that it was either really trendy but not very green or green and not really trendy. And there was also a kind of Vegan challenge. The Vegan claim often used as camouflage for highly synthetic formulas. Why not have both? Alexis asked himself. Plant based formulas and Vegan  formulas.  [00:03:27] He then realized that all women around him were confronted with the same exact issues. That was the starting point for all Tiger's natural Vegan and ferociously stylish makeup. So, Alexis, I love that the impetus and I really look forward to kind of unpacking all tigers and get further into the story about what you've discovered with your daughter, with the information you have on your website. But before we do that, could you draw us a history, a brief professional history and academic background? I mean, you were hanging out in Paris at dawn, Burberry and Jimmy Choo, some of the iconic moments of makeup, cosmetics and fashion. Can you kind of dress the history of your professional life bringing you to all tigers?  [00:04:10] Yes. Well, I have worked for 15 years in the cosmetics industry, so much in marketing positions for beautiful brands, as you said. So I started that perfunctory job as a young product that people are parents in care and fragrances. And then I moved to a license to of Burberry and Jimmy Choo fragrances, which is in Paris as well. And finally, I worked for a few years for French brands like Issues Can Care and Hope to get into the French wellness brand that are sold in pharmacies in Europe. So it might not sounds like it, but when we have my back, when that actually I've worked on many projects that were linked to natural beauty formulas. But as you may know, the this kind of project where I was never launched into WhiteWave is a way to focus to the rockets were not ready maybe or consumers were not ready. So over these years, I had some frustration that I was quite convinced that we could do much better on this on natural plant based formula. That's why I actually I I came at a point where I wanted to watch a more personal story. And this is where the idea of all Tiger's natural makeup came up.  [00:05:19] OK, so let's get into the logistics. Get those out of the way. When was it founded?  [00:05:24] Did you have any other founders and did you take any kind of financial funding, be it loans or venture capitalists or tigers?  [00:05:34] No, we are a small team of sweet people to David. It was actually your own near to your story. I started at the end of 2017. Well, actually, I found a supplier of the ideal supplier, Faltu, to work on natural makeup. And it was purely self-funded at the beginning, know in 2017. And I waste a little of money on the way. But still, it is Stela. I worked on a valve that actually financed most of our spendings now. So. So, yes. So we'll launch the actual launch came after a crowdfunding campaign. So it was planned at the beginning, at the end of 2017, beginning of 2018. I started the project and actually I did two quotes on this campaign. At the end of 2019. And then I was always there to look for money under way. But most of our spendings today are friends by our turnover and organically.  [00:06:35] OK. And I'm wondering, finding I know Vegan companies in the United States go through a plethora of venues and there are different indexes. They find their manufacturers and distributors and things like that.  [00:06:48] What was the journey like for you researching people to help you manufacture Vegan products? How is that interviewing process where there are a lot to choose from? Well, very few, actually.  [00:07:00] I wanted to make makeup that could be at the same time so natural. And again, as we said, as you said before, actually you can do Vegan when it's one of the Coxsone synthetic ingredients. But I wanted to be natural makeup and natural formulas. So it was quite complicated here because it's not an expense, as you find everywhere. It's only a few suppliers in Europe doing plant based makeup. And again, makeup is on the other side. So actually, that was very few they that to play football. So I did some interview. As you said, it was quite some research, but at the end of the day, you don't have so much choice. So, yeah, what is great is that actually it was love love at first sight with a supplier. So at least on a personal level, we were super in line. And they're quite easy to actually grant the some vision.  [00:07:47] Absolutely. And you're drawing up an interesting point, and I'm glad for that clarification. I kind of want you to enumerate on that, expand further for our audience. It's it's something that your website addresses very elegantly.  [00:07:59] But there is an absolute distinction between something being Vegan and still very synthetic and processed. You have this emphasis towards 100 percent natural. Can you kind of speak to those differences or how they go? Hand-in-hand, but not necessarily always.  [00:08:14] Yes, of course. Actually, when I when I started in the cosmetic industry, we were not questioning that much. The formulation itself, actually, cosmetics have a long history of synthetic ingredients that are easy to supply of debate over time. So the majority of cosmetics is city based and natural ingredients are quite an exception, actually. And there is also the question of animal derived ingredients like, you know, collision yellow and see so much more. I got interested Step-By-Step in Green Beauty, but I was super convinced that we should do both, actually. So at the same time, it's more natural ingredients and also not using animal derived ingredients. So I think that, yes, the main challenge is actually to do both. You say if I just use the example of lipstick, for instance, this is that a woman would eat up to two kilos of lipstick of our lifetime. So you would expect most brands to select very wisely their ingredients, particularly super healthy. But when you look into the ingredient list on the lipstick packaging, there is nothing you would like to put on. I don't know your daughter's leap's or your models or your wives or your sisters. It is quite nonsense. It's two kilos of crude oil in its petrochemical based silicones. It's very a lot of questionable chemicals, ingredients and animal derived stuff as well, which is quite. Here, when you read on the level of the packaging. So, as you say, it's when went in the lipstick, for instance, on animal derived ingredients, you will find beeswax or these products often come from far away where the conditions are quite controversial. These are raised in the box and said with cause and no flowers, no query, no nice beekeeper in love with me. So it is unethical. For once in a lipstick, you can also find a wet pigment called the chow mein, which does not Vegan it comes from female Chinese. So there the sun dried and crushed. So another ethical issue, you don't really want to see the animal or insect to actually create a lipstick. And we want to put actually that on your lips, so. The alternative would be to just replace banks into thinking we just have a 100 percent synthetic lipstick. But it is the same actually you don't want to eat two killers of synthetic ingredients. So you see what was important for me. You ready to get to natural end again and make only Vegan, which also could mean actually. It really is.  [00:10:49] And this is where the Vegan as natural 100 percent kind of meets up with it.  [00:10:55] There is a parallel in the food based world where people are talking about being whole plant food based vegans as opposed to just being vegan. There's that junk food vegan person out there and there's this parallel after I was researching the work that you've done in your company at all, Tigers, and I was looking into and kind of rethinking. I had been taught from a very young age that to have a you, it was impossible to have a vegan cosmetics line because there was nothing that created the preservatives that the items would tarnish or become rotten before one could use them all. And there weren't medium's platforms to deliver the same consistency on. And there was this kind of understanding, even as you know, as someone who is very well versed in the Vegan community, that there was just an inability to have cosmetics be 100 percent natural and Vegan you could have them Vegan, but they were going to have these chemicals in them and things like that. And it does sound as you're describing everything out there that isn't 100 percent natural and or Vegan it sounds like there aren't any mediums left, the people you're working with, the people that are, you know, manufacturing it. Are they flagships? Are they people who are like the first in their industry? Or are there a lot of companies out there that have these alternative ingredients that we just don't know about?  [00:12:14] I think it's you have a lot of alternatives and you have a lot of brands working on that. But as you say, it's much more like local small brands. It's never like to big luxury brands, probably because actually it's not as easy to. Created an industrial process for very large frontages on a natural formula, because actually it requires some specific attention. And you can have very fast process, for instance. So I think that's why actually most of the companies don't want to put there, because it would actually raise the costs because, of course, natural ingredients are more expensive than most of the synthetic into alternatives. And also, it's as impact on cheating, on industrial pressure as and so on. So it makes it much more complicated. And if it's complicated, it's more costly. So I think that's a reason why it is still small brands or local brands. It's more complicated to industrialize a product for sure. It would be more costly. So natural ingredients are much more costly as well. So I think that the secret of it and why actually it still is a small companies that actually go for it because it gives even the consumers that they want to invest in the consumers.  [00:13:34] Yeah, absolutely. I'm curious. And you're and I want to restate what you said, because I read it on your website and gasped.  [00:13:41] And the average woman will consume, ingest, swallow two kilos of lipstick in her lifetime, which, you know, and I had never even really clarified. Even the most natural of lipsticks, whether or not I want to take two kilos of that going through my digestive track over my lifetime. And your story is interesting. It starts with your daughter coming of age and getting into cosmetics and all of that. You kind of speak more to that. How did that whole thing transition into you kind of thinking about what products you did want her using?  [00:14:15] Yeah, actually, the idea of all tigers came, as you said, it was my daughter. She is 14 today. And so she was a teenager at the time and she was planning summercamp. And, you know, at the end of a summer camp, there was a party. And when you were eleven or twelve, you planned this event as if it was the Emmy Awards night. So. So she was looking for a lipstick. I'm joking. How serious?  [00:14:39] And when we looked together, I was quite surprised because we noticed it was either a really trendy but not that we know who we not fully 20s, as you said before. And I realized that all the women around me were confronted with the same exact issues where they wanted more natural lipstick that they didn't want which brand choosing which ones I should choose or which retail they should go to to find this kind of product and use using use of product is they were not to choose this kind of the look and feel of the products were not that attractive. So there were a lot of issues that I thought at the time we could actually solve. And through my process was very simple. I just thought about the women and I asked women what they wanted. So I did a lot like a lot of one to one interviews to actually understand what works for them, do the best they could. And actually, I opened very early an Instagram page, asking women to actually help me to to create the perfect lipstick in that room. So perfect lipstick. That would mean, of course, to get close to perpetrate a great old, long lasting Caros, but also natural ingredients. And again, actually, so the Vegan aspect was quite important for only a part of them. But I thought that was important because actually even this minority of women would be we could address them with this kind of product. Actually, I made a promise to actually do the best activity. So I said I should be faithful to this premise. So I went to Vegan. I was not so clear about what was it on at the time. And actually, on a personal level, I have transitioned a lot from that. So it's an interesting travel.  [00:16:24] Yeah. It's a dialog. It's a philosophy that kind of starts to permeate all areas of life, even for me.  [00:16:31] Ten years. And I'm wondering when you designed it.  [00:16:34] I love this idea of collecting intel and doing this market research with the French Parisian woman. When you designed your your lipstick and nail lock your or was your target audience solely the French woman or feme identified anyone who wants to wear lipstick and nail Lacau? Or did you think eventually you might try and expand it to other European countries or even globally?  [00:17:00] Yeah, it's it's a really good question. But for sure, I thought about it internationally because I think that's what we stand for actually can equal many women around the world. I would be there. I would try to be in the UK, in the US and Canada and Asia. Actually, I would I would be there with production because I, I feel what we stand for could help many women transition to a greener. It's called, again, lifestyle. And it's not a question of the. Ranch. Hate to here's a view like that.  [00:17:34] I've Francis, always used as the icon. So I don't think it hurts to be, you know, to launch from there. From the beauty industry and cosmetics line, I do like the push, the impetus for your story, this inspiration of your daughter.  [00:17:47] It points towards I want all women to be healthy, but most importantly, I want to bring up my daughter's generation shore in a different light than your mind or my mother's or my grandmothers. And so I think getting this new generation very aware of the ingredients and what they're putting on themselves is key. And companies like yours that do that are paramount for the next generation and their generation after that.  [00:18:13] I'm wondering, do you how is we talked off the record.  [00:18:18] I told you I was going to ask you about this, but the relationship that I can kind of if I can speak for my country, which I'm sure most would prefer I not, but the relationship between the Americas, American woman and cosmetic buyer and consumer and that two products that are considered Vegan. And I said Vegan originally, but 100 percent organic and eco sustainable and things of that nature is this idea of luks. You know, there are a lot of environmentally conscious people, but a lot of people see that and they think that not only is it environmentally friendly, they immediately assume it's going to be better for their body. Therefore, they're prepared to pay more. And also, it feels more expensive. They expect more out of the product of the packaging, even if you will, those types of things that the packaging, the eco sustainable. There's all of these attachments, these relationships that go along with something that's Vegan and 100 percent organic. And I'm wondering what the Parisian conversation is, if you would be so bold as to do the same for your country. Is the reception of Vegan and 100 percent organic products cosmetics in France received on the same level? Or can you kind of speak to how the French citizen might view that and what the relationship is?  [00:19:34] So I think it's organic. I think it's already widespread in France. You have historical brands that were already there for a long time.  [00:19:43] I think on the organic part, I think it's already been widespread because you have a lot of historical brands or with younger market and it's nothing personal, actually.  [00:19:52] You do have a lot of organic stores already. Glenzer so organic, I think was not that exceptional.  [00:20:00] Vegan is a different story because again, no state has a recent history in France.  [00:20:04] Four years ago it was only one percent of the population itself begins with very small. And last year, two or three persons that you see that. And there was one person that saw that again and took us 10 percent saying that there would be interesting Vegan products. So you see, it's recent, but it's doing very fast. And once you in that direction, I think there is no way back.  [00:20:25] I see myself I have done some big steps on that. And for sure, I want to go back. So.  [00:20:33] I think that you can get into the subject for various reasons. It can be.  [00:20:38] I don't know, medical because you're lactose intolerant or because you're into more respectful animal or because of the environmental impacts. Many, many reasons that for sure, it is more about being an educated and aware consumers about the impacts. Is showing part of that. It's.  [00:20:57] If we talk about beauty products, you have Vegan products at every place, so it can be a luxury, but it's also a question of, I think education values ethics on the social ladder on the planet.  [00:21:09] I agree. And as the need goes up, you know, the price will come down. It's the same thing with shopping and food industry once these ingredients become available.  [00:21:18] And as free flowing as eggs and milk, then the prices come down. I'm wondering with the different items that you have. So when you launched how many you have lipsticks and nail Lacau a lacquer and how many of each did you launch with? Did you immediately grow? How many of each do you now have? Can you kind of speak to the product line?  [00:21:43] Yes. So we started with a range of twelve shades of metallic lipsticks, so metallic six. And the formula is one other person to begin. Of course, it's up to one person. Not sure because when y one of two went under. I think it's because sometimes on some pigments we don't have alternatives either. Natural.  [00:22:06] See you started off with 12 lipsticks and did you have no lacquer at the same time or did that come later?  [00:22:13] Sorry. Yes. So we started using twelve sheets of metal. Then we launched the. Then they let go 20 second step because actually, you know, we ask the community, especially on Instagram, for every big step section and we ask the community what should be the next step. So then we speak and they say for sure it's like yours because it's full of controversial ingredients and so on.  [00:22:36] And we you can do much better. So actually, we took a big step into a new plan based ingredients that are super interesting, actually. You know, like those we have great colors to pound on, super shine and the super political to to use and apply. So people actually listen with no difference. You want no licorice and steel. It is up to 83 percent of natural ingredients.  [00:23:08] Yeah. And that seems like a tricky one. The nail polish industry in the United States is by far exceeded all of their cosmetics products over the past five years.  [00:23:18] It went from a ridiculously mediocre climate to the next booming, you know, hundreds of trillions of dollars a year. And I know that with that, there are very few people actually considering the ingredients. And it's one of the few things that I think people think that the nail is not necessarily placing it on the body. There's been a lot of talk, too, that the problems with that and people viewing that and I've spoken to a Vegan nail polish industry maker here in the United States, in Nevada, and she said the difficulty for her in developing it, she was actually developing formulas, which was getting these long lasting long stays, the styles and the the traditional industry had been mixing in. So I know that it's it's you know, it's a booming industry. But to get a really good Vegan, 100 percent natural one would be a UNICOR. How do you feel about your product with the nail liquor?  [00:24:16] Do you feel like it says it's as good as its counterparts that are not Vegan and 100 percent organic?  [00:24:23] I think I think it's the same for lipstick and the same for nailer girls. What surprised our consumers that are used to maybe luxury brands or conventional brands, for instance? Is that actually they find the same service. It's the same thing. Intense clothes and along the whole colors and and shining into your exemplars. And they lacquers. It is not what they expected from natural makeup, to be honest, is the sort that they would have to compromise on quality. And what is great is that actually a love? It's. And that's why you actually know we have many products on ice and complexion and so on who can make a lot of good stuff with natural ingredients and from base ingredients in a Vegan way. And actually bringing exactly the same service that they are used to with their curan range.  [00:25:13] So what's next? What do you think you've gone into? You reached out to your people. They asked for a nail lacquer. What's next? Will you do anything else? Will you stay within just those two product zones or do you think you'll keep expanding?  [00:25:27] For sure. We will keep extending. I'm sure. I'm sure of that. So actually, we are making Brand. So we want to go to our two eyes and skin for sure, because we want to offer a community a very easy, attractive solution to transition to a new lifestyle in the U.S. So I feel this is our mission, and especially in this period of time before what we are going through is a. Nineteen, I feel and I hope people will feel even more connected to the planet to live in general, and that daily products that help make the world a better place with five. And and I feel that actually we were kind of put it all, take us, put it have something to do with that. Some contribute to that for our consumers.  [00:26:13] Absolutely. Well, what do you know about your packaging? Is there anything particularly special that you addressed with the packaging or the vessels that the products are delivered in?  [00:26:25] Yes, of course, actually. We wanted to make something bluebirds, actually the point since a cat unbox of the products. There are. Low carbon Accattone coming from sustainable forests. So the idea is really to have no particular varnishes metallic elements that would actually reduce the risk that we cyclicity. So the idea is to have a cut on drugs that you can really easily recycle. For instance, of plastic reuse is recyclable as well. We use aluminum caps, which is purely recyclable as well, glass. But also the idea is really to be insides. What you watch in Europe, you have a natural LaBella's that actually it did some kind of a playbook on packaging. So we tried to really follow all the rules to make sure I think, should you make the best choices. Also on the on every element of the packaging.  [00:27:27] Yeah, that's fantastic. And I'm wondering about the name. Oh, yes. How did all come up? I love it. I think it's fantastic. But where did it come from?  [00:27:39] Oh, it's it's it's a long story, actually, because as I said, actually, I was meeting women a lot when I was starting to to understand their needs and to design the perfect lipstick. And one of them actually told me, I feel that women on that note, who you listen to by custardy brands. That's why formulas are nonsense as well. So because actually, if you ask a woman what she wants to, you know, a product, she would probably tell you a natural natural ingredient for sure. So actually, tell me what you're doing with this product and a strong feminist dimension that actually I totally agree with that. And we are talking about feminism and cosmetics and this foundation. Tony, what is a paradox is that being a feminist is feeding at the same time very strong. They will prove a fool. And at the same time, Zuby threatens. And I said, oh, okay, okay. So just like Tiger actually, you just you Bucho a fool. And then your species. And she told me exactly. We are all tigers. And that's how the name was Monceau became. We are all tigers. I'll tell you also today, actually, we are proud, proud member of international organization, one positive for the planet. And we give back one percent of total sales for wild tiger preservation in Asia. But it's a very complete program. Protects tigers, but also the eco system, which is very certain this over years. Do you see that? We wanted to show also our respect to the living in every way. So not only the tiger as a as an icon, as a symbol, but also in a very concrete way. And when we see it all, Tiger, which is nice, that's for women, it's not about seduction. Like in many make a brand, actual Tiger Woods is a celebration of strong women. We celebrate their sweat trends. COAG fashion each make a career as a nickname, which is like you hit it big. Call me Queen Himuro. So it's a men's for something you say to feel good and strong for the day. So really want to inspire women in the different ways unconventional make it. And not just about superficiality, but something that comes very deep inside.  [00:29:44] Yeah, I really appreciate the and the dialog and the rhetoric that you're having with your your friends and colleagues and clients about feminism and kind of divorcing this concept between cosmetics and the the male gaze or show this idea of seduction and and things like that, and it reaching more into the community in which it lays upon, you know, which is women are female identified or men that are looking to engage in this, returning the use back to the user and the power and the dynamic between the relationship of the product and the user back to them is paramount. I think when you're looking at makeup that is moving forward into our daughter's generation, you know, shortening that the association and the utility of it back to them is really, really powerful. And I appreciate that. I'm curious. Well, first of all, before I forget, because I do tend to forget the logistics when someone is shopping for your product. Do you have a brick and mortar store? Do you have an online presence? Do you have third party retailers that sell your products? Where can people look for it?  [00:30:49] So actually, we have. When you shop, which is the end, that old iPhone tigers' dot com, which is in French and English and which is our first or today, and we deliver what today. And we are also sold by partners in 10 countries in Europe in about 300 doors.  [00:31:08] It's a mix of online offline concept stores. The Fumo use department store pharmacies, beauty spa.  [00:31:15] What is important to me is that we share the same interests for natural beauty that a natural beauty customer actually can go there and shop. So the white product not only ours, but interesting brands as well. So yes, we are we are quite available, but today, mostly in Europe. Do you see internationally. Sure. From. We shop, we we shop, we ship everywhere. Monophone.  [00:31:39] So everyone jump on. Everyone listening. I want to wrap everything up with him. The most recent climate. I don't like to avoid it. And I'm in if you haven't had a significant dialog with yourself or the company.  [00:31:51] That's all right, too. However, I'm wondering what the conversation that you have between your customers or if you've tried to kind of address the covered 19 pandemic and and how you have such a very specific product that has a relationship with the environment and things of that nature that have an inherent dialog with things like pandemic and things that come about from disturbing natural ecosystems and things of that nature. Have you had any kind of marketing or overt conversation or any personal dialog with yourself about how it might move all tigers forward or change your dialog and how you market with your customers?  [00:32:32] Yes, because actually it's a lock down. I actually came quite suddenly and being in touch on a constant basis with our community was, for me, actually a way to keep a positive mood and feeling and seeing seeing a useful to people. So, for instance, all tigers distributed. We are we are today distributed in some pharmacies with a strong natural offer in France. And those pharmacies, we are at the forefront of Kivett 19. So we produce 10 cents. I'd good just to be supplied for free to house workers. And there we are. So for me, pharmacies are part of our community. People love us in another way. Actually, people love Zulay hands of our packaging because it's a lovely drawing with our white Tiger Woods and the colored jungle. So we edited the clothing version that actually you can control yourself for grownups or kids and you could do a need for download for free and print on their website. I also organized a livestock's on Integrate Instagram with French entrepreneurs in beauty and fashion, and we explored the Tiger's view. It's a mix of passion, energy, resilience. You need to build projects. And that was really inspiring acting for me, of course, but also for all the people. Election year following their life left.  [00:33:51] And we made a lot of contests with other ethical brands on Instagram to have them discovered by the community and show them that it's not only about makeup, but it's only about fashion and skincare and other ways that those brands are amazing and nobody knows them and they should actually be no everywhere. So in two different ways. Some are more serious. So some were more entertaining.  [00:34:15] But we were very active to our community and we wanted to support everywhere. Our shop was closed a little bit because at the beginning of logistician had to deal with more, I would say necessary products and makeup, but then we could be open. And since we opened, actually we saw very strong dynamic. So I assume it's the same for a lot of retailers. But I feel people actually will actually need in this kind of period this feel that the brands they believe in and the trust actually helps them go through this kind of period.  [00:34:50] Absolutely. And I appreciate that dialog. It sounds like you've had so much movement on so many different fronts.  [00:34:55] A lot of people feel and paralyzed, you know, with how to address it, with how to look at their industries, their communities, how to to incorporate that dialog into what they're doing. And it sounds like you've done it so gracefully. I'm curious, from a personal standpoint, do you identify yourself as Vegan?  [00:35:15] Oh, yes, actually, yes, you're right. I didn't mention that before. But that's an important question, actually. When I started untangles, I did the new, as I said, so much about the Vegan. So it was quite a discovery for me. And it was led to like the base that I was at the time that they were big meat eaters. So to be honest, I was not Vegan at all. And I did know so much about it. So I got interested. I said quite positive about Vegan. I get a lot about it. But even if you know that it is more ethically and I'm the one that is friendly, I think it is not and actually began is not about a question of motivation. It cannot be only a rational process. It's something that you have to feel deep inside. So you have to feel deep inside that it's it's fair that it is right, though, to be honest. It came step by step. So I stopped eating lambs and then Couzens and also just step by step process. And probably I will discover new elements. But each step was a small evolution on the decimal level. And to be honest, I see that the only and pleasing thing about it is that everybody around you have something to say about it. And in fact, they use less because they all want to give you advice and then say. Stupid to go there. But so best the New Orleans intimates, it's actually a rational discussion. Can really make you change your mind. So anyway, at some point, no, I can really. Yes. I don't if I do the big community.  [00:36:48] Yeah. And it's an interesting time.  [00:36:50] You know, I think the one thing that unifies us from Vegan all across the world is that exact social dynamic of the ostracization. I've never angered anyone more that I didn't know. And then by telling them that I was Vegan, you know, a waiter, too. It's the most amazing statement in the world. And to bear that all the time is can be exhausting. However, what I will say and I tell my children all of the time, which is in your lifetime. What is happening not just with the tragic pandemic and things like that, it will come to fruition as being at least a very logical and sustainable lifestyle. And that questioning and discrimination ought to subside like before your very eyes. And how I lived will not necessarily hopefully be how you lived. So that will be interesting, to say the very least. I'm curious.  [00:37:43] That's what I didn't say that. It's important to say to your listeners know that even if you're not getting food, you should actually go for it. Again, beauty, because it's a question of transparency. You just want to know what is in their product. And you never think that it would be animal based. So for sure, for just that reason. It's interesting. I tried to get them to begin looking for show.  [00:38:04] I concur.  [00:38:05] And I think the majority of of women and men that I know that wear makeup and and do use Vegan and try to use plant based products are not Vegan. They just they really do care about and I like what you said, the transparency, you know, understanding the ingredients, or at very least when you Google them, not being horrified at what they are. Should be something we demand of our products, right?  [00:38:30] Yes, sure. In France, you have many mobile apps that help you to decode, decipher resistant ingredients needs for cosmetics. And the foreshores is the trend of seeing green products. But most of the time, people are very, very amazed about what they find and surprise. But what defines a population even full, put it is for you. So I think it's important that actually people just getting read get away with it. And transparency's for sure the key. It's a key value.  [00:38:59] I do, too. I completely concur. I like to sign off all of my podcasts with kind of reaching into you as a person, as a business owner, as a founder, as a father. We've been in interesting times and and it's been, you know, a lot of people. It sounds like yourself highly included in that have done a lot of self reflection, have looked at their own industries, even if they were beneficial in the past, even if they prospered during the pandemic and had created a new dialog with themselves about what it means now. You know, to be kind of surfing out this pandemic and even looking forward to hopefully the cessation. Do you have, like a top piece of advice or two pieces of advice that you give yourself or your community or your daughter regularly that you've kind of honed in to the tincture or the next year the nectar of of what is good and what to drive your life by?  [00:39:55] What to sail your ship by?  [00:39:58] Well, I I don't know if it will be your words of wisdom, but actually I, I always say be aware and do good. I mean, by that that's I think you should know what you are doing. Know what you're eating. Know what you're actually puts on your lips, on your skin. Know the consequences of what you know, Che's health. What is he done? May be behind what you purchase and do goods. I mean by that, doing the right choices and trying to do something fair. Something that is why it's something that you feel is why. It's something that is completely aligned with your values and convictions. And I think that is the main point. So that's why I said to my children, I have one daughter and two sons. So to my children. And for Scheu is something that actually gave me also now saying that if you if you get into an entrepreneurial product, it's for creating something new. And this new stuff has to be aware and do goods, do some good in a way. So that's actually something that gets me in every actions.  [00:41:04] I love that. I think that's absolutely perfect. I'm going to quote you on that when I quote his podcast and do good. The more simple them are more profound, as are Buddhist philosophers and lay out zoo have proven. Alexis, we are out of time, but I wanted to say thank you so much for speaking with us today and giving us all the information about your life and your company.  [00:41:27] Thank you very much.  [00:41:28] Absolutely. And for everyone listening, we have been speaking with Alexis Robillard. He is the founder of All Tigers'. You can find them online. It's E n dot, all hyphen, tigers', dot com. I encourage everyone to get on and check it out. This story you can look into further is fascinating. And for those of you listening, thank you so much for giving us your time today until we speak again next time.  [00:41:53] Remember to stay safe, be well and always bet on yourself. 

Le podcast des bonnes adresses parisiennes de Bérénice et Olivia. Elle dénichent pour vous, quartier par quartier, les bons plans, bonnes tables, boutiques insolites et adresses coups de coeur. Il ne vous reste qu'à écouter pour que Paris soit vraiment à vous!

BOUTS DE LECTURE, l’émission book club estival, fait son retour sur MM RADIO et pour une 3ème saison. L’émission invite deux nouveaux invités qui vont vous aider à ouvrir au moins un livre cet été, à découvrir de nouvelles lectures et en savoir plus sur ceux qui les lisent. Dans un parc, comme chaque saison, Angela Peauty débute la conversation légère et littéraire au parc de Monceau, avec Nadège Kitumu — chargée d’affaires de systèmes de certification au sein d’Apave, directrice de l’agence événementielle KyNa Agency, directrice de l’association Between_Us Event et présidente de l’association humanitaire, Les Diamants Oubliés. Elle explique comment elle trouve le temps de lire. “J’ai un BAC littéraire. Depuis très petite, j’aime lire. J’ai toujours été très curieuse, donc la lecture, pour moi, c’est comme une seconde nature. Je trouve tout le temps le temps de lire. […] Le matin, quand je me réveille, j’aime bien. Surtout les week-ends. Avant de commencer à travailler, j’essaye d’avancer au moins dans un chapitre parce que je suis passionnée. J’ai toujours envie de savoir ce qu’il va arriver au chapitre suivant. Quand je suis dans les transports aussi. Alors, j’essaye, dans les transports, le premier métro, je prends mon roman et le deuxième, mes tests sur le permis.” Autre BOUTS DE LECTURE, cette fois-ci au parc de Bercy, avec Cindy Juspin — assistante de service social dans le service public, également chantre. “Je me suis inscrite à la bibliothèque. Ouais, c’est un grand pas. Bon, en même temps, en face de chez moi, je n’avais aucune excuse. Et je me suis dit que je vais peut-être essayer de me laisser tenter par plus, des romans, des choses comme ça. Mais pour l’instant, je ne suis pas convaincue. […] Quand on veut lire, quand on a soif de lecture, je me dis que c’est un budget quand même conséquent et la bibliothèque peut aider à amoindrir son budget. Surtout que maintenant, ils font même des formats audios, ils font tous les styles.” La conversation littéraire estivale avec Cindy Juspin se termine avec Angela Peauty — qui favorise les romans en été — qui révèle les livres de son été 2019. BOUTS DE LECTURE, c’est, en 2019, 1 émission estivale pour deux invités, sur MM RADIO ! #BoutsdeLecture Mais également sur TUNEIN, ACAST et STITCHER.

De Paris 8 à Paris VIII. De la fac de Saint Denis ( Paris 8) au très chic huitième arrondissement de Paris, c'est le défi lancé par le chercheur Nicolas Jounin à ces étudiants de sociologie de l'université de Paris. Aller voir avec un simple ticket de métro une réalité si proche géographiquement mais si lointaine. Entre étonnement et analyse ses étudiants découvrent et décryptent les mécanismes sociaux d'un "ghetto de riches" autour du parc Monceau. Voyage de classesDes étudiants de Seine-Saint-Denis enquêtent dans les beaux quartiersNicolas JOUNINUne demi-heure de métro sépare les quartiers parmi les plus pauvres de France de ses zones les plus riches. Partis de Saint-Denis, dans la banlieue nord de Paris, une centaine d’étudiants ont enquêté sur trois quartiers bourgeois du VIIIearrondissement de la capitale. Pour s’initier à la démarche sociologique, ils ont dû se familiariser avec un monde nouveau et étrange, dont les indigènes présentent des coutumes et préoccupations insolites.Boire un café dans un palace pour observer ce qui s’y passe (et être traité comme un client illégitime), stationner dans les boutiques de luxe pour décrire leur organisation (et se faire mettre dehors), apprendre à manger un mille-feuilles à 14 euros avec des « bourgeoises », approcher des institutions prestigieuses où les femmes n’ont pas le droit de vote, se faire expliquer le Bottin mondainet l’arrangement des mariages, interviewer dans son hôtel particulier un grand dirigeant qui « fait partie de ces familles qui ont des châteaux un peu partout » : ce sont quelques-unes des expériences que ces étudiants du 93 ont vécues. En même temps qu’il leur a fallu dompter l’exotisme pour bien comprendre le milieu dans lequel ils pénétraient, ils ont dû encaisser l’humiliation des multiples rappels à l’ordre social que suscitait leur démarche.Des premières incursions anonymes et timides jusqu’aux face-à face sans échappatoire, ce livre raconte de manière crue et joyeuse les batailles livrées pour mieux connaître un monde social dominant. L’enjeu : renverser l’habitude qui veut que ce soit « ceux d’en haut » qui inspectent l’existence de « ceux d’en bas ». Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Hello everyone! Today we have Emma Jacobs in the studio talking about her brand new book "The Little(r) Museums in Paris". She lists six smaller museums you should check out in this city, while also discussing her lovely illustrated book.  Now, I'll write all this up in a blog post very soon, but if you're looking for the spelling of these six museums, voila: Musée de la chasse et de la Nature Address: 62 Rue des Archives, 75003 Paris Musée Nissim de Camondo Address: 63 Rue de Monceau, 75008 Paris Musée Jacquemart-André Address: 158 Boulevard Haussmann, 75008 Paris Musée d'Ennery Address: 59 Avenue Foch, 75116 Paris Musée Gustave Moreau Address: 14 Rue de la Rochefoucauld, 75009 Paris Appartements de Nélie Jacquemart Address: Chaalis Abbey 60300 Fontaine-Chaalis You can find Emma's book online here. You will also notice that the show has a new sponsor - Fat Tire Tours - so simply enter the word "earful" while booking any of their tours around the world and you'll get ten percent off! Enter the code at the checkout, right before you pay. Here's the link to their Paris page - and this week I specifically took the night time ride around Paris and the sunset river cruise. You might have seen it on my Instagram stories.

Eric Rohmer's Six Moral Tales helped codify the New Wave. But are they good?

durée : 00:02:23 - Paris insolite et secret France Bleu Paris -

Ran late again cuz I'm a fucking dummy. We did a bunch of flicks, bringin dat bomb-ass dick. Thou Shalt Not Kill...Except (Becker dreck) Cleo from 5 to 7 Thin Man Goes Home Design for Living Last 3 Eric Rohmer moral tales - Suzanne's Career, Bakery Girl of Monceau, La Collectionneuse.

Interviews with 3 participants in the Charity bet Challenge on Capital Sports Stadium Show. There are threats issued but no former tennis players were harmed in the making of these short takes.

Folie de duc

På Østerbro ligger vinbaren Pasteur, der har fokus på naturvin og i særlig grad vine fra området Jura. Jura hører nok til et af de mere ukendte områder i Frankrig, men ikke desto mindre kan man få spændende og fremragende vine derfra. Af den årsag betragtes Jura af mange eksperter som et upcoming område. I dette afsnit besøger vi Christophe, der er barchef på Pasteur, til en snak om naturvin og vine fra Jura. Vi drikker to vine, der på hver sin måde repræsenterer det særlige Jura har at byde på.  Lyt med og bliv klogere på blandt andet Jura og druesorterne savagnin, poulsard og trousseau. Gæst: Christophe Rapp Vine: 2015 Buronfosse, Sous le Monceau, Cotes du Jura 2009 Gerard Villet, Vin Jaune, Arbois ---------------- Facebook: @blindsmagerne Instagram: @blindsmagerne Kontakt: Blindsmagerne@gmail.com  

David and Ron do a super-sized "What We've Seen This Week" segment and manage to fit in some talk about The Sound of Music as well. Yes, it's a musical. No, we don't sing this episode. We got your letters. Table of Contents1:07 - Baby Driver (2017) 3:15 - Transformers 5 (2017) 6:34 - Descpicable Me 3 (2017) 8:38 - The Beguiled (2017) 11:23 - Howard the Duck (1986) 16:31 - Spiderman: Homecoming (2017) 21:40 - Valerie and Her Week of Wonders (1970) 22:51 - Man Who Fell to Earth (1976) 25:18 - Out of Africa (1985) 25:33 - Kubo and the Two Strings (2016) 28:12 - The Bakery Girl of Monceau (1963) and Suzanne's Career (1963) 29:58 - NEWS 25:44 - The Sound of Music (1965)

Semaine de la Créativité Jura (Suissse): Rencontre avec Henri Monceau by davanac --- Send in a voice message: https://anchor.fm/davanac/message