This week: the Sudan crisis. How are artists responding to another war in the East African country? The photographer Ala Kheir joins us from Khartoum to tell us about the conflict in Sudan and how it is affecting him and other artists. We talk to Alyce Mahon, the co-curator of Sade: Freedom or Evil, a new exhibition at the Centre Cultura Contemporània de Barcelona (CCCB) in Barcelona about the 18th-century writer and libertine the Marquis de Sade and his artistic and literary influence, particularly in the 20th and 21st centuries. And this episode's Work of the Week is Gwen John's La Chambre sur la Cour (1907-08), a painting of John herself in a Parisian interior. The picture is one of the highlights of an exhibition dedicated to John at the Pallant House Gallery in Chichester, UK.Ala Kheir on Instagram @ala.kheir.Sade: Freedom or Evil, Centre Cultura Contemporània de Barcelona, until 15 October. Alyce Mahon, The Marquis de Sade and the Avant-Garde, Princeton University Press, $47/£40.Gwen John: Art and Life in London and Paris, Pallant House Gallery, Chichester, 13 May-8 October. Alicia Foster, Gwen John: Art and Life in London and Paris, Thames and Hudson, $39.95/£30. Out now in UK, published in the US on 18 July. Hosted on Acast. See acast.com/privacy for more information.
Isabella Hammad is the author of the novel Enter Ghost, available from Grove Press. Hammad was born in London. Her writing has appeared in Conjunctions, The Paris Review, The New York Times and elsewhere. She was awarded the 2018 Plimpton Prize for Fiction and a 2019 O. Henry Prize. Her first novel The Parisian (2019) won a Palestine Book Award, the Sue Kaufman Prize from the American Academy of Arts and Letters, and a Betty Trask Award from the Society of Authors in the UK. She was a National Book Foundation 5 Under 35 Honoree, and has received literary fellowships from MacDowell and the Lannan Foundation. She is currently a fellow at the Columbia University Institute for Ideas and Imagination in Paris. *** Otherppl with Brad Listi is a weekly literary podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Google Podcasts, Spotify, Stitcher, iHeart Radio, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch @otherppl Instagram YouTube TikTok Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices
The Survivor Specialists: Phil and Alexa
It's episode number 97, and Phil and John have reached the top four of their favorite 100 movies of all time. Tonight they're talking about John Carpenter's sci-fi horror classic and a super-stylized French film about a shy Parisian waitress. Next week, #3: Vertigo (1958) and Eternal Sunshine of the Spotless Mind (2004) #Film #KurtRussell #AudreyTautou
Reading With Your Kids Podcast
Maria Castalucci Moore is on the #ReadingWithyourKids #Podcast to celebrate her #awardWinning #Childrens #PictureBook Vivienne in Paris. Maria tells us Vivienne in Paris follows a young Parisian girl on a journey through Paris to find what makes her tick. We follow Vivienne as she discovers the sights, smells, tastes, and sounds of the city that make her feel alive. This book tells a story of mindfulness and insight into how the surrounding world can really move you. It unites curiosity, wonder, and marvel to enlighten, surprise, and tickle your deepest spirit. Sometimes it's the smallest things that bring you the greatest joy. Click here to visit Maria's website - https://mariacastelluccimooreauthor.com/ Click here to visit our website - www.readingwithyourkids.com
After the suspension the PSG handed Leo Messi, all signs point to this relationship coming to an end. Not only that, there are certain topics that are also delved into as far as Leo's future is concerned and the future of many other players in this saga. --- Support this podcast: https://podcasters.spotify.com/pod/show/itsallaboutfutbol/support
Fresh Batch with Michelle Collins
Hello Midnight Snackers! A little bonus episode this week featuring Michelle Collins, Abby Holland and her mom Judy. For more episodes like this every day, go to Patreon.com/michcoll or download the Patreon app and sign up for a Free Trial! A new Midnight Snack will be out later this week.This episode was so FANTASTIC we've decided to make it free for all the people of America and beyond. We kick things off with our very special guest, none other than my mom Judy Collins to recap last night's Karl Lagerfeld inspired Met Gala. If 30 minutes of my mother interrupting me with celebrity names isn't enough to satisfy, what WILL make you happy??? Then, Abby Holland and Michelle do a lil Parisian shopping recap, we decide if we care about Tony noms, Abby has a Sargassum in the back of a Honda (she'll kill me for this), there's a loneliness epidemic, and a lil WRITER'S STRIKE chat. This is 80 minutes of aural bliss! If you agree, feel free to send to your friends as it's free free free
Celebrating the 124th anniversary of the birth of Duke Ellington and the 6th birthday for Ellington Reflections with a Parisian themed episode in honor of the 2023 Ellington Conference being held in the City of Lights. Continue reading →
Paris. A city full of historic architecture, beautiful filming locations, priceless art, and at least one group of high-class chaotic queer thieves. Dear Listener, if you were desperate, would you join them in the Parisian underworld? Would you risk your life each and every day to pull off bigger and bolder heists? And how many hours would you spend petting Elizabeth the Cat?This week, Sara and Runa are joined by their friend Rawles who guides them both through the life and unfortunate death of the mobile dating sim app, Lovestruck. Having closed down in 2022, Lovestruck is no longer available to play in its original form but fortunately fans have archived and preserved all of its dozens upon dozens of romance routes. The breadth of Lovestruck is far broader than we could ever hope to cover in a single episode, and the individual stories within the app are often longer than the games we've covered on this show. Today our focus is primarily on Queen of Thieves, a delightful queer dating sim starring a fresh art school graduate who gets swept up in the high-stakes world of heists, forgeries, intrigue, and flirtation with the notorious thieving group, the Gilded Poppy. With two women and four men available for the female protagonist to date, and each route spanning several hours and containing dozens of gorgeous CG scenes, it's easy for just about anyone to find a route they might love in Queen of Thieves. To read it now in 2023, however, you have to watch a video playthrough - with the app itself closed down, there's no way currently to play any of the Lovestruck dating sims in their original form.As we discuss Lovestruck, we also take a more detailed look at games preservation, the fate of games and creative work controlled by corporate profit motives, and the possibilities for future game preservation, marketing, and dating sim development. This episode represents something bittersweet and in more than one flavor... Lovestruck may be gone, but all of its stories and the wonderful writing and queer character relationships still exist in archival form. Even so, it's hard to feel entirely satisfied and content after seeing such rich potential and knowing how rare and fragile such opportunities are for queer dating sim developers in the current games market. As always, if you enjoy our episodes please give us a rating and write a brief review wherever you listen to podcasts - we don't have an advertising budget so your reviews and recommendations are one of the main ways new people find out about our show! Also if you'd like to hear more content or find out how to support us, you can visit our patreon at patreon.com/sayitinred! All of our reading this week was made possible by the LS Salvation Squad! Check them out on tumblr and youtube for a full archive of the Lovestruck App's stories!
Titans of History: Napoleon Bonaparte
One final blow takes Austria out of the War of the Second Coalition while Napoleon comes about as close to death as he ever would on Parisian soil. Join us as we discuss the Battle of Hohenlinden and the Plot of the Rue Saint Nicaise!
The Perks Of Being A Book Lover Podcast
A literary salon sounds so posh, doesn't it? I imagine the Lost Generation of writers–Ernest Hemingway, Henry Miller, Gertrude Stein–sitting around in a Parisian flat, discussing the newest trends in literature. But what exactly is a salon? Or what can it be? Our guest this week, Cindy Burnett, hosts a literary salon in Houston, Texas, called Conversations from a Page, and tells us all about what one version of a salon can be. Amy may be well on her way to starting her own salon because she was so intrigued by the idea. Cindy is also a podcast host. Her show, Thoughts from a Page, is an extension of her salon in podcast form that airs twice a week. She interviews authors of books that she's has read and have earned her seal of approval. We find out her favorite national parks, what she misses about being a lawyer, and one reason she will say "no thanks" to a book. You can find info about Cindy Burnett at her websites www.cfapage.net and at thoughtsfromapage.com and on instagram at @thoughtsfromapage. For show notes for any episode, go to our website at www.perksofbeingabooklover.com. We are also on Instagram @perksofbeingabookloverpod and on FB Perks of Being a Book Lover. Books mentioned in this episode: Books mentioned-- 1- How to Walk Away by Katherine Center 2- We Came To Here To Shine by Susie Orman Schnall 3- The Mostly True Story of Tanner and Louise by Colleen Oakley 4- The Golden Spoon by Jessa Maxwell 5- Rebecca by Daphne du Maurier 6- Drowning: The Rescue of Flight 1421 by TJ Newman 7- Falling by TJ Newman 8- Hostage by Clare Mackintosh 9- Killers of a Certain Age by Deanna Raybourn 10- Iona Iverson's Rules for Commuting by Clare Pooley 11- The Keeper of Stories by Sally Page Movies watched-- Dungeons and Dragons (2023) Podcasts mentioned-- 1- Thoughts from a Page 2- Books Are My People 3- The To Read List Podcast
This week is dedicated to JE T'AIME, the Parisian post-punk, cold wave and everything in between trio. I spoke with Tall Bastard (bass & guitar). He is really a cool dude, and communication is deeper than words. They have created a bunch of great songs that involves a catchy or "magical" phrase that indulges the listener's ear. I hope I get the chance to speak with dBoy and Crazy Z, the other two members of this great trio. Links to JE T'AIME: https://jetaime-music.bandcamp.com/al... / @jetaime-music https://www.instagram.com/jetaime_music/https:// www.facebook.com/jetaimethemu... https://open.spotify.com/artist/7kKtm... https://twitter.com/jetaime_music?lan... ----------------------------------------------------------------------------------------------------------------- If you would like to get in touch with me: firstname.lastname@example.org email@example.com Instagram: https://www.instagram.com/cuentameusa/ Facebook: https://www.facebook.com/entrevistame64 Canal de YouTube: / @cuentameusa Phone: +1(908)265-0125 --- Send in a voice message: https://podcasters.spotify.com/pod/show/cuentameusa/message Support this podcast: https://podcasters.spotify.com/pod/show/cuentameusa/support
FORward Radio program archives
A literary salon sounds so posh, doesn't it? I imagine the Lost Generation of writers–Ernest Hemingway, Henry Miller, Gertrude Stein–sitting around in a Parisian flat, discussing the newest trends in literature. But what exactly is a salon? Or what can it be? Our guest this week, Cindy Burnett, hosts a literary salon in Houston, Texas, called Conversations from a Page, and tells us all about what one version of a salon can be. Amy may be well on her way to starting her own salon because she was so intrigued by the idea. Cindy is also a podcast host. Her show, Thoughts from a Page, is an extension of her salon in podcast form that airs twice a week. She interviews authors of books that she's has read and have earned her seal of approval. We find out her favorite national parks, what she misses about being a lawyer, and one reason she won't read a book. You can find info about Cindy Burnett at her websites www.cfapage.net and at thoughtsfromapage.com and on instagram at @thoughtsfromapage. For show notes for any episode, go to our website at www.perksofbeingabooklover.com. We are also on Instagram @perksofbeingabookloverpod and on FB Perks of Being a Book Lover. Books mentioned in this episode: Books mentioned-- 1- How to Walk Away by Katherine Center 2- We Came To Here To Shine by Susie Orman Schnall 3- The Mostly True Story of Tanner and Louise by Colleen Oakley 4- The Golden Spoon by Jessa Maxwell 5- Rebecca by Daphne du Maurier 6- Drowning: The Rescue of Flight 1421 by TJ Newman 7- Falling by TJ Newman 8- Hostage by Clare Mackintosh 9- Killers of a Certain Age by Deanna Raybourn 10- Iona Iverson's Rules for Commuting by Clare Pooley 11- The Keeper of Stories by Sally Page Movies watched-- Dungeons and Dragons (2023) Podcasts mentioned-- 1- Thoughts from a Page 2- Books Are My People 3- The To Read List Podcast
Sonia C. is back in Paris and she is excited about putting in a brand new vibe and feeling into her Parisian home. She's been in this space since 2015 when she went to recover from her painful trauma and now it's time to have a new updated and freshen look! This week's theme is about: Reinventing Your Space Highlights: Sonia C. is reinventing her Paris home and is excited [0:45] Everything Sonia T. got in her current apartment was supposed to be temporary. Is it now time for a more permanent change? [6:30] Beauty brings out the best of us. You should always make the effort to beautify your space. [8:30] Your mental trash is more important than your physical trash. [12:40] When life throws you a curveball….[22:00] What brings down Sonia T.'s vibration? [23:20] It's time to break up with the things that suck the fun out of your life. [28:00] Tool of the week. [30:00] Question of the week. [36:45] It's so nice that you're able to consciously change the relationship to something and the vibration to those things also changes. Sonia C. believes you can choose to recreate your life no matter what phase of it you're in. We can always create something new as long as we get rid of the old! Places hold energy and that energy collects. Have you ever entered into a space that someone hasn't been in for a long time? You can feel this collected and stale energy that's lying there, and it can also transfer and affect you! This does not just apply to the spaces you live in, but at our offices, and other places you might spend a lot of time in! Tool of the Week: Give yourself a psychic purge! Question of the Week: How do I stay positive when my environment around me is so depressing? Continue on Your Journey: More Sonia Choquette at www.soniachoquette.com More Sonia Tully at www.soniatully.com Connect with Sabrina at www.sabrinatully.com Join Sonia Choquette's Vibe Tribe Follow Sonia Choquette on Instagram Follow Sonia Tully on Instagram Buy Sonia and Sabrina's Book You Are Amazing Ask your intuitive questions at: firstname.lastname@example.org Masterclass: You're Glorious Life by Sonia Tully Heart-Centered Intuition Workshop with Infinity Foundation
Synopsis On today's date in 1841 an all-Beethoven concert was given at the Salle Erard to raise funds for the proposed Beethoven monument in Bonn, the late composer's birthplace. Franz Liszt was the piano soloist in Beethoven's “Emperor” Concerto, conducted by Hector Berlioz. About a month earlier, Liszt had dazzled Paris with the premiere of his new piano fantasia on themes from the popular opera “Robert the Devil,” by Giacomo Meyerbeer. So, as Liszt walked on stage—with the entire orchestra in place, all ready for Beethoven's Concerto—the audience clamored loudly for a repeat performance. They made such a racket that Berlioz and the orchestra had no choice but to sit idly by until Liszt first encored his Fantasia. In the audience was a 27-year old German named Richard Wagner, reviewing the concert for a Dresden newspaper. Wagner was outraged that the Beethoven was put on hold for Liszt's flashy solo. We're not sure if Wagner attended a concert the following day at the Salle Pleyel, but any modern-day time traveler would probably want to stick around to hear Frederic Chopin give one of HIS rare Parisian recitals, performing, among other works, his own F-Major Ballade. Music Played in Today's Program Franz Liszt (1811 – 1886) Reminiscences de Robert le Diable Leslie Howard, piano Hyperion 66861
In this episode of the Bikepack Adventures podcast, I finally have the opportunity to learn a bit more about Sofiane Sehili. When I first reached out to Sofiane over a year ago, he told me that he's done a ton of podcasts and that he'd be happy to come on the show, so long as our conversation is on something new. After following Sofiane and his partner's adventure throughout SE Asia this past winter, I thought this was the perfect opportunity to have him share his adventure and talk about bike touring during bikepack racing's off-season. Most people will know Sofiane as a Parisian bike courier turned bikepacker, as a racer that has un unnatural ability to stay up for really long periods of time and of course, as a pretty highly regarded singer. What you may not know is that it all started for Sofiane on a bike trip in SE Asia years earlier. This time around he came back so he could share the experience with his partner.To support the Bike Tour Adventures podcast, follow the links below:https://www.patreon.com/biketouradventures orhttps://www.paypal.com/paypalme/biketouradventures Join the RideWithGPS Bikepack Adventures ClubFind them at:Instagram: https://www.instagram.com/sofianeshl/?hl=enFacebook: https://www.facebook.com/sofiane.shlYouTube: https://www.youtube.com/@sofianeshlWebsite: https://sofianesehili.com/Find me at…WEBSITEYOUTUBEFACEBOOKINSTAGRAMITUNESShow SponsorsRedshift Sports --> Use code BPA15 to save 15% at checkoutRestrap --> Use code BTAPOD10 to save 10% at checkoutChiru BikesBrockton CycleryPanorama CyclesRaceDay Fuel --> Use code BTA10 to save 10% at checkout
Paris is still the number one location in the world for women to visit. Why is that? In today's episode, Sharri shares how we all want some of that Parisian magic but what does that look like? Sharri lives part time in Paris and speaks about the differences between a French woman's mindset and the typical American woman's mindset. After listening to this episode, you may feel that it's time to start embracing new habits! Extraordinary Women - Extraordinary Women is THE show and magazine to help extraordinary women like you design, create and live a fabulous next chapter! Subscribe to receive the FREE quarterly digital and print Extraordinary Women Magazine! Connect with Sharri Harmel Find this episode (and more) on your favorite podcast player at Extraordinary Women with Sharri Harmel
Rachel Gillett's At Home in Our Sounds: Music, Race, and Cultural Politics in Interwar Paris (Oxford University Press, 2021) explores the world of the French "Jazz Age" in the years after the First World War. Tracing the common ground and differences between communities of African American, French Antillean, and French West African artists who lived, performed, and interacted with one another in the French capital during the 1920s and 30s, the book asks questions about Blackness, Frenchness, colonialism, racism, identity, and solidarity through a focus on the experiences of a diversity of historical actors and sources. Connecting the rich and complex world of entertainment to social and political change and resistance, the book draws attention to class and gender as well as race to think through issues of nationalism, transnational movement and exchange, and anti-colonialism. Its chapters work with a range of materials including police records, recordings, biography and autobiography, and a wealth of images of/from the diverse Parisian cultural life the era. Pushing beyond the well-established history of white responses to Black musical forms (Jazz and the Biguine) during this period, the book emphasizes the perspective of Black observers, including the famous Nardal sisters of Martinique, who commented on the varied cultural and political effects of artists and performances. The book will be a fascinating read for anyone interested in the history of music, race, and exchanges across the Atlantic, including different points within the French empire during this period. And the legacies of this moment continue to resonate in France and beyond a century later. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-studies
Rachel Gillett's At Home in Our Sounds: Music, Race, and Cultural Politics in Interwar Paris (Oxford University Press, 2021) explores the world of the French "Jazz Age" in the years after the First World War. Tracing the common ground and differences between communities of African American, French Antillean, and French West African artists who lived, performed, and interacted with one another in the French capital during the 1920s and 30s, the book asks questions about Blackness, Frenchness, colonialism, racism, identity, and solidarity through a focus on the experiences of a diversity of historical actors and sources. Connecting the rich and complex world of entertainment to social and political change and resistance, the book draws attention to class and gender as well as race to think through issues of nationalism, transnational movement and exchange, and anti-colonialism. Its chapters work with a range of materials including police records, recordings, biography and autobiography, and a wealth of images of/from the diverse Parisian cultural life the era. Pushing beyond the well-established history of white responses to Black musical forms (Jazz and the Biguine) during this period, the book emphasizes the perspective of Black observers, including the famous Nardal sisters of Martinique, who commented on the varied cultural and political effects of artists and performances. The book will be a fascinating read for anyone interested in the history of music, race, and exchanges across the Atlantic, including different points within the French empire during this period. And the legacies of this moment continue to resonate in France and beyond a century later. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts
Rachel Gillett's At Home in Our Sounds: Music, Race, and Cultural Politics in Interwar Paris (Oxford University Press, 2021) explores the world of the French "Jazz Age" in the years after the First World War. Tracing the common ground and differences between communities of African American, French Antillean, and French West African artists who lived, performed, and interacted with one another in the French capital during the 1920s and 30s, the book asks questions about Blackness, Frenchness, colonialism, racism, identity, and solidarity through a focus on the experiences of a diversity of historical actors and sources. Connecting the rich and complex world of entertainment to social and political change and resistance, the book draws attention to class and gender as well as race to think through issues of nationalism, transnational movement and exchange, and anti-colonialism. Its chapters work with a range of materials including police records, recordings, biography and autobiography, and a wealth of images of/from the diverse Parisian cultural life the era. Pushing beyond the well-established history of white responses to Black musical forms (Jazz and the Biguine) during this period, the book emphasizes the perspective of Black observers, including the famous Nardal sisters of Martinique, who commented on the varied cultural and political effects of artists and performances. The book will be a fascinating read for anyone interested in the history of music, race, and exchanges across the Atlantic, including different points within the French empire during this period. And the legacies of this moment continue to resonate in France and beyond a century later. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
New Books in African American Studies
Rachel Gillett's At Home in Our Sounds: Music, Race, and Cultural Politics in Interwar Paris (Oxford University Press, 2021) explores the world of the French "Jazz Age" in the years after the First World War. Tracing the common ground and differences between communities of African American, French Antillean, and French West African artists who lived, performed, and interacted with one another in the French capital during the 1920s and 30s, the book asks questions about Blackness, Frenchness, colonialism, racism, identity, and solidarity through a focus on the experiences of a diversity of historical actors and sources. Connecting the rich and complex world of entertainment to social and political change and resistance, the book draws attention to class and gender as well as race to think through issues of nationalism, transnational movement and exchange, and anti-colonialism. Its chapters work with a range of materials including police records, recordings, biography and autobiography, and a wealth of images of/from the diverse Parisian cultural life the era. Pushing beyond the well-established history of white responses to Black musical forms (Jazz and the Biguine) during this period, the book emphasizes the perspective of Black observers, including the famous Nardal sisters of Martinique, who commented on the varied cultural and political effects of artists and performances. The book will be a fascinating read for anyone interested in the history of music, race, and exchanges across the Atlantic, including different points within the French empire during this period. And the legacies of this moment continue to resonate in France and beyond a century later. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies
Rachel Gillett's At Home in Our Sounds: Music, Race, and Cultural Politics in Interwar Paris (Oxford University Press, 2021) explores the world of the French "Jazz Age" in the years after the First World War. Tracing the common ground and differences between communities of African American, French Antillean, and French West African artists who lived, performed, and interacted with one another in the French capital during the 1920s and 30s, the book asks questions about Blackness, Frenchness, colonialism, racism, identity, and solidarity through a focus on the experiences of a diversity of historical actors and sources. Connecting the rich and complex world of entertainment to social and political change and resistance, the book draws attention to class and gender as well as race to think through issues of nationalism, transnational movement and exchange, and anti-colonialism. Its chapters work with a range of materials including police records, recordings, biography and autobiography, and a wealth of images of/from the diverse Parisian cultural life the era. Pushing beyond the well-established history of white responses to Black musical forms (Jazz and the Biguine) during this period, the book emphasizes the perspective of Black observers, including the famous Nardal sisters of Martinique, who commented on the varied cultural and political effects of artists and performances. The book will be a fascinating read for anyone interested in the history of music, race, and exchanges across the Atlantic, including different points within the French empire during this period. And the legacies of this moment continue to resonate in France and beyond a century later. Roxanne Panchasi is an Associate Professor of History at Simon Fraser University in Vancouver, Canada who specializes in twentieth and twenty-first century France and empire. She is the founding host of New Books in French Studies, a channel launched in 2013. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/music
Donal Macleod explores how, from childhood, Poulenc was exposed to two versions of Paris: one that was working class and religious, another that was high society, secular... and avant-garde. Francis Poulenc was the epitome of Parisian high society: suave, convivial and connected. Or was that how he wanted us to see him? The critic Claude Rostand famously commented that Poulenc was a combination of “moine et voyou” - monk and rogue. This week, we follow the composer from Paris's artisanal upper class heartland, to the city's dark underbelly, discovering the moments when the monk and the rogue met face-to-face. Music Featured: Piano Concerto in C-Sharp Minor, FP 146 (1st mvt) Sonata for Piano 4 Hands Gnossiennes Rapsodie Nègre L'Album des Six (5th mvt, ‘Valse') Les Biches Concert Champêtre Les Soirées de Nazelles Les Litanies à la Vierge Noire Bleuet Les Animaux Modèles L'Histoire de Babar Les Mamelles de Tirésias La Fraîcheur et le Feu Les Dialogues des Carmelites La Voix Humaine Presented by Donald Macleod Produced by Alice McKee For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Francis Poulenc (1899 – 1963) https://www.bbc.co.uk/programmes/m001lkym And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z
This Day in Esoteric Political History
We're re-running some favorite recent episodes this week, and will be back with brand new episodes very soon! It's October 4th. In 1776, Benjamin Franklin is headed to France as the Continental Congress's first diplomat, looking to secure support for the American independence movement. Jody and Kellie are joined by Mike Duncan, history podcaster behind series such as “Revolutions” and “The Fall of Rome.” They discuss Franklin's diplomatic goal, his taste for the Parisian nightlife — and why the values of the Founding Fathers continue to be contested and politicized. Check out Mike's book “Hero of Two Worlds.” Sign up for our newsletter! Find out more at thisdaypod.com And don't forget about Oprahdemics, hosted by Kellie, out now from Radiotopia. This Day In Esoteric Political History is a proud member of Radiotopia from PRX. Your support helps foster independent, artist-owned podcasts and award-winning stories. If you want to support the show directly, you can do so on our website: ThisDayPod.com Get in touch if you have any ideas for future topics, or just want to say hello. Our website is thisdaypod.com Follow us on social @thisdaypod Our team: Jacob Feldman, Researcher/Producer; Brittani Brown, Producer; Khawla Nakua, Transcripts; music by Teen Daze and Blue Dot Sessions; Audrey Mardavich is our Executive Producer at Radiotopia
Mapping our genes has already allowed humanity to make huge strides in medicine. But the vast majority of the genomes we've decoded are those of people of white European heritage. Why is that a problem, and how do we fix it? This week we talk to the Nigerian geneticist Segun Fatumo about fixing the genome gap. We're also talking about Andalucía's bid to protect flamenco, and why Europe's most powerful media mogul is in hot water. Segun is an associate professor of genetic epidemiology and bioinformatics at the London School of Hygiene and Tropical Medicine. He tweets @SFatumo. You can find a video of flamenco performers celebrating Andalucía's new law here, and watch the latest visual podcast in our series with Are We Europe, 'Andrea', here. We are delighted that the visual version of an earlier episode of This Is What A Generation Sounds Like, 'Mohamed', has been nominated for the CIVIS Prize! Watch it here. This week's Isolation Inspiration: this interview on the European Space Agency's Jupiter mission; How To Sell Drugs Online (Fast); World Leader or My Friend's Dad? and Luis Sal's Parisian croissant review. Thanks for listening! If you enjoy our podcast and would like to help us keep making it, we'd love it if you'd consider chipping in a few bucks a month at patreon.com/europeanspodcast (many currencies are available). You can also help new listeners find the show by leaving us a review or giving us five stars on Spotify. FULL EPISODE TRANSCRIPT HERE: https://europeanspodcast.com/episodes/how-racial-bias-is-messing-with-dna-research 00:22 Make Europe Digestible Again 02:23 A Good Week for protecting flamenco? 09:22 A Bad Week for Axel Springer's CEO 19:30 Interview: Segun Fatumo on the European bias of genomic studies 30:24 Isolation Inspiration: Juice, 'How to Sell Drugs Online (Fast)', World Leader or My Friend's Dad, croissant reviews 34:59 Happy Ending: 500 days of reading and knitting (in a pitch-black cave) Producers: Katy Lee and Wojciech Oleksiak Mixing and mastering: Wojciech Oleksiak Music: Jim Barne and Mariska Martina Twitter | Instagram | email@example.com
The Simple Sophisticate - Intelligent Living Paired with Signature Style
It all began with 18 months in Paris as a young woman more than 30 years ago. Inspired by her time volunteering during the day at a Parisian floral boutique while she figure skated in the evenings, Sandra Sigman's life journey and approach to floral arrangements was forever changed, and thus began the unfolding of a dream. In today's episode, author of the best-selling book in Floral Arrangements, Sandra Sigman joins me to talk about French Blooms: Floral arrangements inspired by Paris and beyond and goes behind the scenes telling more of the life journey, the highs and the lows that have left her grateful and celebratory for where she is today. Sigman's floral boutique Les Fleurs in Andover, Massachusetts, continues to offer seasonal floral arrangements that draw direct inspiration from what she learned in Paris so many years ago. Whilst continuing to take regular trips to France to visit brocantes and antique fairs, Sigman's love for the country is abundant. In our conversation Sandra will also talk about the French's sacred ritual of welcoming flowers into the home on an regular basis, just because, as well as go behind the scenes to the genesis of the book and how her friendship with Sharon Santoni, the founder of My French Country Home who makes her home in Normandy, France, played a role in many of the images found in the book (the image just below was captured on Sharon's property with her guest cottage setting the scene in the background; and her pup Ghetto is also captured in a few photographs as well). Also, the cover! Discover the cover story that took her to Paris to capture and why she felt it was important for this particular image to be the one we now see today. And Sandra also shares how her mother holds a powerful role in the business venture both daughter and mother began together to open Les Fleurs so many years ago and how her spirit continues on in the work Sandra does. I do hope you will tune in to listen to our conversation, and rest assured, a Petit Plaisir will be shared as Sandra extends ideas for setting herself up for a beautiful day. Links from the conversation: Visit Sandra Sigman's floral boutique online or in person - Les Fleurs Brecks - Sandra's go-to for bulb shopping Adelman Peony Garden (located in Oregon) Chatou Fair - Antique Fair just on the outskirts of Paris Marché de Rungis - the flower market that offers 5am tours Sandra shared the green tea she enjoys each morning - Yogi Green Tea pure green decaf Follow Sandra Sigman on Instagram @lesfleursandover. and @lesfleursviasandra Below are a few images and a video from her account: ~Listen to more French-inspired episodes of The Simple Sophisticate podcast here. ~Learn more about the show, The Simple Sophisticate podcast and download all of the episodes here.
Synopsis Early in April in the year 1845, a 15-year old American pianist named Louis Moreau Gottschalk performed at the Salle Pleyel in Paris. On the program was Chopin's Piano Concerto in E minor, and Chopin happened to be in the audience and congratulated the young American on his performance. What exactly Chopin said depends on whom you asked. Gottschalk's first biographer claims it was, “Very good, my child, let me shake your hand,” while Gottschalk's sister insists it was, “I predict you will become the king of pianists!” In 1845, Parisian society was curious about anything American after experiencing other exotic exports from the New World, including P.T. Barnum's circus and George Catlin's paintings of Native American life. Anything American was definitely “hip.” Four years later, on today's date in 1849, Gottschalk returned to the Salle Pleyel, this time performing some of his own compositions, including a work entitled Bamboula, after the name of a deep-voiced Afro-Caribbean drum. The Parisian audiences had never heard anything like it and gave him a standing ovation. Gottschalk was born in New Orleans and was exposed from childhood to Cuban and Haitian music and went on to write original works which anticipate both the rhythms and colors of American jazz. Music Played in Today's Program Frederic Chopin (1810 – 1849) Piano Concerto No. 1 Krystian Zimerman, piano; Polish Festival Orchestra DG 459 684 Louis Moreau Gottschalk (1829 – 1869) Bamboula Alan Feinberg, piano Argo 444 457
The world of couture designers during the Gilded Age and the Belle Epoque went far beyond just the designers themselves. Houses such as Worth, Doucet and Paquin and many others created the stunning gowns and dresses worn by both Europe's and America's moneyed elite. But the network of milliners, hairdressers, perfumers, and even shippers and tax agents all made up the larger network that created this uniquely interdependent world. Author Dr. Elizabeth Block (Dressing Up: The Women Who Influenced French Fashion, MIT Press) takes us deep into the Parisian fashion world of the late-19th century for a fascinating look at how these fashions were made, how much they really cost, how they were sold, and how they were shipped back to mansions on Fifth Avenue. Discover why the House of Worth is the most well-known today, as well as some of the contributions of houses lesser known today, such as Maison Felix.
MIT Comparative Media Studies/Writing
How and why, in the latter half of the twentieth century, did informatic theories of “code” developed around cybernetics and information theory take root in research settings as varied as Palo Alto family therapy, Parisian semiotics, and new-fangled cultural theories ascendant at US liberal arts colleges? Drawing on his recently published book “Code: From Information Theory to French Theory,” and primary sources from the MIT archives, this talk explores how far-flung technocratic exercises in Asian colonies and MIT's Research Laboratory of Electronics (RLE) inspired these varied and diverse audiences in a common dream of “learning to code.” The result is a new history of the ambitions behind the rise of “theory” in the US humanities, and the obscure ties of that endeavor to Progressive Era technocracy, US foundations, and the growing prestige of technology and engineering in 20th century life. Bernard Dionysius Geoghegan is a Reader in the History and Theory of Digital Media at King's College London. An overarching theme of his research is how “cultural” and “humanistic” sciences shape—and are shaped by—digital media. His attention to cultural factors in technical systems also figured in his work as a curator, notably for the Anthropocene and Technosphere projects at the Haus der Kulturen der Welt. Duke University Press recently published his book Code: From Information Theory to French Theory (2023), based partly on archival research he undertook as a visiting PhD student at MIT around 2008.
Spoiler alert - this is a true story! Meet Drue Leyton - a real-life actress from The Golden Age of Hollywood. She would have turned 120 this year! But in 1939, Leyton found herself in the biggest - and most dangerous - role of her life! Leyton had walked away from Tinseltown to marry a Parisian – just to find herself in the middle of World War II! Leyton took on the unexpected, unglamorous and unsafe role of: aide to the French resistance!! And not just any aide - Hitler himself promised to execute her when Germany occupied France! Leyton is just one of the little-known yet influential women of WWII and U.S. history!! And now WASHINGTON POST and AMAZON CHARTS bestselling author - JANE HEALEY – brings Leyton back into the spotlight in the new historical novel, GOODNIGHT FROM PARIS.
Of all the podcasts in all the podcast apps in all the world, you scroll into ours... We finally got The Shift Podcast Network's Pod-Dad to guest - it's Andy Gaffney! And with the daddy of podcasting, we have to dig into a true daddy of cinema - CASABLANCA! Here's listening to us, kid, as we take Andy through a Moroccan and Parisian romp with illuminating discoveries about World War II history, Looney Tunes inspirations and a lively re-enactment of the modern Warner Bros logo music. Keep an eye out for season 2 of the Promenade podcast, coming at the end of April 2023 We have a Patreon! The First One To See is the home of all our cultural chats including what we're watching right now and anything else that tickles our fancy. Sign up at https://www.patreon.com/TheLastOneToSee Follow the podcast on Instagram, Twitter and Letterboxd (@thelastonetosee on all the things) Follow David (@davidpfitz) on Letterboxd and Twitter and Instagram Follow Kate McEvoy (@imkatemac) on Twitter and Instagram Follow Andy Gaffney on (@BeGrandAndy) Twitter and (@gaffneyandy) Instagram Email: firstname.lastname@example.org Our theme music is “80's And Chill” by Empyreal Glow Background image courtesy of Mars Plex at unsplash.com Ticket images courtesy of KStudio at freepik.com The Last One To See is part of The Shift Podcast Network. Check out https://theshift.ie/ gaffneyandy
Hi! I'm Naïm, born and raised in Paris, the City of Love.After travelling the world living my dreams & experiences, I realized I was deeply in love with my hometown.I then decided to move back to Paris and help couples from all around the world to write a new chapter in their life, thanks to the teachings of my mentor.Support the show
Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Kelly Molson, Founder of Rubber Cheese.Download the Rubber Cheese 2022 Visitor Attraction Website Report - the first digital benchmark statistics for the attractions sector.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website rubbercheese.com/podcast.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned in this podcastCompetition ends July 31st 2023. The winner will be contacted via Twitter. Show references: https://bristolzoo.org.uk/https://www.wildplace.org.uk/https://www.linkedin.com/in/mike-coe-mba-943a7985/ Mike Coe (MBA), Commercial Director: Mike has over 20 years' experience working in commercial and leadership roles within both charity and the private sector. Mike joined the Society in December 2021 and is responsible for the commercial and public engagement strategy. Previous to joining the Society he was CEO at the Friends of Westonbirt Arboretum developing funding strategies and vision delivery in conservation, education and participation at the National Arboretum. Before that Mike was also CEO of Arnos Vale, leading the successful restoration and sustainable financial transformation programme within the iconic heritage and wildlife estate. Mike also led the relaunch of the Bristol Aquarium alongside leading successful consultancy projects supporting organisational change and delivery within the visitor economy. Transcriptions: Kelly Molson: Mike, thank you so much for coming on to Skip The Queue today. It's lovely to see you. Mike Coe: Thanks, Kelly. Kelly Molson: We are recording on a very snowy March day, but Mike and I are inside in the warm, so we're quite happy. Mike Coe: Yeah, well, still got a bit of snow outside at Wild Place. We had loads yesterday and had to try and shovel that all off and get the site open, ready for the visitors. Our visitor services team were out moving water around the site and shoveling snow, but it's all pretty much melted away now, so it's still quite wintry looking out there, but, yeah, not so slippery. Kelly Molson: There you go. The visitor experience team, they're the heroes of the day. Right, Mike, we're going to start off with some icebreakers, so I want to know if I could gift you a month off tomorrow and you could travel anywhere in the world. I know, right, please, let's put that out of the universe. Where would you go? Mike Coe: So when I left university, I actually travelled around Southern Africa. So I spent some time in Botswana, Zimbabwe, Namibia, South Africa. Really enjoyed my time there. I was teaching there and working in a rhino sanctuary and did a number of things out there and always wished, always wanted to go back. I'll be back all the time, but actually, I never got the opportunity to head back there and then had children. You need a length of time to get out there. So, yeah, if I had a month, I would definitely go back and sort of retrace those steps and just see how much things have changed over that time period, from sort of 2000, 2001 to sort of where we are now, sort of 20 odd years later. Mike Coe: So, yeah, I think I'd love to be able to do that and take my time and travel those areas. I'm a massive fan of the culture over there, but also, as you're probably not surprised, the wildlife over there, so it'd be a great chance to see how that's changed and transformed. Kelly Molson: Amazing. Would you go on your own or would you take kids? Mike Coe: I think I'd probably go on my own. Kelly, boy, I think as much as I'd love it, my little boy loves an adventure. Charlie I just think, yeah, sometimes, you know what I mean? It's having to think about them while you're trying to discover the place. Might be getting away a bit. Kelly Molson: Yeah, I hear you. It's funny because we've always said if we were lucky enough to have children, they would be part of our travel adventures as well. Now I'm like, yeah, maybe not. I changed my mind on that.Mike Coe: Keep your eyes on them, as well as what's going on. Kelly Molson: Great. Okay, if you were in a karaoke booth, what is your karaoke go to song? Mike Coe: Probably Bon Jovi's Living on a Prayer. You can imagine that after a few drinks, microphone on hand, thinking you're a Rock Gods, melting that one out. It's a classic. Classic's spud a goody.Kelly Molson: I feel like if you're going to do karaoke, you've got to do a crowd pleaser that everyone knows the words too and then they carry you along, Mike. Mike Coe: Absolutely, you can't go into karaoke singing a song that you can sing. It has to be something that you literally can't hit any note on. And that's definitely one of those for me. Kelly Molson: We could do karaoke together. We're on the same level of karaoke skill here. Right, last one. Can you share with me one of your irrational fears? Mike Coe: Oh, cool. That's a good one. Actually, mine is always I would say it's about people letting people down. So I think when you sort of move up and you're in leadership roles, you're aware of what you can do. But it's always that sense of or fear of, have I done something? Have I let other people down? I can let myself down, but it's that letting other people down. So I do think I take great pride and passion in supporting teams, and if I feel I've let them down, I think that's the thing that hits me the hardest, if I'm honest.Kelly Molson: Would you say, because this is one of my biggest challenges, because I think I'm like a certified people pleaser. So one of the things that took at the beginning of this year was I need to be careful about things that I say yes to, because I put myself under a massive amount of pressure when I do that, because I don't want to let people down all the time. So I've started to kind of just take a bit of a step back and go, “Can I do this? I really want to do this. But do I have the capacity for this? What pressure is this going to put on me this year?” But that is one of my biggest things, is a fear of letting people down because of that. Mike Coe: Yeah, and I'm the same. And you do have to end up setting boundaries, and it's only you have to set those boundaries because by saying yes too much and doing too much, ultimately you are going to let people down. You just don't have the capacity to do a good job. And I think we're all guilty, everyone's guilty of taking too much on because you just want to do a good job. But actually, it's that setting those boundaries and actually understand that it's okay to say no as long as there's a reason for that. Kelly Molson: Yeah, absolutely. Boundary is the word of the year, I think. Thank you for sharing that. Right. What is your unpopular opinion that you've prepared for us? Mike Coe: I know, and I didn't know where to go with this one, to be honest, because I've got quite a few. And this one, and I'm going to apologise now because I've got many Parisian friends. We work with some here as well. But I just think that Paris is a little bit overrated, Kelly. And I know, like I said, I've got so many friends from France and Parisians, and they've tried to convince me. I've been there a few times, but for me, it's just expensive. I always seem to end up with bad service there. I had my wallet stolen there once. I suppose that set me off on a bad foot. Mike Coe: And then seeing some of those sort of images, the sites that you've been expecting, and reading books when you're younger, and then when you get there, they're just not quite for me and for me, just wasn't quite what I had expected. So, yeah, it's going to be an unpopular decision and an popular thing to say, but I just don't get Paris and the romanticism around Paris, and maybe I'll be convinced as I go in later into life, and somebody will take me there and I'll see it for what I should. But, yeah, Paris is overrated, Kelly.Kelly Molson: Paris is overrated, statement. I really like this one. I don't know how unpopular this is going to be. Interesting. I just got back from a conference, actually, where there was a Parisian speaker who was really funny. He does a comedy show in Paris about Parisians and their culture. And he said, “Yeah, we are rude. We are openly rude, and we celebrate in being rude.” And I thought, “Well, okay, yeah, at least own it.” Mike Coe: Yeah, maybe I don't get that. Maybe I should just accept that they are rude and just live with that. Kelly Molson: Yeah, go with that expectation. Again, that's a very sweeping statement, and that may not be my opinion. Just putting that out there. That was what the comedian was telling me. Mike Coe: I will add to it to any Parisian friends of mine watching this, I love you all. Kelly Molson: Mirabelle from Convius will be listening to this, I'm sure. And I adore you. This is, again, not my unpopular opinion. Thank you. That was a good one. Well, let me know what you think, listeners. Let me know if you're sharing Mike's, how do we get Mike's unsatisfactory opinion of Paris? Mike Coe: Yeah, my one star TripAdvisor review of Paris. Kelly Molson: Okay. Right. I'm really glad that you've come on the podcast today, Mike, because we are going to talk about something that we've never talked about on the podcast before and that's about actually the decision to close an attraction. Sometimes we're talking about attractions opening and all of the amazing things that they're doing, but this time we're going to talk about an attraction closing. So tell us a little bit about your background and then we can start to talk about what your current role entails and how you got to that decision. Mike Coe: Yeah, I've been in visitor attractions now since around about 2010 and then earlier through my studies, I studied leisure and tourism as well, but really got back into visitor attractions after a break, actually, with BP in their graduate scheme for a while. And I launched or relaunched Bristol, well, what was then Blue Reef Aquarium, but rebranded and relaunched Bristol Aquarium in Bristol, which was a great one for me, to be honest with you, launching a new product, new brand and a really nice new attraction for Bristol. So, yeah, growing and developing new attractions, certainly for me. And then on there, I was brought in chief executive of Arnos Vale, which is actually a cemetery in Bristol, but we was scheduled to close and we got some Heritage Lottery funding to reopen that as a heritage site, events as well going on there. Mike Coe: So were the first people doing events in a cemetery as a heritage site, as a museum, and we found a sustainable model for it financially to actually make it pay for itself. So this heritage site would save, secured, rebuilt with the Heritage Lottery Fund money and really a great success story of developing another new visitor attraction in Bristol as well. Then over to Westonbirt the National Arboretum, supporting Forestry England in the development and growth of Westonbirt the National Arboretum and some great new developments there. So always growing new commercial opportunities within visitor attractions. And then this opportunity with Bristol Zoological Society, which is very different, of course, because I hadn't closed a visitor attraction before. Mike Coe: But, yeah, that was what I moved over to Bristol Zoological Society to which, although I say it's about closing Bristol Zoo, it was a lot more than that, of course. So it's the closure of Bristol Zoo Gardens after 186 years, but actually the future and the positivity for the society that brings, because we also own an attraction called Wild Place Project. And the sale of the proceeds from the sale of Bristol Zoo Gardens that's going to be moved into, ploughed into the Wild Place Project with a brand new zoo for Bristol in effect and really reimagining what the zoo of the future should be. So, yeah, that's where it's gone from growing new visitor attractions to closing one and developing another one. Kelly Molson: Yes. So it's come full circle, isn't it? We started off that quite negatively, didn't we? But actually there's some really incredible opportunities that are coming from this experience. So we're going to start kind of at the beginning part of it, though. So, like you said, Bristol Zoo closed in September 2022 after 186 years. Got absolutely phenomenal. What was the decision behind it? What was the reason for that happening? Mike Coe: Yeah, it's one of those decisions, I think if you were to ask the Trust now, they probably should have taken earlier, in my view. So for a number of years, Bristol Zoo Gardens had been its revenues have been reducing and then in decline. So it had been losing money for a number of years over the decade before it. And it's a bit like that Region Beta Paradox. Have you heard of that? And actually, what the Region Beta Paradox says is essentially a theory that sometimes the worse things are, the better the final outcome will be because you actually act on it and you actually make a change and you do something about it. So the recovery can be a lot quicker from a much worse situation. That worse situation, of course, was COVID. Mike Coe: So that really hits the charity reserves, in effect. And really, at that point, that decision had to be taken that they could no longer take the losses from Bristol Zoo Gardens and the site itself was crumbling. So the amount of investment that would have been required to restore Bristol Gardens as a visitor attraction, that wasn't falling effectively, the infrastructure was crumbling, so it would have taken a huge amount of investment to keep the site going in a space that had reduced visitor numbers year after year after year. So that was kind of the financial and commercial decision to close it. But the other thing, of course, is that Bristol Zoo Gardens was a twelve acre site, so quite a small inner city zoo. Mike Coe: Welfare standards amongst animals have changed from where they were 186 years ago into what size enclosures animals need for their welfare now. And Bristol Zoo Gardens, great space, but unfortunately just was too small to be able to provide the levels of welfare standards that are required now in zoology. So we're over here at Wild Place, ten times bigger than the sites at Bristol Zoo Gardens and the ability to develop enclosures far bigger than we were able to be, able to do at Bristol Zoo Gardens. So it wasn't just this commercial decision that we had to close the zoo. It's also, quite rightly, an animal welfare situation. Mike Coe: And what we can offer here is much better space and the chance with the money from that, the chance to develop a brand new type of zoo over here at Wild Place, a zoo of the future, where animals that we work with are involved in our conservation projects around the world. So it's not just about putting animals in for entertainment, it's about actually the purpose of those animals in terms of conservation and their conservation status. Kelly Molson: Let's talk about that then, because I'd love to know kind of what the vision is for what you're now kind of building on and that kind of positive aspect of it. Mike Coe: Yeah. And I think we start off it is about the animals that we have in the New Bristol Zoo. And the New Bristol Zoo will be developed with the sale of Bristol Zoo Gardens over the course of the next five to ten years. And the enclosures that will be here at first are much bigger, so the animals are in a more natural environment. So almost as you're walking through the gates, you're arriving somewhere other that you're almost on an on foot safari. So, you know, the traditional type of zoo. And another controversial thing I'll say is I'm not a big fan of traditional zoos, so I'm not a massive zoo fan. Certainly the modern zoos and the way we look at it is certainly the way to move. Mike Coe: And that's making sure that there's much bigger enclosures, that you're stumbling on those animals, you're not just looking from fence to fence that you actually have to do a bit of work while you're here to see those animals on foot. So this “on foot safari”, that's going to be a theme that sort of overrides what goes on here. The species of animals that we have here are going to be involved in the conservation projects that we have around the world, be that Africa, Philippines, we have a number of projects around the world and we're going to have the species here are the species that we're involved in those conservation projects. So actually, this is just going to be an insight into the world of field conservation, our in situ work. Mike Coe: So in situ means the work you do out in the field on those projects. So this is going to be an extension of those in situ field projects that we have out there, working with the same species of animals. We're also going to have a conservation campus. So within that campus, we're going to have university students who are involved in direct conservation work. They're going to be here on site, so our visitors are going to be able to walk through that campus as part of the visitor journey. So those students are going to be there interacting with our visitors. It's going to have a breeding centre, so they're going to see the breeding work that we do both here that supports the conservation work around the world. Mike Coe: So it's that whole what we do in the field, what we do here, and the breeding centre, linking that all together on this on foot safari. So something completely different to a standard zoo, I would like to think. Kelly Molson: What a phenomenal experience for the guests that's coming along as well. Because the opportunity that they could bump into students that they can talk to about their education path and what they're doing and the conservation aspects of there, that makes that visit even better than it would be just if you are just going to visit a standard zoo. Mike Coe: Exactly that. And what we realise is that if we want to save wildlife, and our vision at Bristol Zoological Society is to save wildlife together, we realise that we can't do that in isolation on our own. It has to be together, it has to be changing behaviours of the people that come onto the site. And a large proportion of those people that come on site are young people. We attract young people. So it's changing the behaviours of those young people for them to make correct, positive conservation decisions. And you're right, you talk about them engaging with those students as they're on site. We want them to become adventurers for the day when they walk in, so they almost become a conservation hero as they leave the gates. They come in as a visitor, become an adventurer and leave the gates as a conservation hero. Mike Coe: And that's what we want to do. We want everyone to come away with this impression of what they can do at home to make real world changes. You're going to come and visit. Kelly Molson: You absolutely sold that into me. Like, I'm there. I want to be an adventurer. Mike Coe: We'll get everyone wearing those Indiana Jones style hats as they come in, so they feel the part. We'll get our public engagement team coming up with some really exciting ways to make them feel like they're suddenly out on their in situ adventure. Kelly Molson: Perfect. I can absolutely rock that hat. And I'm sorry I interrupted you mid flow, but I was like, “Gosh, yes, I'm really feeling this”. And I was like, the buzz that there is around this is quite tantalising. Mike Coe: Exactly. And it all relies once we get the sale of Bristol Zoo Gardens, then we can really start to make this vision and become a reality. And it's much bigger than just Bristol. It's this global conservation emergency that we're in that we'll feel like we're a part of and it's great that it's in our city. Bristol is known for being quite different in the way it looks at things. We're a great city, we're an ingenious city, and it's going to be great to have a zoo that does things a little bit differently, a bit like Bristol tends to like to do. Kelly Molson: Definitely, yeah. The ethos of Bristol is definitely different. This is amazing. So an incredible vision that you have there. Genuinely, there is an excitement there. I can feel it as you talk about it and the passion for it. I just want to go back a little bit, though, because I guess it's been quite a difficult decision to make from a financial perspective, anyway. And from a heart perspective, you're going to have a lot of team that have worked at Bristol Zoo for many years. And I know you weren't there from the start of this decision making process. But how did you go about communicating these decisions to the team and what was their reaction? Mike Coe: Yeah, like I said, I wasn't there when the initial announcement that the zoo would be closing. I know that it was an incredibly difficult decision, both making that decision, but also how that was communicated with staff. And the staff are clearly the first to be told before it was made public. And you think you've got a number of staff who have been there 30, nearly 40 years at that time. So it's dealing really sensitively with all the staff, especially those that have been there that time. And then you've also, unlike, I guess, other attractions, where you probably don't have as much attachment to the product, not that I'm calling the animals a product in a museum, you don't quite have that same attachment. Mike Coe: You've got keepers that have been working, say, with the gorillas for a decade, so they've seen them grow up and work with those. So you can understand how gut wrenching it must have been at the time for those stuff and how sensitively this had to be dealt with, because it was a decision that clearly nobody wanted to take, but ultimately had to take. And it was communicating that now. I was there when the actual final dates of a date closure for Bristol Zoo Gardens was announced, the 3rd of September being the last day. So I was there and we brought everybody into a big town hall and told all the staff that 3rd of September was going to be the final day. Mike Coe: And you go through this curve of emotion, this acceptance cycle, and that first stage is real despair amongst a number of the staff there and working and developing those through that, then there's that acceptance and then realisation of how we do that. Clearly there are as we move from two zoos to one zoo, there were some people that had to move on, unfortunately. But the good thing is we managed to do most of that through voluntary redundancies. So there's very talking ones or two where people were actually made redundant. The voluntary scheme meant that a lot of people made those decisions themselves, luckily. I guess we're kind of still just on the rise of that curve now. Mike Coe: So even now, although there's this great positivity around the future, there's still people still trying to get used to having moved over from Bristol Zoo Gardens and over to the Wild Place. And we'll continue to work with those people as well to make them see the vision of the new Bristol Zoo in effect. Kelly Molson: Yeah, because my next question is general public and what their reaction was, and I guess it's a very similar reaction.Mike Coe: I think, absolutely. When you're a zoo which is at the heart of a city or a society that's a heart of a city, then you're right. It's not just that the staff that work there. Visitors have been visiting the zoo. I remember I was there throughout the final closing weeks and we had people travelling from not just around the country, literally from around the world, to say their goodbyes from Bristol Zoo Gardens, people that have been visiting for 70 years. I had one talking to and just, I guess, more stoic understanding the reasons why it was closing. But still that sense of nostalgia, and that's what came out in those last few weeks, that sense of nostalgia, what the zoo had done for the city, really, and these people as well. Mike Coe: But actually what I did get was this overwhelming sense of people understanding actually what it is time for Bristol Zoo Gardens to close. It is too small in terms of welfare and these animals and these enclosures that ultimately were just too small for them. And people got the sense that actually time moves on. And what was right for a city centre zoo back in the 18 hundreds is now not what's right for the modern world. So there was that great sense of acceptance at the end. The good thing is that Bristol Zoo Gardens will, within our plans, be reopened as a development, which will still have the parks and gardens open, so people will still be able to come and enjoy the parks and gardens. I think that's the most important thing is what people said. Mike Coe: "We still want to be able to see some of the old monuments, we still want to be able to see some of the old park." Well, they were going to be able to do that, which is really exciting. They'd be able to see the old monkey temple. A number of those items are listed. The entrance building itself is listed as well. So the entrance building is going to be turned into something called the Clifton Conservation Hub. So there'll still be conservation work. We do a lot of conservation work around the Avon Gorge and Downs wildlife project. So Avon Gorge and Downs is a site of scientific and conservation interest, while the hub of that is going to be within the entrance building when the developments finish. Mike Coe: So conservation work and wildlife conservation will still go on at Bristol Zoo Gardens, in parks and gardens, and then in the wider Avon Gorge and Downs. Kelly Molson: It's really good to hear that as well. And I guess one of the things that we always talk about from an attraction perspective is how many memories are made at a visitor attraction, regardless of whether it's a zoo or a heritage, a park, et cetera. So it's lovely that the reaction from people is we still want to be able to see these places because they've got great memories for us. We've taken our children there, we'd love to be able to go back there ourselves, and that's wonderful. And I think, on the other hand, as well, what's really good is that the message around conservation and welfare of animals is obviously a very positive one and very clear one that you've been pushing out, because that's what people have accepted about the change that's going to happen now. Kelly Molson: So that's a real positive that feeds into the vision for the new attraction. Mike Coe: Absolutely. Like I said, we ran a campaign at the end called The Zoo and You or You and the Zoo, I think it was, and it was really just people sharing all those memories and all those pictures. Like I said, understanding that actually walking with an elephant or whatever they used to do is not something they can do now, but celebrating that as something that was done in our past and being a part of that, but understanding that actually we do have to move on. Kelly Molson: Yeah, talking about moving, actually, while we're on that subject. So we've talked about the kind of the financial and the emotional decisions that have gone around this, and we've talked about communicating to the people and how from a team perspective and from the general public, let's talk about the animals, because I can only imagine that this is a logistical nightmare. How do you move a zoo? How do you move a giraffe down the road? How does it even happen? Mike Coe: Yeah, we'll come back to how do you move a giraffe, I guess. But the first off, there are literally thousands of individuals at Bristol Zoo Gardens and a number of those animals are coming with us, but the majority of those are going to other institutions. So I think the first thing to explain, and I get this asked a lot, I'm still relatively new to zoo, so it's something that I'm still learning and it's that we don't actually within zoological societies around the country, in Europe and the world, we don't own our animals, they don't belong to us. They're coordinated through a network of institutions, European Institute of Zoos and Erza have EP coordinators. Those coordinators coordinate those animals all the time between institutions because they're involved in breeding programmes. Mike Coe: So you'll get breeding recommendations and the animals will be coordinated by those coordinators from the receiving donating Zoo to the receiving zoo because of breeding recommendations that have been flagged up. So animals are always moving in between institutions anyway, those member institutions, so we don't own those animals. That said, of course, this was a number of animals moving all in one go, or a lot of animals moving won't go. Some of those animals are still remaining at Bristol Zoo Gardens while we build their new enclosures at Wild Place, and we'll move directly from Bristol Zoo Gardens over to Wild Place. So the gorillas, for instance, will be at the Bristol Zoo Gardens for a little while longer yet, and so we've built their enclosures. Mike Coe: So once those coordinators have got those recommendations of where those animals go there's, then the paperwork has to be done, those medical inspections, certain animals, depending on the size. Have to be trained for a move. So we have to train those animals before they can move, to be able to go, if they're going into crates, to be able to comfortably go into those crates and the trains to be able to do that. So there's actually, arguably, at the closure of a zoo, there was more work for the keepers than ever before. And the coordinators doing all of that work, moving them on. And we've moved on a large proportion, literally thousands of individuals. Admittedly, some of those thousands of individuals are insects and fish and things like that. That kind of bumps the numbers up a bit. Mike Coe: But you can understand there's still an incredible amount of work that has to go on between both the society giving and the one receiving the animal, between those. So all of that work goes on in the background of paperwork. Brexit god love it. Does mean that if you're moving something over to Europe, instead of having just to do one piece of documentation and paperwork, each country around Europe would require its own documentation. So the paperwork minefield that we now have to do if we're moving them out of the UK. So a lot of ours we've tried to keep within the UK, just for those reasons as well. Mike Coe: And then, obviously, the medical checks on those animals, you can't move them if they're not healthy to move as well, the medical stuff. So I guess when you say, how do you move a giraffe? I guess then that adds even more logistical implications. What are a giraffe? About five metres tall. So I guess avoiding low bridges on a giraffe would be the most important one. But also, again, even with a giraffe, that same process of the coordinators finding the right breeding recommendations, you've also then got to have the right transport. So specially licensed transport companies that are licensed to move animals would have to be found, I guess. I've seen the crates that they moved. I think our giraffes here at Wild Place, they came from Amsterdam, I think. And the crates that they obviously move in, especially designed crates for giraffes. Mike Coe: There's probably not many of those out there that you have to try and coordinate as well. So, yeah, those big crates and the animals have to be trained to go into those crates comfortably and those moves happen. One of our animal team does have a presentation on how to move a hippo, and it is the most interesting presentation of logistics that you can possibly imagine. Kelly Molson: We need to see this presentation, pop it in the show notes. Mike Coe: How to move a hippo. Kelly Molson: That blew my mind. I've got so many thoughts about that. I hadn't actually considered how many animals would be involved in breeding programmes. So I think my mind always goes to Pandas, because it's one that's talked about quite a lot on the news. We always talk about panda breeding programmes, but yeah, I hadn't really considered the fact that the zoo, it cares for those animals, but they're not the owners of those animals and there's so many different places and variables involved in where they go and what they do next. It's crazy. Mike Coe: Yeah, and we also, obviously, I mean, our keepers have to visit those institutions that those animals are going to make sure that they're happy as well, so it's not just the coordinator. So we visit all of those centres and we review and check and make sure everything is right for those moves as well. We wouldn't let animal go unless were absolutely confident that the receiving institution had everything in place for them. Kelly Molson: Percentage wise, how many animals are coming across to the Wild Place and how many are kind of going off and going to different places. Mike Coe: So as a percentage, it's quite high, but that's because within our breeding centre, a lot of the ectotherms, insects, lizards, fish are coming across into the breeding centre, so obviously that makes a large proportion of those. And it's interesting when people think of animals, they always think of the large, cute, those iconic, charismatic animals, but actually that's a very small proportion of the numbers that are held in zoo. So of those animals so we've really only got the gorillas, I guess you would say, moving across immediately over to Wild Place. And largely because, as I said right at the start, we want to be working with those species that were involved in our conservation projects around the world. Mike Coe: So a lot of the animals that come to Wild Place will be from other institutions where they're animals that we're working in, those areas that are critically endangered, that actually have a conservation value to be in zoos. They're not just there for entertainment purposes, like I said. So very few of the animals, the gorillas being the prime example of one where we are working with those in the field and endangered, so we are bringing those across. So a lot of them will not come from Bristol Zoo, but from elsewhere. Kelly Molson: I guess you need the time to be able to build the enclosures as well for them in a responsible way. And this is the final kind of piece of the puzzle, is planning for the development, like, how are you kind of developing the existing Wild Place site to accommodate all of the new things that you want to do? Mike Coe: And it is like a massive jigsaw with 100,000 moving parts of trying to make sure that we move the right things at the right time, open up the right areas at the right time to make sure that the visitor flows work. That the infrastructure that's required because obviously, as we open up large areas of Wild Place, we know there'll be an influx of visitors. You need things like car parking, toilets, cafes, all of those sort of secondary things that make sure that the visitor can have a great day. It's not just about building enclosures as well. So it's been a really big piece of work. We're currently doing some master planning work. We're into more detailed design on that master plan now, which really starts to map out all of these sorts of things, visitor flows, the conservation model of where everything's going. Mike Coe: Our species list has already been defined, so we know which species are coming across and we've published those. So things like within the Central African Forest, which will be our first area. The reason we clearly need to put the Central African Forest area in first is because we got the gorillas that we need to move across. They need a home to go to. Conservation campus is something we really want to get in the early stages as well, because we want to get those students here and engaging and with the breeding centre in there as well, to get those animals all off site from Bristol Zoo Gardens as well. So some of this is dictated by the logistics of it and some of it is dictated by the need to improve the infrastructure to deliver the visitors. Mike Coe: One of our core visions is to be sustainable, revenue sustainable, so we have to be able to have the secondary spends from the visitors coming through, because that's the money that's ploughed back into the conservation work in the field. And we do give a proportion of that money to our direct conservation in those countries and our native work as well. One of the big pieces of work we do is native conservation. So crayfish is a big part of the work. We're doing invasive species another one. So a lot of native work. And the great thing about Wild Place, unlike Bristol Zoo, it has semi ancient woodland, it's got wetlands, so we've got the chance to talk about native woodland and communicate native woodland in a way that we didn't maybe we didn't know so much of it at Bristol Zoo Gardens. Kelly Molson: It's such an exciting opportunity. I was thinking earlier when you were talking about the animals and the logistics and the paperwork and all of those things, I was thinking, there's going to be attractions, professionals that are listening to this going, "I don't want Mike's job. I'm going to stick to my theme park. I'm going to stick to my heritage site. I'm going to stick with my museum artefacts, because that all seems a lot simpler." But actually, when you started to talk about the planning and the master planning and how you're having to plan things, you have to think about things now that might not be developed for like five or ten years down the line and how that all works together. That's really exciting. Mike Coe: It is exciting. I was brought in to work on the commercials of closing the zoo and looking at some of the future stuff. And I'm sure there'll be the more detailed planning paperwork stuff. We've got teams working on that, so it's definitely not me. There's a number of people, the animal teams, they've done an incredible job with these animal movements. I wouldn't even know where to start with some of the things that they've been doing. They've been absolutely incredible, the whole team. So, yeah, I'm a very small cog in a very big machine here.Kelly Molson: A very important cog, though, Mike, for sure. Don't play it down. Thank you. I've loved understanding about this process and I feel real, genuine excitement about what you're developing down there at The Wild Place. I think that's going to be an absolutely phenomenal opportunity for the whole of the region to come and get involved, and I'll definitely be travelling down and seeing how that's developing over you. So thank you for coming on to sharing on the podcast today, we always ask our guests if they have a book that they'd like to recommend our listeners. Kelly Molson: It can be anything, it can be something that you love from a personal aspect. We've had all sorts of suggestions recently from marketing books. We had a marketing book on the last podcast and we had cook books from Abbey at Castle Howard. So, yeah, what have you got for us? Mike Coe: Yeah, it's funny you asked this question. I'm not a massive reader of books, so I was doing my MBA about three, four years ago and I was thinking, when you asked that question, which management book? And even when I was doing the management course, all the management books and theories that are out there, porter's theory, you got 1 minute manager how to influence people. And whilst I was doing that, I was thinking of the book whilst I was doing the MBA that I read and thought to my child, Charlie, who was about six or seven at the time, and I remember reading it and thinking, "You know what, this is possibly the best management advice that I've ever given."Mike Coe: And I'm reading it from a children's book to my seven year old child, and that's a book that we'll all know, and it's over Oh, The Places You'll Go, which is a Doctor Seuss book. Do you remember it? Yeah. And I was just thinking, like even when I was reading out some of the quotes to Charlie and thinking," Actually, this is what management books are trying to summarise, but never seem to do it." Try 300 words to do it. Quotes like, you're on your own and you know what you know, and you are the one who will decide where you'll go, that you're in charge of your destiny. And things about that tells you to make mistakes, except you don't, because sometimes you won't. Mike Coe: I'm afraid that sometimes you'll play lonely games too, games you can't win because you'll play against you, but actually you're going to be the one holding you back in that as well. So there's loads of amazing management advice in other places you'll go, and it's something that I recommend that everybody gives to their child when they're going off to secondary school or even off to university as well, because there's some incredible quotes in there. You've got brains in your head, you've got feet in your shoes, you can steer yourself in any direction you'll choose. And I think that's kind of how I've lived my career up to date, is through the advice of other places you'll go and making those decisions yourself and sticking by those decisions, and the world is there to explore. Mike Coe: So it comes back to your thing about, where would I like to spend a month while Africa and going back there? Because that's the place I'd love to go again. Kelly Molson: But you're not taking Charlie with you? Mike Coe: No, he'll have read the book and be on his own journey by then, bless him. Kelly Molson: What I really liked is that you were quoting that book, so I know how many times you've reread that book to your son, which is lovely, and I was smiling. It's actually brought a little bit of a tears while because one of my really good friends has bought that book. She bought that book for my daughter when she was born. We've not read my daughter's 18 months old, it's not going to go in so much. Sitting on her shelf next to her bed, and I look at it every night. It's kind of the last thing that catches my eye before she goes in the cot. And when you said that book, I was like, “Oh, yes, that's just such a great book.”Kelly Molson: Listeners, as ever, we give a copy of this book away, so if you would like to win a copy of it, head over to our Twitter account, retweet Twitter this episode announcement and you could be in with a chance of winning. Mike's, fantastic book. Mike Coe: That could be my controversial opinion that, Oh, The Places You'll Go! is the greatest management book ever written. Kelly Molson: I think maybe more people who would agree with you that on a pat than Paris one a slightly less controversial. Thank you for coming on and sharing that. It's been wonderful to talk to you. Where's the best place to find out all about what's happening? Mike Coe: Yeah. So if you go on to either our websites for Wild Place and the Old Bristol Zoo Gardens website is still there, and look at our vision and our future, and all of the information on the master planning work that's going on there and the vision in the future are there, and please come and visit us and see us here. We're right at the start of the journey, but over the next five to ten years, we're going to really transform this place.Kelly Molson: I don't think you're going to have any problem getting any of our listeners to come and visit. Mike, thanks again for joining us. Mike Coe: Thanks, Kelly.Kelly Molson: Thanks for listening to Skip the Queue. If you've enjoyed this podcast, please leave us a five star review. It really helps others find us. And remember to follow us on Twitter for your chance to win the books that have been mentioned. Skip The Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. You can find show notes and transcriptions from this episode and more over on our website, rubbercheese.com/podcast.
This week, we welcome French-English culture & travel journalist, bestselling author, and host of The New Paris podcast, Lindsey Tramuta. Lindsey talks about what she's observed over her 16 years in Paris, the illuminating ideas behind her books The New Parisienne (Abrams, pub. 2020) and The New Paris (Abrams, pub. 2017), her ongoing work to challenge Parisian stereotypes and archetypes, and the storied history behind the ‘American in Paris' in literature. She also shares some of her favorite French books, including Muriel Barbery's 2006 novel The Elegance of the Hedgehog. Order your copies of Lindsey's books via Bookshop or your favorite local indie bookshop. Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, we welcome French-English culture & travel journalist, bestselling author, and host of The New Paris podcast, Lindsey Tramuta. Lindsey talks about what she's observed over her 16 years in Paris, the illuminating ideas behind her books The New Parisienne (Abrams, pub. 2020) and The New Paris (Abrams, pub. 2017), her ongoing work to challenge Parisian stereotypes and archetypes, and the storied history behind the ‘American in Paris' in literature. She also shares some of her favorite French books, including Muriel Barbery's 2006 novel The Elegance of the Hedgehog. Order your copies of Lindsey's books via Bookshop or your favorite local indie bookshop. Learn more about your ad choices. Visit megaphone.fm/adchoices
Synopsis Today we offer a special “Gong Show” edition of the Composer's Datebook. On today's date in 1791, at the height of the French Revolution, the Panthéon in Paris was converted into a mausoleum for national heroes, and the first to be interred there, with great pomp and ceremony, was Honoré Gabriel Riqueti, Comte de Mirabeau, a tremendously popular personage of the day. For dramatic effect during the Count's funeral procession through the streets of Paris, French composer François Joseph Gossec added an unusual percussion instrument to his funereal wind band: an exotic instrument someone had brought to Paris from the Far East, and known as—you guessed it—the gong. It was reported that whenever the gong was struck during Mirabeau's funeral procession, cries of terror and fright were heard from the crowd that lined the Parisian streets as the cortège passed. Now terror and fright are bread and butter in the world of grand opera, and so the gong soon was adopted by 19th century composers like Spontini, Meyerbeer, and Wagner, and, in the 20th century, composers like Puccini, Stravinsky, Stockhausen, and George Crumb have also used gongs to—pardon the pun—striking effect! Music Played in Today's Program François-Joseph Gossec (1734 – 1829) Marche lugubre The Wallace Collection; John Wallace, cond. Nimbus 5175
My guest is Sandra Sigman, award winning floral designer, owner of Les Fleurs, and author. She has recently launched her first book, French Blooms which is a beautiful book displaying the design principles she learned from her favorite Parisian florist. Get ready to be transported to a world of elegance and creativity as we dive into the story behind this French inspired floral journey. Sandra moved to France in her early 20's working as a professional ice skater and fell in love with Paris. The daughter of a floral designer and influenced by her childhood love of flowers, she came back to the states and founded Les Fleurs, a French inspired flower shop. We're excited to have Sandra share her journey into the world of flowers and many of the lessons that has brought her success in her business. Following her passions, love of flowers, and willingness to never give up she has grown her brand and grown her community of clients that appreciate her love of France. Learn more about Sandra and all of our past guests by visiting TheFlowerPodcast.com Subscribe on your favorite podcast platform. We are available on Apple Podcasts, Google Podcast, Spotify, Stitcher, Amazon Music, Gaana, and many more! Subscribe to our YouTube Channel for access to all of our Zoom chats, tutorials, IG Lives, and video extras. Sponsors of The Flower Podcast ASCFG Farmer Bailey Chrysal Rooted Farmers Real Flower Business Accent Decor The Gardeners Workshop Alaska Peony Cooperative
Oh wow, Owen Wilson is in a Woody Allen movie. The IDYP crew takes a dream Parisian vacation that turns into a nightmare in the form of Midnight in Paris. We discuss fantasy vs. sci fi time travel, the lack of fucks that we give about the characters, and whether Owen Wilson is a good actor. Then, dad vs daddy, time travel companions, and Ben and Brandon as your tour guides of famous French landmarks.
Today on the show we've brought on Konstantin — a Parisian garbage collector and union militant. For the past two months, France has been in a state of agitation. A growing movement of workers has been engaged in protests and strikes which erupted in Paris and other cities in response to President Emmanuel Macron unilaterally raising the French retirement age from 62 to 64. You may have seen the viral images of piles and piles of garbage bags out on the streets in Paris — this is because garbage collectors in the city have been on a series of strikes to protest the new pension reform. We spoke with Konstantin about the state of the movement and what it's been like organizing and participating in the strikes, the long string of events that have led to this current uprising, why it's more important than ever to build class consciousness and solidarity — not just in France but internationally, and where he sees this movement headed. Episode credits: Host, producer, and editor: Robert Raymond Executive producer: Tom Llewellyn Theme Music: “Meet you on the other side” by Cultivate Beats Make sure to follow The Response on Twitter and Instagram for updates, memes, and more. Our entire catalog of documentaries and interviews can be found at theresponsepodcast.org or wherever you get your podcasts. Please rate and review us on Apple Podcasts and Spotify. The Response is a podcast series from Shareable.net.
On this episode of Celebrate Every Day hosts John McClain and Anna Devere savor the Parisian flavor of National Chocolate Mousse Day. And learn about the notorious history of National Tweed Day.
In the third installment of the Things Observed series on Skorzeny we discuss some more of the French connection to Skorzeny and compass rose gladio-style stay behind armies. We discuss the SOFINDUS intelligence network that would help recover Nazi loot and be absorbed by the World Commerce Corporation and may even be connected to a large jewel heist. We also discuss some people with strange connections to people like Lee Harvey Oswald, Marina Oswald and the wife of CIA man Cord Meyer who would have an affair with none other than JFK and how Skorzeny has some spooky connections to many people who have some links to what took place in Dallas in 1963. In the next part of the series, I will try to wrap up the life story of Skorzeny so we can dive deep into the theories of H P Albarelli Jr, Major Ralph Ganis and Mae Brussel about JFK's death which Skorzeny as you could guess heaviloy factors into. Stay tuned friends!Sources:The Skorzeny Papers - Ralph GanisCoup in Dallas - H.P Albarelli Jr.NATO's Secret Armies - Daniele GanserMy Commando Operations - Otto SkorzenyThe Nazi Hydra in America - Glean Yeadon and John HawkinsA Good Life - Ben BradleeThe Devil's Chessboard - David TalbotAmerican Committee on United Europe - WikipediaJohn McCloy (spartacus-educational.com)
Synopsis On today's date in 1837, the Princess Cristina Belgiojoso-Trivulzio, scored the social coup of the season at her Parisian salon. Ostensibly, it was the culmination of a three-day fundraiser in aid of Italian political refugees, but it really was the artistic equivalent of a prize fight – the fists in question pummeling the piano keyboard, a digital confrontation of the two leading virtuoso pianists of the day, Sigismund Thalberg and Franz Liszt. Thalberg was up first, playing his own Fantasy on Themes from Rossini's opera, Moses. Liszt followed with one of his fantasias based on operatic themes. The music critic for the prestigious Journal des Debats was present, and he wrote, “Never was Liszt more controlled, more thoughtful, more energetic, more passionate. Never has Thalberg played with greater verve and tenderness. Each used every one of his resources. It was an admirable joust. The most profound silence fell over the noble crowd assembled, and, finally, Liszt and Thalberg were both proclaimed victors by this glittering and intelligent assembly. Thus: two victors and no vanquished.” When asked for her verdict who had “won” the contest, the hostess, Princess Cristina replied with consummate diplomacy: “Thalberg,” she said, “is the first pianist in the world – Liszt is unique.” Music Played in Today's Program Sigismund Thalberg (1812 - 1871) Fantasy on Rossini's "The siege of Corinth" Francesco Nicolosi, piano Marco Polo 8.223367 Franz Liszt (1811 - 1886) Fantasia on Italian Operatic Melodies Andreas Pistorius, piano Capriccio 10076
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Join Oliver Gee on The Earful Tower as he explores the world of gin with special guest Quentin de Montgolfier, the founder of Distillerie du Gin. In this episode, you'll learn about the history of gin in France, the process of making gin, and how Quentin's passion for the spirit led him to open his own distillery in Paris in the Viaduc des Arts. This new distillery is one of the many hidden gems along the Viaduc des Arts, which is a former railway viaduct turned artisanal hub. Here comes a lively and informative conversation about Parisian culture, craftsmanship, and spirits. Links: Distillerie du Gin: https://distillerieduviaduc.fr/ Viaduc des Arts: https://viaducdesarts.com/ Support The Earful Tower on Patreon: https://www.patreon.com/theearfultower Make sure to subscribe to The Earful Tower on your favorite podcast app and leave a review! Keywords: The Earful Tower, Paris, gin, Distillerie du Gin, Quentin de Montgolfier, Viaduc des Arts, artisanal hub, Parisian culture, craftsmanship, spirits, podcast, Patreon.
Episode 133:This week we're continuing with Post-Scarcity Anarchism by Murray Bookchin.You can find the book here:https://theanarchistlibrary.org/library/murray-bookchin-post-scarcity-anarchism-book[Part 1 - 4]Post-Scarcity AnarchismEcology and Revolutionary Thought[Part 5 - 8]Towards a Liberatory Technology[Part 9 - 10]The Forms of Freedom-The Mediation of Social Relations[Part 12]Listen, Marxist!-The Historical Limits of Marxism-The Myth of the Proletariat[Part 13 - This Week]Listen, Marxist!-The Myth of the Party - 0:28[Part 14 - 15?]Listen, Marxist!Footnotes:50) 1:50A fact which Trotsky never understood. He never followed through the consequences of his own concept of “combined development” to its logical conclusions. He saw (quite correctly) that czarist Russia, the latecomer in the European bourgeois development, necessarily acquired the most advanced industrial and class forms instead of recapitulating the entire bourgeois development from its beginnings. He neglected to consider that Russia, torn by tremendous internal upheaval, might even run ahead of the capitalist development elsewhere in Europe. Hypnotized by the formula “nationalized property equals socialism,” he failed to recognize that monopoly capitalism itself tends to amalgamate with the state by its own inner dialectic. The Bolsheviks, having cleared away the traditional forms of bourgeois social organization (which still act as a rein on the state capitalist development in Europe and America), inadvertently prepared the ground for a “pure” state capitalist development in which the state finally becomes the ruling class. Lacking support from a technologically advanced Europe, the Russian Revolution became an internal counterrevolution; Soviet Russia became a form of state capitalism that does not “benefit the whole people.” Lenin's analogy between “socialism” and state capitalism became a terrifying reality under Stalin. Despite its humanistic core, Marxism failed to comprehend how much its concept of “socialism” approximates a later stage of capitalism itself—the return to mercantile forms on a higher industrial level. The failure to understand this development led to devastating theoretical confusion in the contemporary revolutionary movement, as witness the splits among the Trotskyists over this question. 51) 5:12The March 22nd Movement functioned as a catalytic agent in the events, not as a leadership. It did not command; it instigated, leaving a free play to the events. This free play, which allowed the students to push ahead on their own momentum, was indispensable to the dialectic of the uprising, for without it there would have been no barricades on May 10, which in turn triggered off the general strike of the workers. 52) 6:45See “The Forms of Freedom”. 53) 7:23With a sublime arrogance that is attributable partly to ignorance, a number of Marxist groups were to dub virtually all of the above forms of self-management as “soviets.” The attempt to bring all of these different forms under a single rubric is not only misleading but willfully obscurantist. The actual soviets were the least democratic of the revolutionary forms and the Bolsheviks shrewdly used them to transfer the power to their own party. The soviets were not based on face-to-face democracy, like the Parisian sections or the student assemblies of 1968. Nor were they based on economic self-management, like the Spanish anarchist factory committees. The soviets actually formed a workers' parliament, hierarchically organized, which drew its representation from factories and later from military units and peasant villages. 54) 19:02V. I. Lenin, “The Immediate Tasks of the Soviet Government,” in Selected Works, vol. 7 (International Publishers; New York, 1943), p. 342. In this harsh article, published in April 1918, Lenin completely abandoned the liberatarian perspective he had advanced the year before in State and Revolution. The main themes of the article are the needs for “discipline,” for authoritarian control over the factories, and for the institution of the Taylor system (a system Lenin had denounced before the revolution as enslaving men to the machine). The article was written during a comparatively peaceful period of Bolshevik rule some two months after the signing of the Brest-Litovsk Treaty and a month before the revolt of the Czech Legion in the Urals—the revolt that started the civil war on a wide scale and opened the period of direct Allied intervention in Russia. Finally, the article was written nearly a year before the defeat of the German revolution. It would be difficult to account for the “Immediate Tasks” merely in terms of the Russian civil war and the failure of the European revolution. 55) 34:04In interpreting this elemental movement of the Russian workers and peasants as a series of “White Guard conspiracies,” “acts of kulak resistance,” and “plots of international capital,” the Bolsheviks reached an incredible theoretical low and deceived no one but themselves. A spiritual erosion developed within the party that paved the way for the politics of the secret police, for character assassination, and finally for the Moscow trials and the annihilation of the Old Bolshevik cadre. One sees the return of this odious mentality in PL articles like “Marcuse: Cop-out or Cop?”—the theme of which is to establish Marcuse as an agent of the CIA. (See Progressive Labor, February 1969.) The article has a caption under a photograph of demonstrating Parisians which reads: “Marcuse got to Paris too late to stop the May action.” Opponents of the PLP are invariably described by this rag as “redbaiters” and as “anti-worker.” If the American left does not repudiate this police approach and character assassination it will pay bitterly in the years to come.Citations:30) 4:01Quoted in Leon Trotsky, The History of the Russian Revolution (Simon & Schuster; New York, 1932), vol. 1, p. 144. 31) 19:34V. V. Osinsky, “On the Building of Socialism,” Kommunist, no. 2, April 1918, quoted in R. V. Daniels, The Conscience of the Revolution (Harvard University Press; Cambridge, 1960), pp. 85–86, 32) 23:13Robert G. Wesson, Soviet Communes (Rutgers University Press; New Brunswick, N.J., 1963), p. 110. 33) 26:30R. V. Daniels, op. cit., p. 145. 34) 30:27Mosche Lewin, Lenin's Last Struggle (Pantheon; New York, 1968), p. 122.
It took Salimata Sylla three hours to get to the away fixture she was due to play with her basketball team mates from the Parisian suburb of Aubervilliers. But it was only a few minutes before the match started that she learned she was going to sit the game out on the bench. Despite playing for more than 10 years in the French Championship, the federation that controls her sport decided to apply the rule that forbids female basketball players from wearing the hijab. Her coach describes her as the backbone of the team and an ambassador for the sport. She has been a face of basketball for many big brands on social media. And the hijab she wears is sold by mainstream sportswear manufacturers. Salimata's ban is the latest in country where the right to wear a hijab has long divided opinion. But in her case, it raises an interesting dilemma for France. While domestic sporting federations enforce their ban on the hijab, their international counterparts have no such ban in place. So what will happen, Salimata wonders, when the Olympics come to Paris next year? Reporter Claire Jones goes to Paris to meet Salimata to find out how she can resolve her wish to express her Muslim faith by wearing a hijab with her desire to play the sport she loves. Presenter: Claire Jones Producer: Helen Lee and Rob Cave Production co-ordinator: Mica Nepomuceno
It took Salimata Sylla three hours to get to the away fixture she was due to play with her basketball team mates from the Parisian suburb of Aubervilliers. But it was only a few minutes before the match started that she learned she was going to sit the game out on the bench. Despite playing for more than 10 years in the French Championship, the federation that controls her sport decided to apply the rule that forbids female basketball players from wearing the hijab. Reporter Claire Jones goes to Paris to meet Salimata to find out how she can resolve her wish to express her Muslim faith by wearing a hijab with her desire to play the sport she loves.
We're celebrating our 100th episode and dishing on our favorite episode, favorite guest and more! A sugar baby recently crashed a Boca Raton city planning meeting. What did she want and was she succesful? Hear the harrowing tale of an 11 year old girl who was orphaned in the middle of the Atlantic Ocean! Did she survive? Our Bougie Bible picks include affordable, high-performance skincare and a Parisian boutique hotel.️SHARE THIS WITH A FRIEND️RATE US: ️️️️️ ON APPLEPlease donate to Give Kids the World Village: http://www.gktw.orgFOLLOW US:Facebook: @CRNPodcastInstagram: @crazyrichneighborsMessage line: +1 239-300-7276Zbiotics: 15% off your first order with promo code CRN15www.zbiotics.com
1001 Classic Short Stories & Tales
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