Podcasts about Riopelle

Greater Haverhill service clubs help a variety of organizations, individuals and causes, but one is paying particular attention to older residents taking on unexpected tasks and responsibilities.Judith Riopelle, president of the Breakfast Exchange Club of Greater Haverhill, recently told listeners of WHAV's “Win for Breakfast” program about the club's work with grandparents who find themselves raising their grandchildren.“They're so used to having things a certain way, and now they have this young child with them. Not only do they have to take care of them, they have to feed them, they have to put clothes on them, and we know how kids can grow. So, it makes it more difficult for them. It's been a really great thing we've done to help them,” Riopelle says.She adds it's a situation that is often overlooked. “Especially one thing that is truly near and dear to my heart are the grandparents that have been tasked with raising their grandchildren. They need a lot of help sometimes, because we usually have children when we're younger. They are on a fixed income. We help them financially, we've sent kids to summer camp, we've bought school supplies.”Riopelle says the Breakfast Exchange Club also helps with buying grandparents gift cards that can be used for purchasing snacks for the youngers during school vacation in February and April. They also lend a helping hand in assisting the elderly in signing up for fuel assistance, and they help with veterans' support.“And the other thing, a new initiative that we've begun, is a thing called Happy Rides, where we provide taxi vouchers for folks to help get over the social isolation from the Covid crisis. They get these taxi vouchers to go do something fun, not a doctors appointment, not going to the hospital, but maybe going to the beauty salon to have their nails done, or to go shopping or to the library, and it's become very successful, and we're in the process of expanding that to the Groveland community as well.”The Breakfast Exchange Club of Greater Haverhill meets on the second and fourth Tuesday mornings at the Citizens Center on Welcome Street in Haverhill, and new members are welcomed. There is more on its website at becgh.org.Support the Show.

Join host Eric Oberembt and special guest Scott Riopelle on the Be Authentic or GTFO Podcast for an inspiring episode titled 'Rebuild Your Life for A Brighter Future.' In this empowering conversation, Eric and Scott delve into strategies for personal transformation, accountability, and overcoming challenges to create a brighter tomorrow. Discover actionable insights and real-life experiences as they explore the journey of rebuilding one's life and paving the way for a successful and fulfilling future. Tune in to gain invaluable wisdom on navigating life's ups and downs with authenticity and resilience. Don't miss this opportunity to unlock the keys to a brighter, more authentic future!#rebuildyourlife #brightfuture #beauthenticorgtfoListen to this episode on other podcast platforms: Spotify: https://tinyurl.com/BeAuthenticSpotifyGoogle Podcast: https://tinyurl.com/BeAuthenticGooglePodcastApple Podcast: https://tinyurl.com/BeAuthenticApplePodcastAmazon Music: https://tinyurl.com/BeAuthenticAmazonMusic Connect with "Be Authentic or GTFO" on social media:Facebook: https://www.facebook.com/beauthenticorGTFOInstagram: https://www.instagram.com/beauthenticorGTFOWebsite: https://beauthenticorgtfo.com Follow Podcast Host Eric Oberembt on social media:Facebook: https://www.facebook.com/eric.oberembtInstagram: https://www.instagram.com/oberembt

In Episode 29, Sean Kelley starts on the practice field and visits with Gators defensive lineman Kelby Collins. Collins is set to be a big part of the Florida defense, and he discusses the changes being made this Spring and shares about his upbringing in Alabama.    Then, from the diamond, it's a visit with former Gators baseball catcher, now broadcaster, BT Riopelle. Athletic Director Scott Stricklin stops by to preview Orange and Blue Weekend.  And UF student Kenna McGinnis reviews the latest Gator results in "Kenna On Campus." Be sure to follow us on social and send us your questions and comments. We might even include your responses on a future episode. https://twitter.com/GatorsPodcast https://facebook.com/GatorsPodcast https://twitter.com/SeanKelleyLive

L'Espace Riopelle sera construit dans l'enceinte du Musée national des beaux-arts du Québec mais engendrera plus de coûts que prévu. Quelle est son importance au cœur de la capitale ? Entrevue avec Bruno Marchand, maire de Québec.Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Unveiling the 2024 Tibbits Summer Theatre mainstage schedule.See omnystudio.com/listener for privacy information.

durée : 00:24:59 - Les Nuits de France Culture - par : Philippe Garbit - C'est dans une émission enregistrée au cœur des années 50, qui sont pour lui celles de la consécration aux États-Unis comme à Paris, que nous écoutons le peintre Jean-Paul Riopelle. Il répond-ici aux questions de Georges Charbonnier qui interroge alors le jeune artiste de trente-trois ans. - invités : Jean-Paul Riopelle

Plus de vingt-cinq ans après la publication de son ouvrage sur Riopelle, Hélène de Billy nous revient avec une édition revue et augmentée de sa biographie à succès. Entrevue avec Hélène de Billy, journaliste, scénariste et biographePour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

This week on 84 Reasons we talk with Florida Baseball starting catcher BT Riopelle. We talk to him about his journey to Florida from high school and transferring in, the sport he loved first and what hitting a walk off grand slam feels like.

Gearing up for the 2023 season of Tibbits Summer Theatre.See omnystudio.com/listener for privacy information.

Tout plaquer pour vivre dans une cabane en bois dans les forêts sauvages du Haut-Kamouraska, entrer en lutte pour protéger l'environnement avec le soutien des esprits du Vivant et de la sagesse autochtone... La romancière québécoise Gabrielle Filteau-Chiba l'a fait, et elle raconte tout à Jeanne Lacaille au cours d'une rencontre ultra-sensible parmi les vieux arbres du Jardin du Luxembourg avant de rallier le festival Etonnants Voyageurs à Saint-Malo !Femme-renard aux yeux verts du grand nord, Gabrielle Filteau-Chiba menait une vie plutôt standard à Montréal jusqu'au jour… Où s'impose à elle la nécessité de tout plaquer pour partir vivre dans une cabane en bois au cœur d'une forêt sauvage dans la région du Haut-Kamouraska. Là où naissent les Appalaches et les bélugas, Gabrielle Filteau-Chiba vit au bord d'une rivière, sans eau, sans électricité et sans réseau, en compagnie des ours, des coyotes, des grands pins et des aurores boréales. Et c'est au cœur de ce pays “où les chiens quand on les détache deviennent des loups” selon les mots du québécois Louis Hamelin dans son roman La Constellation du Lynx ; c'est là, dans la solitude chérie de sa petite coquille de noix, tout contre le poêle à bois, que Gabrielle Filteau-Chiba commence à écrire. Un journal intime d'abord, qui devient bien vite une trilogie romanesque : “Encabanée” en 2018, “Sauvagines” l'année suivante et “Bivouac” enfin, en 2021, publiés aux éditions Le Mot et le Reste et aux éditions Stock. Largement autobiographique, ce triptyque saveur sève est un cri du cœur pour la protection du Vivant, un plaidoyer poétique et hautement spirituel composé autour du personnage d'Anouk, qui comme l'autrice, quitte tout pour s'ensauvager avant de prendre part à la lutte collective contre un projet d'oléoduc qui menace sa forêt ; Raphaëlle, une agente de protection de la faune aux prises avec un violeur- braconnier ; et Riopelle, un militant radical qui fait chavirer les cœurs. Ensemble et avec les esprits de la forêt, ielles vont changer le cours des choses et aujourd'hui Gabrielle Filteau-Chiba achète des forêts pour les protéger avec ses droits d'autrice. Classe ! Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Sommelier, gastronome et créateur d'harmonies moléculaires, François Chartier était récemment de passage au MNBAQ dans le cadre d'un projet en développement, une oeuvre olfactive inspirée de L'Hommage à Rosa Luxemburg de Jean Paul Riopelle. Un épisode de balado qui devrait vous titiller les narines!Production : MNBAQAnimation et réalisation : Marie-Hélène RaymondMontage et conception sonore : Jean-François Roy Le balado L'art dans ma vie s'inscrit dans le cadre de la mise en œuvre du Plan culturel numérique du Québec (PCNQ) du ministère de la Culture et des Communications.

L'homme retrouvé mort à la frontière avait 16 ans. Le crime organisé et l'art de Riopelle. Violences à l'endroit de juifs hassidiques : un suspect recherché. Chronique Crime et Société avec Félix Séguin, journaliste au Bureau d'enquête de Québecor.Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Join us as we preview the 2023 Florida Gators baseball season, recap the two basketball games and discuss the freshman football players making progress with our special guest B.T. Riopelle.

Entrevue avec François Chartier, sommelier : un nouvel espace verra le jour au Musée national des beaux-arts du Québec vers la fin de 2025 qui sera dédié pour admirer l'œuvre du peintre Jean Paul Riopelle. Les amateurs de son art pourront dorénavant le faire grâce aux arômes conçus par le sommelier québécois François Chartier. Ce dernier a amorcé il y a quelques mois la conception « d'une expérience olfactive ». Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

The official announcement of the 2023 Tibbits Summer Theatre season.See omnystudio.com/listener for privacy information.

We wrapped up the 2022 Tibbits Summer Theatre season with Artistic Director Peter Riopelle.See omnystudio.com/listener for privacy information.

This week the guys talk the big weekend we had in recruiting before we are joined by current Gator Baseball player BT Riopelle. Later, we talk some fall camp. 

David Goudreault, romancier, poète et travailleur social, nous a récemment rendu visite. Grand amateur d'art, il s'est présenté dans la salle consacrée à Jean Paul Riopelle avec une curiosité renouvelée et en est ressorti marqué par la démesure des œuvres de l'artiste. Le début d'une discussion riche, où il a notamment été question de l'art qui sauve des vies.Production : MNBAQAnimation et réalisation : Marie-Hélène RaymondMontage et conception sonore : Jean-François RoyRecherche et coordination : Julie MorinLe balado L'art dans ma vie s'inscrit dans le cadre de la mise en œuvre du Plan culturel numérique du Québec (PCNQ) du ministère de la Culture et des Communications.

Tibbits Summer Theatre Artistic Director Peter Riopelle and Operations Director Stephanie Burdick helped us kick off the summer.  See omnystudio.com/listener for privacy information.

Gator Tales #313: BB's BT Riopelle and Gator Roundtable (SB, BB, MTN, LAX, FB, MBK) by Florida Gators

(Mise à jour jeudi le 21 avril à 15h30) Segment LCN, manchettes, nouvelle du jour et commentaires avec Vincent Dessureault et Carl Marchand : le port du masque obligatoire. État de la situation en Ukraine. Des tableaux de Borduas et Riopelle retrouvés 25 ans après leur vol. Véronique Hivon ne sollicitera pas un autre mandat. Fin des stores à cordes au Canada, CNN ferme son service de streaming CNN + après un mois d’activité à peine.Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Segment LCN, manchettes, nouvelle du jour et commentaires avec Vincent Dessureault et Carl Marchand : le port du masque obligatoire. État de la situation en Ukraine. Des tableaux de Borduas et Riopelle retrouvés 25 ans après leur vol. Véronique Hivon ne sollicitera pas un autre mandat. Fin des stores à cordes au Canada, CNN ferme son service de streaming CNN + après un mois d'activité à peine. Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Segment LCN, manchettes, nouvelle du jour et commentaires avec Vincent Dessureault et Carl Marchand : le port du masque obligatoire. État de la situation en Ukraine. Des tableaux de Borduas et Riopelle retrouvés 25 ans après leur vol. Véronique Hivon ne sollicitera pas un autre mandat. Fin des stores à cordes au Canada, CNN ferme son service de streaming CNN + après un mois d'activité à peine. Entrevue avec Jean-Pierre Rouleau, chef de service, Urgences Santé : la COVID frappe fort Urgences Santé. Entrevue avec Guillaume Lavoie, membre associé à la Chaire Raoul-Dandurand et observateur en Ukraine à 3 reprises : état de la situation en Ukraine.  Entrevue avec Dominique Anglade, cheffe du PLQ : la cheffe libérale Dominique Anglade, qui demeure « confiante » malgré la chute de ses appuis qui se poursuit dans les intentions de vote, promet de nommer dans chaque région un sous-ministre chargé de faire avancer les dossiers locaux.  Le tour des actualités avec Carl Marchand : les actualités.  Entrevue avec Pier-Olivier, biologiste, Directeur de la conservation, Société pour la nature et les parcs (SNAP) - Québec : querelle Québec-Ottawa sur la protection des caribous forestiers. La rencontre Latraverse-Dessureault, avec Emmanuelle Latraverse, Vincent Dessureault : départ de Véronique Hivon. Sondage léger. La charte des régions.  Chronique sportive avec Jean-François Baril : les Canadiens contre Flyers. William Dufour signe un contrat avec les Islanders. Défaite de Bianca Andreescu. Une production QUB radio   Avril 2022   Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

John Leroux is back to talk about one of the main exhibits at the Beaverbrook Art Gallery. It's called Riopelle: the Call of Northern Landscapes and Indigenous Culture.

Pour le dernier épisode de la saison 2 de L'art dans ma vie, c'est le maire de Québec, Bruno Marchand, qui s'est installé derrière notre micro. De Riopelle à Tire Le Coyote, sa passion pour les arts est particulièrement communicative !Production : MNBAQAnimation et réalisation : Marie-Hélène RaymondMontage et conception sonore : Jean-François RoyRecherche et coordination : Julie MorinLe balado L'art dans ma vie s'inscrit dans le cadre de la mise en œuvre du Plan culturel numérique du Québec (PCNQ) du ministère de la Culture et des Communications.

CG artist Tim Riopelle joins DKleine to talk about his development as an artist over the past decade, after which the pair delve into his current projects and future aspirations. You can find Tim Riopelle on Twitter at https://twitter.com/timriopelle and The Big Dream project at https://www.big.drea.me/ This episode is brought to you by the Koii network at https://koii.network/ and Atomic Zombies at atomiczombies.io -- Create atomic NFTs and earn Koii tokens with views of your work!

Tim is a graphic/motion artist who has been making waves in the NFT community! In addition to his highly curated works on the Super Rare platform, he has built a thriving community on the Tezos blockchain as well!We dive into the history of Tim's style, all the way from his everyday pieces, his motivations to get his art on beer labels and album covers, to his journey into the depths of web3 and creating NFTs. What's wild, is that this is not Tim's full-time job, as he also teaches digital graphics to college students in Canada, and touches on the challenges of bringing NFTs up in his classes.I think what really stuck out to me the most, is when Tim was describing art as just a bunch of angles, triangles, geometry, etc... It's so wild how just simple shapes and colors can invoke so much feeling.Don't forget! I have a community on the Patreon platform, there's loads of additional value from early episode access, exclusive discord roles, and opportunities to ask my guests questions. The vibe is to create a community that shares ideas, wins, and losses in their journey into web3, and to support each other along the way. We're here to re-write the history of IP and entertainment forever, and !vibe along the way. I look forward to seeing you there :).Boonafide Socials:Website: https://www.boonafide.comTwitter: https://twitter.com/BoonaETHTim's work: SuperRare: http://superrare.co/timriopelle KnownOrigin: http://knownorigin.io/timriopelle Hicetnunc: http://hicetnunc.art/timriopelleTim's socials:https://twitter.com/timriopelleSupport the show (https://www.patreon.com/Boonafidexp)

Peter Riopelle, Artistic Director of Tibbits Summers Theatre, announced the revised schedule for the 2022 Summer theatre season. See omnystudio.com/listener for privacy information.

Entrevue avec Manon Gauthier, directrice générale de la Fondation Riopelle.  On discute du dévoilement de la programmation internationale des célébrations du centenaire de l'artiste québécois de renommée mondiale Jean Paul Riopelle. Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

Richard Hétu présente les nouvelles mesures pour lutter contre les variants aux États-Unis; le président de l'Association québécoise des pharmaciens propriétaires, Benoit Morin, parle de tests rapides en pharmacie; la porte-parole du regroupement citoyen Urgence d'agir à Senneterre, Mindie Fournier, commente la mort d'un homme alors que les urgences étaient fermées; l'expert Pierre-Olivier Pineau se penche sur l'engouement pour l'hydrogène vert; la chercheuse Emmanuelle Rousseau explique le regain de tension à la frontière entre la Russie et l'Ukraine; et le collectionneur Paul Maréchal s'intéresse à la vente d'un tableau de Riopelle à Paris.

Notre invité cette semaine, Yannick de Martino. Bien que très pertinent dans ses observations lors de la visite de l'exposition «Métamorphoses» de Riopelle, l'humoriste nous a avoué avoir trouvé difficile l'exercice de commenter des œuvres d'art sur le vif, se disant plus à l'aise avec la contemplation et la possibilité d'être habité par une émotion sans y mettre de mots. Une entrevue passionnante justement axée sur les émotions.Production : MNBAQAnimation et réalisation : Marie-Hélène RaymondMontage et conception sonore : Jean-François RoyRecherche et coordination : Julie MorinLe balado L'art dans ma vie s'inscrit dans le cadre de la mise en œuvre du Plan culturel numérique du Québec (PCNQ) du ministère de la Culture et des Communications.

On the 31st episode of “That's Nifty” we sat down with Tim Riopelle to talk about his journey in the space, Hen Playground, VFX Pipelines, and what a Lighting / Compositing Artist does.Before we get to our interview, we have a quick weekly update from Larry and Tyler:Catch-UpTopics:DRIVE, Collector Drops: Billelis and xsullo, Thr33som3s Series 7, Dave Pollot Opensea, Roger PakermanMentions:@dave_krugman @NapleRoosk @billelis @xsullo @Thr33som3s @franquipaola @DrifterShoots @DavePollotArt @RogerDickermanTim RiopelleTwitter: @timriopelleWebsite: http://superrare.co/timriopelle hen.link/timriopelleTopics:Vancouver, SuperRare from the Start, 3D Animator since 2006, Varying Styles, Playing Arts, Pros of Hen, Never had to buy more crypto, OBJKT4OBJKT, Studio owned work, VFX Resume, Teaching, Choosing your collector, Manifest your goals, "Dwellers" - Actually "Wanderers", Bridge between chains, Unreal Engine, Capilano University, Explaining a VFX pipeline, "Parallel Universe", Flipping through SuperRareMentions:@mpommella @niko_4696 @fvckrender @superrare @hicetnunc2000 @playingarts @manifoldxyz @_KidEight @NFTBiker @KidMograph @natehillphoto @KnownOrigin_io @ThankYouX @fedos_art @chriswallace @Goltra @niftygateway @AkiraReloaded @beeple @wanderers_nft @motionbynick @AdamPriesterArt

Episode one hundred and thirty-one of A History of Rock Music in Five Hundred Songs looks at “I Hear a Symphony” by the Supremes, and is the start of a three-episode look at Motown in 1965. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a ten-minute bonus episode available, on "Rescue Me" by Fontella Bass. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this week, as too many of the songs were by the Supremes. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. How Sweet It Is by Lamont Dozier and Scott B. Bomar is Dozier's autobiography, while Come and Get These Memories by Brian and Eddie Holland and Dave Thompson is the Holland brothers'. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 694 tracks released on Motown singles. Girl Groups by John Clemente contains potted biographies of many groups of the era. The Supremes biography I relied on most is The Supremes by Mark Ribowsky, which seems factually accurate but questionable in its judgments of people. I also used this omnibus edition of Mary Wilson's two volumes of autobiography. This box set contains everything you could want by the Supremes, but is extraordinarily expensive in physical form at the moment, though cheap as MP3s. This is a good budget substitute, though oddly doesn't contain “Stop in the Name of Love”. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Hi, this is Andrew. Between recording this episode and it going live, three great musicians, two of whom have been the subject of episodes of this podcast, sadly died. We lost Don Everly, Charlie Watts, and Tom T. Hall, and I just wanted to acknowledge them and their contributions to music before the episode starts. They'll all be missed. [theme music] Just a brief note before we start to say that this episode contains brief mentions of eating disorders, so if that might be a problem for you, check the transcript to make sure it's safe. Thanks. We've spent much of the last few months looking at the intersections of three different movements, each of which was important -- the influence of the Beatles and to a lesser extent the other Merseybeat bands, the influence of Bob Dylan and the folk and protest movement, and the British R&B guitar bands who were taking their interpretation of the sound of Chess Records back to the USA. But of course, while these guitar bands were all influencing everyone, they were also being influenced by the growth of soul, and in particular by Motown, and Motown's groups were among the few American acts who managed to keep having hits during the British Invasion. Indeed, 1965 was as much of a creative and commercial peak for the label as for the white guitar bands we've been looking at. So for the next few weeks we're going to move over to Detroit, and we're going to look at Motown. And this week and next week we're going to continue our look at the Holland-Dozier-Holland collaboration, and at the groups they were writing for. So today, we're going to look at the Supremes, at the career of the only Black act to seriously challenge the Beatles for chart dominance in the sixties and at the start of the inter-group rivalries that eventually took them down. We're going to look at "I Hear a Symphony” by the Supremes: [Excerpt: The Supremes, "I Hear a Symphony"] When we last looked at the Supremes, they had just had their second number one single. After having spent years being called "the no-hit Supremes" and recording third-rate material like "The Man With the Rock and Roll Banjo Band", they'd been taken on by Holland, Dozier, and Holland, Motown's new star songwriting team, and had recorded two songs written and produced by the team -- "Where Did Our Love Go?" and "Baby Love" -- both of which had reached number one. But there were already tensions in the group. Most notably, there was the tension between Florence Ballard and Diana Ross. Ballard had always considered herself the lead singer of the group, and almost everyone who knew the group at the time agreed that Ballard was the better singer. But Berry Gordy, the owner of Motown, thought that Ross was the member of the group who had actual star potential, and insisted that she be the lead vocalist on everything the Supremes cut. At first, this didn't matter too much -- after all, no matter who the lead singer on the records was, they were having the huge hits they'd always dreamed of -- but it inevitably led to friction within the group. But in late 1964, at least, everyone was on the same page. Berry Gordy, in particular, was delighted by the group's continued success -- they had been the *only* act other than the Beatles or Bobby Vinton to have more than one number one on the pop charts in 1964 -- and by the end of the year, they had released their third, "Come See About Me". "Come See About Me" actually got released only a month after "Baby Love", before the latter had even reached the top of the charts, and it seems like a ridiculous idea to release another single so close to that one. But it came out so early to make sure the Supremes had the hit with it. Because a soundalike had come out on Wand Records even before the Supremes' single came out. A fourteen-year-old girl called Nella Dodds had decided that she could sing quite a bit like Diana Ross, and since the Supremes were the biggest female group in the country at this point, she had a chance at being a star, too. She'd auditioned for Wand by singing along with the whole of the first Supremes album, and Wand Records had decided that she sounded enough like Ross that it was worth a shot putting out a single by her. They chose "Come See About Me", which had been released as an album track on that album, and put out this: [Excerpt: Nella Dodds, "Come See About Me"] Dodds' version of the track was cut to be a soundalike, and was so similar to the Supremes version that it's actually quite easy to cut between the two records. You can hear the joins, but they're *spookily* similar: [Excerpt: The Supremes and Nella Dodds, "Come See About Me", alternating phrases] That wasn't the only time a Holland-Dozier-Holland production would be copied wholesale -- we'll hear another, slightly less blatant, example later this episode. As Dodds' single started to rise up the charts, Berry Gordy got furious. If the record sounded good enough to be a hit single, his label was going to have the hit with it, and so the Supremes' version of "Come See About Me" was rush-released. It went to number one, and Nella Dodds vanished into obscurity. The group having three number one hits in a row focused everyone's minds, and Gordy held a meeting with Holland, Dozier, and Holland, and told them that from that point on the Supremes had to be their number one priority. They should drop everything they were doing and concentrate on making Supremes hits while the Supremes were having their moment of success. And so of course they did just that -- and in January 1965 they recorded the album which would contain the Supremes' fourth number one in a row: [Excerpt: The Supremes, "Stop! In the Name of Love"] The story of how "Stop! In the Name of Love" was conceived tells us a lot about the kind of life that the people at Motown were living, now they were all successful and making a great deal of money. The way Lamont Dozier tells the story, his marriage had fallen apart, and he was sleeping with multiple women, some of whom thought they were the only one. Dozier would regularly head to a motel near Hitsville for some of these assignations, and one day while he was there with one of his women, another one tracked him down. The woman he was with made her escape, and Dozier tried to make excuses, claiming he had just got very tired at work and booked a motel room to have a rest so he wouldn't have to go all the way home. His girlfriend didn't believe this rather transparent lie, and started throwing things at him. Dozier started yelling at her to stop it, and eventually mangled the phrase "Stop in the name of the law", shouting instead "Stop in the name of love!" Dozier immediately saw this line as the basis of a song, and his burst of inspiration amused the woman, who started laughing. It defused the situation, and led to a hit record. [Excerpt: The Supremes, "Stop! In the Name of Love"] Indeed, Dozier wasn't the only one whose experiences made up part of the lyrics for the song. All three of Holland, Dozier, and Holland were having complex love lives and going through the breakup of their first marriages. Eddie Holland has said that he used his own experiences in that regard in writing the lyrics to that song. All three men were having affairs with multiple women, but two of those affairs were important in their working lives -- Brian Holland was dating Diana Ross, while Lamont Dozier was seeing Mary Wilson. According to Eddie Holland, Florence seemed to think that this meant that the  remaining members of their respective trios should also pair up, but Holland didn't think that he should get involved, given Florence's mental fragility and his own promiscuous nature. Both Lamont and Brian later split up with their respective Supremes partners, but luckily everyone was professional enough that they were all able to continue working together. After "Stop! In the Name of Love" came "Back in Your Arms Again", making five number ones in a row for the combination of the Supremes and Holland-Dozier-Holland. On top of this, Holland-Dozier-Holland were busily making hits for the Four Tops, who we'll hear more about next week, and for the Isley Brothers, as well as writing odd songs for other artists like Marvin Gaye. To put this into perspective, at this point the *only* act ever to have had five number ones in a row on the US charts was Elvis, who had done it twice. The Beatles were about to hit their fifth, and would eventually get to six number ones in a row -- they had eleven in the UK, but many more Beatles singles were released in the US than in the UK, so there were more opportunities to break the streak. That was the company the Supremes were in. It's important to stress how big the Supremes, Motown, and Holland-Dozier-Holland were in 1965. There were twenty-seven Billboard number one singles that year, and six of them were from Motown -- compared to five from the Beatles and two from the Rolling Stones. Of those six number one Motown singles, five of them were Holland-Dozier-Holland productions, and four were by the Supremes. Of course, number one records are not the only measure of success in the music industry, but they are definitely a measure. By that measure, the Supremes were bigger than anyone except the Beatles, but this led to a certain amount of dissatisfaction among the rest of the Motown acts. They were being told that a rising tide would lift all boats, but the way they saw it, everyone who wasn't a Supreme was being ignored, unless they were named Smokey Robinson or Marvin Gaye. The Vandellas, for example, thought that records like "Dancing in the Street", which made number two in the charts, could have easily made number one had they been given the same kind of promotion as the Supremes. This was, to them, particularly evident when it came to the first British tour of the Motortown Revue, in March 1965. While the various Motown acts were on tour in the UK, the opportunity came up to do a TV special for Granada TV, presented by Dusty Springfield, who was the driving force behind the special. Springfield was particularly an admirer of Martha and the Vandellas, and got Martha to duet with her on her own hit "Wishin' and Hopin'": [Excerpt: Dusty Springfield and Martha Reeves, "Wishin' and Hopin'"] Yet while all the acts on the tour -- the Vandellas, Stevie Wonder, the Miracles, and the Temptations -- got their moments in the spotlight on the show, the Supremes did seem to dominate it, with more songs than any of the other acts. This was partly just good sense -- Motown was only just starting to have a presence in the UK, and to the extent it did the Supremes were almost the only Motown artists that had made any impression on the public consciousness at all at this point -- but it was also because Berry Gordy was becoming increasingly infatuated with Diana Ross, and they finally consummated their relationship in Paris at the end of the tour. Now, it is important to note here that this is always portrayed in every book about the group or Motown as "scheming Diana Ross used her feminine wiles to seduce hapless Berry Gordy, who was helplessly under her spell.” That's certainly one way to look at it. Another way to look at it is that Berry Gordy was a thirty-five-year-old married man sleeping with an employee of his who had only just turned twenty-one, and who had been his employee for several years. I wouldn't mention any of this at all -- I despise the gossiping nature of much music writing -- except that it is impossible to read anything at all about the Supremes without getting a take on the group's career from this point on that has Ross using her sexuality to manipulate Gordy in order to fulfil her own scheming ambition. I think there's no question at all that Ross was ambitious, but I think most of the narrative about her is rooted in misogyny, and a very deep misunderstanding of the power dynamics in her relationship with Gordy. But there is absolutely no question that Gordy saw the Supremes as the most important act on Motown -- and that he saw Diana Ross as the most important part of the Supremes. And decisions made for the benefit of Ross were not always decisions that would benefit her colleagues. For example, at this point in time, the fashion was for women to be very curvy, rather than thin. Ross was extremely thin, and so the group's outfits were padded. This wasn't such a problem for Mary, who had her own issues about a lack of curves, but for Florence, who was bigger than the other two, it was humiliating, because it made her look bigger than she was, and there was no question of the padding being removed from her clothes -- the decisions were being made on the basis of what made Diana look good. Of course, fashions change, and with the rise of the supermodel Twiggy, suddenly a more emaciated look became popular, so the group were able to drop the padding -- but that still left Florence as the unfashionable-looking one. She became deeply insecure about this, though she would hide it with humour -- after Twiggy became popular, there was a scripted bit of the show where Ross would say "thin is in", and Florence ad libbed "but fat is where it's at!", and her ad lib became part of the routine. After the Supremes' run of five number one singles, it might have seemed that they were invulnerable, but in September 1965, "Nothing But Heartaches" came out, and it only made number eleven: [Excerpt: The Supremes, “Nothing But Heartaches”] For any other act, this would be a major hit, but for an act that had had five number one hits in a row, it was a failure, and it was treated as such, even though it sold over a million copies. Berry Gordy actually sent out a memo to all Motown creative staff, saying "We will release nothing less than top ten product on any artist: and because the Supremes' world-wide acceptance is greater than the other artists, on them we will only release number-one records". Of course, that was easier said than done -- every songwriter and producer wanted only to be making number one records, after all, but it's a symptom of the attitudes that were showing up at Motown by this point -- a number eleven hit for a group that two years earlier had been laughed at for being the "no hit Supremes" was now regarded as a failure to be punished, while major successes were just to be considered the norm. But it's also a tribute to how successful Holland, Dozier, and Holland were by this point that the next Supremes single was, once again, another number one hit. The inspiration for "I Hear a Symphony" came from Dozier thinking about how characters in films often had musical motifs on the soundtrack, and how ridiculous it would be if people in real life walked around with their own musical accompaniments. But it might also be that the writing trio had something else in mind. In August, just over a month before the recording of "I Hear a Symphony", a girl group called The Toys had released a single called "A Lover's Concerto": [Excerpt: The Toys, "A Lover's Concerto"] That song had been based on a piece of music usually incorrectly attributed to Bach, but actually by the Baroque composer Christian Petzold, and had been written by Sandy Linzer and Denny Randell, two writers who usually wrote for the Four Seasons, whose four-on-the-floor style was very similar to that of Holland, Dozier, and Holland. Linzer and Randell had even put in a little nod to the Supremes in the song. Compare the intro of the Toys record: [Excerpt: The Toys, "A Lover's Concerto"] With the intro from "Stop! In the Name of Love!": [Excerpt: The Supremes, "Stop! In the Name of Love!"] The section from eight through sixteen seconds on the Toys record is so close to the section from eleven through nineteen seconds on the Supremes one that you can play them almost together -- I had to do a tiny splice five seconds in here because the musicians on the Toys record don't have the perfect timing of the Funk Brothers and drifted by 0.1 seconds, but I hope you can see just how close those two sections are: [Excerpt: The Supremes and The Toys together] See what I mean? The Toys' record reached number two on the charts -- not a number one, but better than the most recent Supremes record. So it might well be that Holland, Dozier, and Holland were also thinking about the Toys' record when they came to make their new one -- especially since it had contained a little nod to their own work. And the odd thing about that section is it's not integral to the Toys record at all -- it's just there, I think, as a nod and a wink to anyone listening for it. Certainly, Holland, Dozier, and Holland were aware of the Toys record -- they had the Supremes cut a cover version of it for the I Hear a Symphony album. That album also contained the Supremes' version of the Beatles' "Yesterday" -- another hit which had, of course, referenced classical music, with its string quartet backing. One hit record referencing classical music might be a fluke, but two was a pattern, and so whatever the writers' later claims about the inspiration, it's reasonable to suspect that at the very least they were paying close attention to this pattern. The lyrics to "I Hear a Symphony" were written in a rush. The original plan had been for the group to release a song called "Mother Dear" as their next single, but then Brian Holland and Lamont Dozier came up with the track and title for "I Hear a Symphony", and knew it would be a winner. There was one problem, though -- the single needed to be out relatively quickly, and the Supremes were travelling to the UK in two days' time. When the instrumental track had been cut, Brian Holland phoned his brother, waking him up, and telling him they needed a set of lyrics for the very next day. Holland was actually already a little burned out that day -- he'd just been working on "Road Runner" by Junior Walker and the All-Stars, which was intended as the follow-up to their big hit "Shotgun": [Excerpt: Junior Walker and the All-Stars, "(I'm a) Road Runner"] At least, Holland says that was what he was working on, though it came out five months later – but Motown often delayed releases by minor acts. "Road Runner" was not normal Holland-Dozier-Holland material, it had been difficult to write, and not only that they'd discovered that Walker couldn't play the saxophone part in the same keys that he could sing the song, so they'd had to varispeed the track in order to get both parts down. Holland had had a tiring day, and had just gone to sleep when the phone had rung. Brian Holland had a copy of the backing track couriered over to Eddie in the middle of the night, and Eddie stayed up all night writing the lyrics, eventually finishing them in the studio while he was teaching Diana Ross the song: [Excerpt: The Supremes, "I Hear a Symphony"] Because it had to be recorded in such a hurry, the Supremes were in London when the mixing was finalised -- as was Berry Gordy, who normally ran Motown's quality control meetings, the meetings in which the executives and producers all checked all the work that was going out to make sure it met the company's standards. Normally, if Gordy was out of town, Brian Holland would take over the meeting, but a new Supremes single was important enough to Gordy that he made an international phone call to the meeting and listened to the record over the phone. Gordy insisted that the vocal was too high in the mix, but Brian Holland pushed back, and Gordy eventually agreed to let the record go out as it was, despite his reservations. He agreed that he had been wrong when the record went to number one. It wouldn't start another streak of number ones, but the next eight singles would all go top ten, and the group would have another six number ones, including a streak of four in late 1966 and early 1967. There were other records, as well -- Christmas singles (which don't tend to get counted as "real singles", because Christmas records got put on their own special charts), and promotional efforts, like "Things Are Changing For The Better". That was a song that Brian Wilson and Mike Love of the Beach Boys had originally written for the Ronettes, under the title "Don't Hurt My Little Sister", but while Spector had cut a backing track, the song hadn't been considered worth the Ronettes adding their vocals, and the Beach Boys had cut their own version as an album track: [Excerpt: The Beach Boys, "Don't Hurt My Little Sister"] But a year later, the Advertising Council wanted a public information song, to promote the Civil Rights Act of 1964 and the subsequent Voting Rights Act of 1965, two landmark acts that between them meant that for the first time discrimination against Black people wasn't legal. They turned to Spector to come up with something, and Spector, not wanting to waste a hit on them, came up with some new lyrics for the unused backing track, using the various slogans the Advertising Council wanted. Spector got his assistant Jerry Riopelle to finish the track off, and three versions were cut with different vocals over the same backing track. Riopelle produced a version with the Blossoms on vocals, another version was performed by the white pop group Jay and the Americans, and finally Motown put out a version with the Supremes singing over Spector's track. It's not the greatest track ever recorded or anything, but it is the only collaboration between the three biggest American hit-makers of the early sixties -- the Beach Boys, Spector, and the Supremes -- even if they didn't actually work together on it, and so "Things Are Changing For The Better" is interesting as a capsule of American pop music in 1965: [Excerpt: The Supremes, "Things Are Changing For The Better"] But Gordy had plans for the Supremes that involved them moving away from being merely pop stars, and the title of “I Hear a Symphony” worked well for Gordy's plans. Like Sam Cooke before them, he wanted them to move into the more lucrative middle-class white market, and like Sam Cooke that meant playing the Copacabana. We talked a little about the Copacabana -- or the Copa as it was universally known -- in the episode on "A Change is Gonna Come", but it's hard to get across now what an important venue it was. It was a mob-controlled nightclub in New York, and while it was only a nightclub, not a huge-capacity venue, headlining there was considered a sign that an act had made it and become part of the elite. If you could headline at the Copacabana in the early sixties, you were no longer a transitory pop act who might be gone tomorrow, you were up there with Tony Bennett and Sammy Davis Jr and Martin and Lewis. Of course, that whole showbusiness world has largely gone now, and the entertainment industry was going through massive changes in the early sixties that would soon make whether an act had headlined at the Copa as irrelevant to their future prospects as where they had gone to school, but nobody at the time knew that the changes that were happening -- thanks in large part to labels like Motown -- were going to be lasting ones, rather than just fads. So Gordy decided that his flagship group were going to headline at the Copa -- even though he had to agree to a deal which meant that for their initial three-week residency  the group members only made sixty dollars a show each before expenses. And they were going to do a "classy" show. Yes, they would include a few of the hits, but most of the songs would be things like "Somewhere" from West Side Story, the Barbra Streisand song "People" -- which would be Florence's one lead vocal in the show -- the Guy Lombardo song "Enjoy Yourself, It's Later Than You Think", and of all things "Rock-a-bye Your Baby With a Dixie Melody": [Excerpt: The Supremes, "Rock-A-Bye Your Baby With a Dixie Melody"] The rest of the repertoire was show tunes, a gender-swapped version of "The Girl From Ipanema" retitled "The Boy From Ipanema", a parody of Roger Miller's "King of the Road" titled "Queen of the House", and a medley of Sam Cooke's hits. Other than the Cooke material and the brief run-throughs of their own number ones, the setlist was tailored entirely for the Copa's clientele, which barely overlapped at all with the Motown audience. The Copa residency was a triumph, and led to the Supremes making regular appearances at the venue for seven years, but it came at a great cost to the group members. Ross was so stressed she lost a stone of her already low weight, the first sign of the anorexia which she would deal with for many years to come. Meanwhile, Florence had to miss a chunk of the rehearsals as she became seriously ill with the flu, though she got herself well enough to make the opening night. And while it was what Berry Gordy had been working towards for years, it couldn't have come at a worse time for him personally -- his elder sister Loucye died suddenly of a brain haemorrhage shortly before the residency, and her funeral was actually the morning of the opening night. The opening night went exactly as Gordy had planned, except for one ad-lib -- during the song "You're Nobody 'Til Somebody Loves You", after Ross sang the line “But gold won't bring you happiness,” Florence interjected a joking line -- "Now wait a minute, honey. I don't know about all that." The audience loved her ad-lib -- Sammy Davis Jr., who was in the audience, yelled out "All right, girl! You tell it like it is!" -- and the line got added as a regular part of the performance: [Excerpt: The Supremes, “You're Nobody 'Til Somebody Loves You”] along with a rather less fun bit where Florence would mention "little old me", and Ross would snarkily respond "Little?" But even though it worked, Gordy was furious, partly just because he was understandably in a bad mood after his sister's funeral, partly because it was a deviation from the carefully-scripted performance, and partly because it was a moment in the spotlight for someone other than Diana Ross. As retaliation, a couple of days later he had Harvey Fuqua tell the group that they were dropping "People" -- Florence's only lead vocal -- from the set because there were too many show tunes. Then, a week or so later, "People" was added back to the set, but with Ross singing lead. (Mary Wilson had also asked to have her own lead vocal in the set, but Gordy had just looked at her sadly and said "Mary, you know you can't sing".) Florence was devastated. She was already drinking too much, but that escalated after the Copa engagement. Even though the group had never been as close as many groups are, they had all genuinely attempted to create a bond with each other, even all moving on to the same street. But now, that physical closeness just became an opportunity for the women to note the comings and goings at each other's houses and pass snarky comment on it. Ballard was fast becoming considered a liability by the powers that be at Motown, and even the existence of the Supremes was starting to be seen as something that was merely a hindrance for Diana Ross' career, rather than them being seen for what they were -- a massively successful group, not just a lead singer and her backing vocalists. Florence wasn't very long for the group, and when we next look at them, we'll no longer be looking at the Supremes, but at Diana Ross and the Supremes...

Fanny Bussières-McNicoll parle de l'indice des risques climatiques pour les enfants; Julie-Anne Lapointe fait le point au jour 6 de la campagne électorale fédérale; Christian Noël analyse les positions des partis sur les enjeux environnementaux; Judith Fafard, microbiologiste, décrit la fiabilité des tests de dépistage de la COVID-19; Hugo Lavallée revient sur l'évacuation d'Afghans et d'Afghanes par les États-Unis; François Brousseau fait le bilan de la situation en Russie, un an après l'affaire Navalny; Jérôme Labbé explique les différentes positions autour des gratte-ciel plus imposants à Montréal; Claude Brunet présente L'île heureuse, une exposition des œuvres de Jean-Paul Riopelle; et Louis-Philippe Ouimet en dit plus sur la sortie imminente de Dune, le rêve de Denis Villeneuve.

We previewed the 2021 Tibbits Summer Theatre season with new Artistic Director Peter Riopelle on this week's Tibbits Talk. See omnystudio.com/listener for privacy information.

Dans les années 1950, à Paris, le peintre québécois Jean-Paul Riopelle et l’artiste américaine Joan Mitchell vont entretenir un amour passionnel qui marquera la scène artistique d’après-guerre. Dans ce nouvel épisode de Au cœur de l’histoire, réalisé en partenariat avec le Musée d'arts de Nantes, à l'occasion de l'exposition "United States of Abstraction : Artistes américains en France, 1946-1964", Jean des Cars raconte leur passion créatrice, entre héritage commun et singularités picturales. 

Tony Riopelle is on the podcast! You can follow him on Instagram @tony_riopelle_disc_golf and he is sponsored by Fisher Disc Golf. We are proud to say OH NO Disc Golf is sponsoring Tony for the 2021 season! Hey, we're Eric & Kyle, and we are OH NO Disc Golf. We're two best friends who love disc golf, come listen to us chat about disc golf, laugh at our own jokes, and a whole lot more. You won't regret it. We start this episode chatting about the Dynamic Discs Open results. Next, we had a fantastic interview with Tony Riopelle. He has a ton of tips for improving your forehand game, you don't want to miss it. Then we had a great time playing Top 5 with Tony, this time it was picking 5 discs that are perfect for forehand. If you're just starting your disc golf adventure or you're a pro, this episode is for you! Like, subscribe, and leave a review! Affiliate with Starframe Disc Golf - %5 off with code ohno @ starframediscs.com Use code OHNO for free shipping on any item over at our Teespring store! Merch: teespring.com/stores/ohnodiscgolf Linktree: /ohnodiscgolf Instagram: @ohnodiscgolf Facebook: /ohnodiscgolf Twitter: @ohnodiscgolf Tiktok: @ohnodiscgolf Youtube: Search OH NO Disc Golf Patreon: /ohnodiscgolf Notes from the Episode DDO Results MPO 3.Eagle -36 2.Ricky -36 1.McBeast -42 FPO 3. Young -5 2.Allen -9 1. King -15 Fire Rounds Results DDO Points Kyle 10 - Eric 4 Total so far Kyle 22 - Eric 16 --- Support this podcast: https://anchor.fm/ohnodiscgolf/support

Riopelle, Harold Francis, 87, of Richmond, Virginia, died peacefully Thursday, January 28, 2021, in the company of his children. Rip was the son of the late Edith and Hugh Riopelle, of Ottawa, Canada. He was preceded in death by his wife of 46 years, Alice O. Riopelle; and his son, Stephen P. Riopelle. He is survived by his children and their spouses, Brian and Betsy Riopelle, and Kathleen and Matt Roberts; sister, Joan Farrell of Port Hope, Ontario; and brothers and their spouses, Hugh and Marie Riopelle, and Gerald and Jeannine Riopelle, all of Ottawa, Ontario; sister-in-law and brother-in-law, Karen...Article LinkSupport the show (http://henricocitizen.com/contribute)

On this week's Tibbits Talk, Summer Theatre Artistic Director Peter Riopelle unveiled the 2021 season schedule. See omnystudio.com/listener for privacy information.

Entretien avec Michel Tremblay, meilleur ami d'André Gagnon; reportage de Sonia Sarfati sur la nouvelle comédie musicale de Rosalie Vaillancourt; entrevue avec Camille Cottin sur son rôle d'Andréa Martel et sur le nouveau personnage qu'elle incarne dans la série britannique Killing Eve; discussion avec Rémy Girard sur sa complicité de longue date avec Denys Arcand et sur ses débuts au théâtre; entretien avec Mélissa Bédard à propos de sa participation au 30eShow du Refuge; entrevue avec Samuel Archibald sur l'exposition virtuelle de Riopelle au Musée des beaux-arts de Montréal; critique de la série Belgravia, de Julian Fellowes; et entrevue avec Dan Bigras à propos de son métier d'animateur radio et de son nouvel album, Dan BigrasX4.

Le gouvernement du Canada estime que tout le monde sera vacciné contre la COVID-19 en septembre; l'Ontario bat un record de nouvelles infections; le Vendredi fou en temps de pandémie; Vancouver est en voie de décriminaliser toutes les drogues; un épisode de brutalité policière secoue la France; le maintien de la paix en Colombie connaît des ratés; Québec investit pour la production maraîchère en serre; on fait une mise au point sur l'état de la dette du Canada; et le Musée des beaux-arts de Montréal accueille une exposition sur Riopelle.

Andrée-Anne Joly et Louis Borgeat discutent du travail dans la fonction publique; Georges Privet dresse une liste de films qui traitent des élections américaines; l'animatrice Sophie Fouron présente la série Tenir salon; Andréanne Roy et Guy Sioui Durand parlent de l'exposition Riopelle: à la rencontre des territoires nordiques et des cultures autochtones; la DreDanielle Perreault présente son livre Soigner du nord au sud; le compositeur Airat Ichmouratov revient sur le prix Charles-Biddle qu'il a reçu; et Lesley Chesterman propose une recette de fèves au lard.

Entretien avec Jean Portugais, président de la Fédération québécoise des professeures et professeurs d'université (FQPPU), sur la loi pour protéger la liberté universitaire; reportage de Michel Labrecque sur les répercussions des changements climatiques en Arizona, qui menacent les sources d'approvisionnement en eau; reportage de Marie-France Abastado sur le travail de directeur d'école en temps de COVID-19; et entrevue avec Jacques des Rochers sur l'exposition de Jean-Paul Riopelle qui explore les liens entre le peintre et le territoire nordique du Canada.

durée : 00:24:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - C'est dans une émission enregistrée au cœur des années 50, qui furent pour lui celles de la consécration aux États-Unis comme à Paris, que nous allons entendre Jean-Paul Riopelle. Il répondait aux questions de Georges Charbonnier qui l'interrogeait là en tant que jeune artiste de trente-trois ans. - réalisation : Virginie Mourthé

Smile One Services may be a smaller DSO, with five Michigan locations, but they are the first dental practice in the country to introduce breakthrough UV-C pathogen control technology, working 24/7 to purify the air from harmful viruses, bacteria, and fungi. The UV technology also neutralizes contamination on heavily-used surfaces. In this podcast, this dentist-led DSO's owner and CEO, Dr. Darren Riopelle, explains their Smile Safety Assurance program and why he considers his practices to be the 'safest dental practices' in the country. Watch their video at www.GroupDentistryNow.com under the podcast tab and then listen to this audio only podcast to learn more about their impressive safety protocols which make their patients and team feel safe. Our podcast series brings you dental support and emerging dental group practice analysis, conversation, trends, news and events. Listen to leaders in the DSO and emerging dental group space talk about their challenges, successes, and the future of group dentistry. The Group Dentistry Now Show: The Voice of the DSO Industry has listeners across the North & South America, Australia, Europe, and Asia. If you like our show, tell a friend or a colleague.

Aujourd'hui, je te parle de l'amour que j'ai redécouvert pour le café instantané... Pour me joindre Francis Parent-Valiquette -- LinkedIN: https://www.linkedin.com/in/fpv/ InstaGram: https://www.instagram.com/runningfranck/ Facebook: https://www.facebook.com/francis.parentvaliquette Strava: https://www.strava.com/athletes/runningfranck Varmedia INC -- Web: https://www.varmedia.com/ Facebook: https://www.facebook.com/varmedia/ InstaGram: https://www.instagram.com/vmpodcast/ Crédit narration en introduction: Xich-Vê Hô https://www.linkedin.com/in/xichveho/

In today's episode, Dave is joined by Sarah Riopelle, Vice-President and Senior Portfolio Manager, RBC Global Asset Management. They look at how conservative portfolios are faring in this period of volatility, and discuss why diversification across all asset classes is key to staying the course.To view the transcript and disclosure for this podcast, please visit https://www1.rbcgam.com/en/ca/insights/podcasts.RBC, GAM, RBC GAM, RBCGAM, podcast, invested, investing, investment, insights, personally, learn, perspectives, personally invested

durée : 00:24:59 - Les Nuits de France Culture - par : Philippe Garbit, Albane Penaranda, Mathilde Wagman - C'est dans une émission enregistrée au cœur des années 50, qui furent pour lui celles de la consécration aux États-Unis comme à Paris, que nous allons entendre Jean-Paul Riopelle. Il répondait aux questions de Georges Charbonnier qui l'interrogeait là en tant que jeune artiste de trente-trois ans. - réalisation : Virginie Mourthé

Arrivé à la peinture sur le tard, ce disciple de Monet, Borduas et Riopelle a su prendre ses distances des automatistes et trouver un style unique en exploitant la surface entière de ses toiles, ainsi qu’en créant des effets de transparence grâce à la superposition des couleurs. Son approche pourrait même avoir inspiré la création du drapeau canadien. Simon Blais, galeriste, raconte à Jacques Beauchamp le long parcours de cet ancien pharmacien pour trouver sa voie entre les influences européennes, québécoises et américaines.

Sarah sits down with Dave Richardson to discuss her personal commitment to the funds she manages, the sophistication of portfolio solutions and the strength of the investment team that supports her. She also shares her thoughts on the importance of diversity in the financial industry.To view the transcript and disclosure for this podcast, please visit https://www1.rbcgam.com/en/ca/insights/podcasts.RBC, GAM, RBC GAM, podcast, invested, investing, investment, insights, personally, learn, perspectives, personally invested

On Episode 32 Of "Your Program Is Your Ticket" My Guest's Are The Amazing Co-Artistic Directors Of Molly Clifford and Lily Riopelle Of Two Headed Rep!!! They Discuss Their Brilliantly Unique Style Of Repertory Theatre In Featuring A Classic Play With A New Modern Play At The Same Time!!! Plus I Give A Short Lesson On The Concept Of Repertory Theatre! And I Give A Peer Recommendation From My Husband, David For The Exquisite “Tomorrow In The Battle” By Keiron Barry - Making Its NYC Debut By The Amazing Stripped Scripts Productions! “(Musical Intro And Outro By The Phenomenal North Coast, NYC) Learn more about your ad choices. Visit megaphone.fm/adchoices

Le lavage de la semaine avec Martine Hébert et Jacques Létourneau ; Immigration et entrepreunariat : Discussion ; Cinéma avec Helen Faradji et Georges Privet : 120 battements par minute ; Le livre Riopelle, l'artiste magicien : Entrevue ; Musique avec Frédéric Lambert : L'album Encounter, Rencontres, du CNA ; Culture populaire avec Pascale Lévesque : Le retour de Shania Twain ; Vins avec Élyse Lambert : Suggestion pour accompagner les huîtres ; Vidéo de la semaine avec Helen Faradji : Court-métrage d'Asia Argento ; Cinéma avec Georges Privet : 78 / 52, d'Alexandre O. Philippe ; Vins avec Élyse Lambert : Suggestion pour accompagner le saumon fumée ; À voir sur le web avec Helen Faradji : Mr Dynamite, The Rise of James Brown ; Cinéma avec Georges Privet : Mark Felt, The Man Who Brought Down the White House ; Musique avec Frédéric Lambert : Nouvel album de Jean-François Bélanger ; Culture populaire avec Pascale Lévesque : Retour en magasin du Tamagotch

1ière heure : L’heure de vérité en Catalogne - Reportage de Sylvain Desjardins ; Commotions cérébrales, le football relève la tête - Reportage de Janic Tremblay ; Vaccination obligatoire en France - Entrevue de Michel Désautels avec Lise Barnéoud, journaliste scientifique et auteure de Immunisés? Un nouveau regard sur les vaccins ; Burundi, la crise qui s’éternise - Chronique internationale de Léo Kalinda. 2ième heure : ALENA, la culture en péril? - Entrevue de Michel Désautels avec Véronique Guèvremont, professeure de droit à l’Université Laval ; Non-voyant et journaliste - Reportage de Marie-France Abastado ; Esquisse de l’histoire humaine - Entrevue de Michel Désautels avec l’historien et essayiste français Emmanuel Todd, auteur de Où en sommes-nous? - Une esquisse de l’histoire humaine ; Mitchell et Riopelle, l’amour de l’art - Entrevue de Michel Désautels avec Michel Martin, commissaire invité responsable de l’exposition Mitchell / Riopelle du Musée national des Beaux-arts du Québec.

« Je les aime, mes maladresses, je les raconte. C’est un matériel fabuleux. » L’écrivain et comédien Simon Boulerice revendique le droit d’apprécier son côté un peu gauche, qui lui apporte toutes sortes d’anecdotes savoureuses. Il raconte à l’animateur Alex Fredo la fois où, lors d’un même souper, il a failli tuer l’auteur Michel Tremblay et ruiner un tableau de Riopelle. De son côté, l’humoriste Korine Côté se demande toujours comment elle a bien pu provoquer une évacuation lors de son premier jour à l'École nationale de l'humour. Alex Fredo (animateur), Korine Côté et Simon Boulerice (invités)

« Je les aime, mes maladresses, je les raconte. C’est un matériel fabuleux. » L’écrivain et comédien Simon Boulerice revendique le droit d’apprécier son côté un peu gauche, qui lui apporte toutes sortes d’anecdotes savoureuses. Il raconte à l’animateur Alex Fredo la fois où, lors d’un même souper, il a failli tuer l’auteur Michel Tremblay et ruiner un tableau de Riopelle. De son côté, l’humoriste Korine Côté se demande toujours comment elle a bien pu provoquer une évacuation lors de son premier jour à l'École nationale de l'humour. Alex Fredo (animateur), Korine Côté et Simon Boulerice (invités)

La danse est un art du temps. La danse comporte ainsi des problématiques quant à sa conservation, transmission et recréation. Il est donc pertinent de s’intéresser à la notion de reconstitution en danse et ses modes d’effectuation. Il sera question d’élucider quelles sont les traces documentaires d’une performance pouvant être utiles à sa reconstitution, tout en interrogeant leur statut. La discussion prendra appui sur la performance phare Danse dans la neige de Françoise Sullivan filmée par Riopelle en 1948, dont il ne reste que les photographies de Maurice Perron, de même que Les Saisons Sullivan (2007), réalisée par Mario Côté et Françoise Sullivan cinquante-neuf années plus tard.

This episode is Justin Riopelle, the Head Brewer of The Detroit Beer Company. Detroit Beer Company opened in 2003 and is located in the historic 100-year-old Hartz Building at 1529 Broadway Street, a stone throw from Comerica Park and home of the Detroit Tigers. Along with being a head brewer he is now teaching an intro to craft brewing program at Wayne Country Community College, the Belleville campus. If you haven't had a chance to visit the Detroit Beer Company you are missing out. Not only are the beers amazing, my favorite being the Dwarf, but the building is as equally as amazing. Detroit is really coming back and you can see it with establishments like Detroit Beer Company. As always you can join the conversation on my website, billsbeerreport.com or Facebook at Bill's Beer Report. If Twitter and Instagram are more your speed, check me out @BillsBeerReport. You can find the podcast on the Tangent Bound Network, iTunes, SoudCloud, and Stitcher Radio. As always, thank you to Son Step for the wicked theme music.

Wes Higbee is a software consultant from New York. He has been interviewed on the AOV Show before about software consulting, agile development, and customer value. Matt Riopelle is a creative consultant from Austin. He was a guest on the AOV Show previously to discuss the importance of pricing. Wes and Matt practice value pricing in their businesses and frequently […] The post Pursuing of the Economic Buyer with Higbee & Riopelle – 065 appeared first on Art Of Value.

Ever since Isabelle got back from Montreal yesterday Jon has been saying 'can we do a podcast?' So we took his suggestion and recorded ​episode 10. Jon started out by reading out the menu of the mythical 'Dave's Pizza Kitchen' which seems to be getting longer. We eventually came around to talking about art, specifically the art Isabelle saw in Montreal. Some of the artists we talked about in this episode included Louis Comtois, Riopelle, Lynne Cohen and Kelly Mark.