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Press Release – Launch of the Destination Contract
A new, creative, cultural, artistic and festive tourism offer from a bigger Paris www.exploreparis.com e-store launch #ExploreParis | PRESENTATION 3 Discover Greater Paris: a more generous tourism offer for original experiences Paris, the ultimate city break destination, is not simply a city centre. An abundance of cultural, artistic and festive offers on both sides of the ring road attract young tourists searching for something different. The aim is not only to develop the destination's image but also to increase Greater Paris has decided to boost and develop its tourism flows from the centre of Paris to tourism offer to meet young Europeans’ expectations the Capital's suburban districts and towns and gain their long-term loyalty. The comprehensive, - easily accessible by public transport - dynamic and creative offer is based on themes such and to promote these areas and their as street art, architecture, modern art, nature, tourist attractions. cosmopolitan Paris, and party-time Paris. A wide choice of venues, excursions and tours, often unknown The finalised offer has been launched in the to tourists, are available across the city. This new www.exploreparis.com e-store, both in French tourism scope also includes main attractions such and in English. Tourists can choose from a wide as the Royal Basilica of Saint-Denis, the Château choice of Greater Paris experiences to discover the de Vincennes and the Albert Kahn Museum. area and meet residents: tours, walks, workshops, cruises and parties, etc. Just like Berlin, London, Barcelona and Amsterdam, Greater Paris promises both exciting experiences in off-the-beaten-track venues and original encounters for a revamped tourism experience. -
D'eurockéennes
25 ans d’EUROCKÉENNES LE CRÉDIT AGRICOLE FRANCHE-COMTÉ NE VOUS LE DIT PAS SOUVENT : IL EST LE PARTENAIRE INCONTOURNABLE DES ÉVÉNEMENTS FRANCs-COMTOIS. IL SOUTIENT Retrouvez le Crédit Agricole Franche-Comté, une banque différente, sur : www.ca-franchecomte.fr Caisse Régionale de Crédit Agricole Mutuel de Franche-Comté - Siège social : 11, avenue Elisée Cusenier 25084 Besançon Cedex 9 -Tél. 03 81 84 81 84 - Fax 03 81 84 82 82 - www.ca-franchecomte.fr - Société coopérative à capital et personnel variables agréée en tant qu’établissement de crédit - 384 899 399 RCS Besançon - Société de courtage d’assurance immatriculée au Registre des Intermédiaires en Assurances sous le n° ORIAS 07 024 000. ÉDITO SOMMAIRE La fête • 1989 – 1992 > Naissance d’un festival > L’excellence et la tolérance, François Zimmer .......................................................p.4 > Une grosse aventure, Laurent Arnold ...................................................................p.5 continue > « Caomme un pèlerinage », Laurent Arnold ........................................................p.6 Les Eurockéennes ont 25 ans. Qui l’eut > Un air de Woodstock au pied du Ballon d’Alsace, Thierry Boillot .......................p.7 cru ? Et si aujourd’hui en 2013, un doux • 1993 – 1997 > Les Eurocks, place incontournable rêveur déposait sur la table le dossier d’un grand et beau festival de musiques > Les Eurocks, précurseurs du partenariat, Lisa Lagrange ..................................... p.8 actuelles (selon la formule consacrée), > Internet : le partenariat de -
En Ligne Lundi 12 Septembre 2016
Du pionnier Laurent Garnier aux influences métissées de Motorbass, des révolutionnaires Daft Punk, aux électrons libres et pop tels que Air ou Sébastien Tellier en passant par l’electroclash de Vitalic, Touche Française revisite la French Touch à travers une playlist de 12 morceaux emblématiques de la musique électronique française qui font danser et rêver la planète depuis 1995. UNE WEBSÉRIE DOCUMENTAIRE ÉCRITE PAR GUILLAUME FÉDOU ET JEAN-FRANÇOIS TATIN RÉALISÉE PAR JEAN-FRANÇOIS TATIN (2016, 12X6MN) EN LIGNE LUNDI 12 SEPTEMBRE 2016 SUR © AGNES DAHAN TOUCHE FRANÇAISE UNE WEBSÉRIE DOCUMENTAIRE ÉCRITE PAR GUILLAUME FÉDOU ET JEAN-FRANÇOIS TATIN RÉALISÉE PAR JEAN-FRANÇOIS TATIN COPRODUCTION: SILEX FILMS, ARTE FRANCE (2016, 12X6MN) BANDE SON DE CHRISTOPHE CHASSOL - ENREGISTRÉ EN SON BINAURAL EN LIGNE LE LUNDI 12 SEPTEMBRE 2016 SUR ARTE.TV/TOUCHEFRANÇAISE Plongée visuelle et sonore au cœur d’un mouvement qui a su AVEC : replacer la France sur la carte du divertissement international. ALEX GOPHER ARIEL WIZMAN Anecdotes, digressions, archives inédites : les principaux acteurs BERTRAND BURGALAT de l’époque reviennent sur les secrets de cette musique, leurs CHLOÉ influences, et décryptent le phénomène sociétal, générationnel CRACKI RECORDS DEMON et mondial né grâce à l’explosion d’internet. Chaque épisode se DJ HELL conclut par une reprise originale du titre initial par un groupe ou ÉTIENNE DE CRÉCY artiste du moment et la bande son est signée Christophe Chassol. GASPARD AUGÉ (JUSTICE) JACKSON LA FEMME LAURENT GARNIER NICOLAS GODIN (AIR) PEDRO WINTER (ED BANGER) PHILIPPE ZDAR (MOTORBASS) ROB VITALIC © AGNES DAHAN © LAURENT BOCHET LA BANDE SON DE CHRISTOPHE CHASSOL LES AUTEURS Christophe Chassol passe 16 ans au conservatoire Guillaume Fédou est romancier, musicien, journaliste. -
Your Free Copy
YOUR FREE COPY THE ESSENTIAL GUIDE TO LIFE, TRAVEL & ENTERTAINMENT IN ICELAND Issue 01 – January 8 - February 4 – 2010 www.grapevine.is + COMPLETE CITY LISTINGS - INSIDE! The Reykjavík Grapevine Issue 01 — 2010 2 Editorial | Haukur S Magnússon 2009 in Pictures JULIA STAPLES Art Director: Hörður Kristbjörnsson YOUR FREE COPY THE ESSENTIAL GUIDE TO LIFE, TRAVEL & ENTERTAINMENT IN ICELAND www.grapevine.is + Issue 01 – January 8 - February 4 – 2010 COMPLETE CITY LISTINGS - INSIDE! [email protected] Design: Jóhannes Kjartansson [email protected] Photographers: Hörður Sveinsson / hordursveinsson.com Julia Staples / juliastaples.com Sales Director: Aðalsteinn Jörundsson Cover llustration by: [email protected] Hugleikur Dagsson Guðmundur Rúnar Svansson [email protected] Printed by Landsprent ehf. in 25.000 copies. Distribution: [email protected] The Reykjavík Grapevine Proofreader: Hafnarstræti 15, 101 Reykjavík Jim Rice www.grapevine.is [email protected] Press releases: Published by Fröken ehf. [email protected] www.froken.is Submissions inquiries: Member of the Icelandic Travel Industry [email protected] Association - www.saf.is These images are from a series titled "Home". Subscription inquiries: +354 540 3605 / [email protected] They summon up feelings about a distant Editorial: General inquiries: [email protected] idea of home and one that is deteriorating. +354 540 3600 / [email protected] Haukur’s 19th Editorial They are all taken this past summer in Advertising: Founders: “No comment” Rhode Island, USA, one of the places that +354 540 3605 / [email protected] Hilmar Steinn Grétarsson, Publisher: was home to me in my adolescence. Hörður Kristbjörnsson, I have nothing to say for now. There +354 540 3601 / [email protected] Jón Trausti Sigurðarson, is enough editorialising in this issue JS Oddur Óskar Kjartansson, Publisher: Valur Gunnarsson already. -
18Noa ASAF AVIDAN 19Mariama Trio LAMOMALI De
LE FESTIVAL DOSSIER DE PRESSE EXTÉRIEUR JOUR Plan panoramique sur le village de Patrimonio, écrasé de soleil. Paisible à l’heure de la sieste, en attendant la grand-messe du soir... EXTÉRIEUR NUIT Plan large sur le Théâtre de Verdure, investi de milliers de spectateurs. Ce n’est pas du cinéma, mais la réalité des Nuits de la Guitare, qui drainent depuis vingt-huit ans tous les amoureux de la six-cordes. PLUS QU’UN RASSEMBLEMENT MUSICAL, il s’agit de célébrer lors de la 28ème édition le pari fou, mais réussi, de quelques passionnés qui se lancèrent dans l’aventure tumultueuse de la création d’un festival. Quand ils concoctent leur premier plateau, en 1989, Jean-Bernard Gilormini, Guy Maestracci et une poignée d’amis, tous guitaristes amateurs, n’imaginent pas que leur événement deviendra le rendez-vous privilégié des stars de la guitare. C’EST SUR LA PLACE DU VILLAGE DE PATRIMONIO, sous la voûte étoilée, durant les longues soirées d’été passées à jouer, que ces irréductibles rêvent à voix haute des Nuits de la Guitare. Au début, il n’est question que de trois soirées, on ne parle pas encore de réunion annuelle ou de futures éditions, mais d’emblée, les organisateurs voient grand : au côté des meilleurs musiciens insulaires, Babik Reinhardt, Roland Dyens et Raphaël Faÿs étrennent ce festival unique en son genre, dédié à la guitare. Puis, tout s’emballe : les spectateurs prennent d’assaut le Théâtre de Verdure, le succès du festival dépasse toutes les espérances. La seconde édition est dans les tuyaux, avec entre autres Marcel Dadi, Larry Coryel et Biréli Lagrène. -
Title Page.Pages
Cross-dressing to Backbeats: An Exploration of the Practices, Wo/men Producers, and History of Electroclash David Madden A Thesis In the Department of Communication Studies Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Communication) at Concordia University Montreal, Québec, Canada September 2013 © David Madden, 2013 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: David Madden Entitled: Cross-dressing to Backbeats: An exploration of the practices, Wo/men producers and History to Electroclash and submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY (Communication) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: Chair Dr. U. Shalev External Examiner Dr. J. Sterne External to Program Dr. J. Camlot Examiner Dr. C. Acland Examiner Dr. K. Sawchuk Thesis Supervisor Dr. A. McCartney Approved by Chair of Department or Graduate Program Director Dr. W. Buxton, Graduate Program Director August 19, 2013 Professor J. Locke, Interim Dean Faculty of Arts and Science ABSTRACT Cross-dressing to Backbeats: An Exploration of the Practices, Wo/men Producers, and History of Electroclash David Madden, Ph.D Concordia University, 2013 This research-creation dissertation focuses on the emergence of electroclash as a dominant form of electronic dance music in the late 1990s and early 2000s. Electroclash combines the extended pulsing sections of techno, house and other dance musics with the trashier energy of rock and new wave. The genre signals an attempt to reinvigorate dance music with a sense of sexuality, personality and irony. -
San Miguel Primavera Sound
SAN MIGUEL PRIMAVERA SOUND CARTELL 2012 PARC DEL FÒRUM PROGRAMACIÓ COMPLEMENTÀRIA san MIGUEL PRIMAVERA A LA CIUTAT PRIMAVERAPRO ORGANITZACIÓ I PARTNERS TIQUETS I PUNTS DE VENDA CRONOGRAMA D’activitats PLÀNOL parc DEL fòrum adreces recintes CAMPANYA GRÀFICA CITES DE PREMSA HISTÒRIA ANNEX: Biografies D’artistes CONTACTE SAN MIGUEL PRIMAVERA SOUND Des dels seus inicis el festival ha centrat els seus esforços en oferir noves propostes musicals de l’àmbit independent juntament amb artistes de contrastada trajectòria i de qualsevol estil o gènere, buscant primordialment la qualitat i apostant essencialment pel pop, el rock i les tendències més underground de la música electrònica i de ball. El festival ha comptat al llarg de la seva trajectòria amb propostes dels més diversos colors i estils. Així ho demostren els artistes que durant aquests deu anys han desfilat pels seus escenaris: de Pixies a Aphex Twin, passant per Neil Young,Sonic Youth, Portishead, Pet Shop Boys, Pavement, Yo la tengo, Lou Reed, My Bloody Valentine, El-P, Pulp, Patti Smith, James Blake, Arcade Fire, Public Enemy, Grinderman, Television, Devo, Enrique Morente, The White Stripes, Wil- co, Tindersticks, PJ Harvey, Shellac, Dinosaur Jr., New Order, Surfin’ Bichos, Fuck Buttons, Melvins, The National, Psychic TV o Spiritualized, entre molts d’altres. REPERCUSSIÓ D’EDICIONS ANTERIORS Any rere any, el festival San Miguel Primavera Sound ha anat incrementant tant l’assistència de públic com la re- percussió als principals mitjans de premsa, ràdio i televisió. Si la primera edició va tancar amb una assistència de 8.000 persones, la del 2002 va arribar a 18.000 i la de 2003 va reunir entre els seus espais a més de 24.000 persones, l’assistència de 40.000 persones a l’any 2004 va significar un punt i apart i el festival va abandonar el Poble Espanyol. -
The Interpretation of Italy During the Last Two Centuries
CORNELL UNIVERSITY LIBRARY 6^60/ 111- DATE DUE 'V rT ^'iinih'^ ,.^i jvT^ifim.mimsmi'^ / PRINTED IN U S A. / CORNELL UNIVERSITY LIBRARY 3 1924 082 449 798 The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/cletails/cu31924082449798 THE DECENNIAL PUBLICATIONS OF THE UNIVERSITY OF CHICAGO THE DECENNIAL PUBLICATIONS ISSUED IN COMMEMORATION OP THE COMPLETION OP THE PIEST TEX TEARS OP THE UNIVERSITY'S EXISTENCE AUTHORIZED BY THE BOARD OP TRUSTEES ON THE RECOMMENDATION OP THE PRESIDENT AND SENATE EDITED BY A COMMITTEE APPOINTED BY THE SENATE EDWABD CAPP3 STARR WILLARD CUTTING EOLLIN D. SALISBtTKT JAME9 ROWLAND ANGELL "WILLIAM I. THOMAS SHAILER MATHEWS GAEL DARLING BUCK FREDERIC IVES CARPENTER OSKAB BOLZA JDLIBS 3TIBGLITZ JACQUES LOEB THESE VOLXJMBS ARE DEDICATED TO THE MEN AKD WOMEN OP CUB TIME AND COUNTRY WHO BY WISE AND GENEK0U3 GIVING HAVE ENCOUBAGED THE SEARCH AFTBB TBUTH IN ALL DEPARTMENTS OP KNOWLEDGE THE INTERPRETATION OF ITALY THE INTERPRETATION OF ITALY DURING THE LAST TWO CENTURIES A CONTKIBUTION TO THE STUDY OF GOETHE'S "ITALIENISCHE KEISE" CAMILLO voN^LENZE rORMBBLI OF THE DBPAETMENT OF GEKMANIC LANGUAGES AND LITEEATUBES. NOW PEOFBSSOE OF GEKMAN IiITEBATDEE IN BEOTVN UNIVEESITT THE DECENNIAL PUBLICATIONS SECOND SERIES VOLUME XVII CHICAGO THE UNIVBKSITY OP CHICAGO PRESS 1907 'y\ Copyright 19(yt by THE UNIVEESIT¥ OF CHICAGO Published April 1907 ^' / (7 ^SJ^ Composed and Printecl By The University of Chicago Press Chicago, Illinois, U. S. A. ACKNOWLEDGMENT I owe grateful acknowledgment, for valuable assistance in procuring material, to the Libraries of the University of Chicago, of Harvard University, of Cornell University, and of the City of Boston. -
Rooted Practices in Globalized and Digital French Popular Music Michael Spanu
Sacred Languages of Pop: Rooted Practices in Globalized and Digital French Popular Music Michael Spanu To cite this version: Michael Spanu. Sacred Languages of Pop: Rooted Practices in Globalized and Digital French Popular Music. Open cultural studies, 2019, 10.1515/culture-2019-0018. hal-02556157 HAL Id: hal-02556157 https://hal.archives-ouvertes.fr/hal-02556157 Submitted on 27 Apr 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Open Cultural Studies 2019; 3: 195-206 Research Article Michael Spanu* Sacred Languages of Pop: Rooted Practices in Globalized and Digital French Popular Music https://doi.org/10.1515/culture-2019-0018 Received April 30, 2018; accepted December 7, 2018 Abstract: Nowadays, popular music artists from a wide range of cultures perform in English alongside other local languages. This phenomenon questions the coexistence of different languages within local music practices. In this article, I argue that we cannot fully understand this issue without addressing the sacred dimension of language in popular music, which entails two aspects: 1) the transitory experience of an ideal that challenges intelligibility, and 2) the entanglement with social norms and institutions. Further to which, I compare Latin hegemony during the Middle Ages and the contemporary French popular music, where English and French coexist in a context marked by globalisation and ubiquitous digital technologies. -
Identité Instruments Pratiqués
Identité Isabelle GUIDON PERCUSSIONNISTE Tél portable : (+33) 06 99574335 Email: [email protected] Site web : http://www.wimpercussion.com/isabelle-guidon-percussionniste.html Facebook : www.facebook.com/isabelle.guidon.percussionniste Adresse : 13 rue Léon Bernard – 95760 Valmondois Instruments pratiqués - Percussions brésiliennes : - Percussions Formation BATUCADA :Le timbao, le latines : sourdo, la caixa, le repinique,l ensemble Les congas, les bongos, le de la batucada cajon, le shime, les cloches et claves, le guiéro, le patuwapa, - Percussions africaines : le shime, le cajon et le Le djembé, les dum-dum, le krin, tambourin. le gongoma, le balafon (djeli bala). Bio Isabelle a commencé les percussions à l’âge de 15 ans en se dirigeant vers l’univers des percussions africaines. Au cours de ses multiples voyages en Afrique (Mali et Guinée), elle s'est formée avec les grands maîtres (Mohamed bangoura « Diable Rouge », Dartagnan Camara, Petit Adama Diarra, Lasina Danté « Siné », Lamine « Balany » Traoré et Famoro Kouyaté balafoniste de Loby Traoré) en les suivant dans les cérémonies traditionnelles mandingues. En France, Isabelle travaille avec des maîtres tels que Orlando Poléo Vénézuelien, le maître Brésilien Marivaldo Paim, ancien directeur d’Ilé Aye au Brésil- et Boubacar Dembele ,percussionniste malien de Mathieu Chedid. A force de rencontres, expériences et professionnalisme , Elle travaille aujourd’hui à l’international pour des groupes et des compagnies : électro, percussions africaines, percussions afrobrésiliennes batucada,Compagnies de Cirques, funk, afro beat, salsa, chansons françaises et anglaises, pop rock, zouk, jazz etc. (Bercy,L’Olympia, Le Bataclan, Dubaï Summer Festival, Séoul Drum Festival , Alger Samba Festival, samba Festival de Coburg, Berlin Samba Syndrom, London Brazilian Day, Paris Jazz à la vilette, Bercy, Stade de France, Le New Morning, Le Divan du Monde, Le Kab de Genève, etc. -
Dossier De Presse (Vertical)
"No Money Kids confirms its status as a new duo to "From the outset, these two French set the bar very high" survey closely, an effective universe where adjusted riffs alternate with studied ballads" "Between rough blues and high-flying electro, the duo "A modern blues, sincere and powerful, it sounds right offers an elegant return" and just like the biggest" "No Money Kids electro-blues strikes one more time "The planets line up, the duo electronises the blues, and touches right in the heart" intimates electronics and we thank them for that !" "An electric blues that makes you want to stage-dive in "An electro-rock tandem on the rise, their perfectly the street or from your bed" produced music hits the mark from the start" "Between pop sensuality, rock energy and electronic arrangements, the duo creates an original and effective "Only two years and already a musical maturity worthy electro-blues-garage" of future great." No Money Kids is back with a captivating new sound "This duo immediately shows that he knows how to sh aped by powerful indie-rock and contemporary pop- groove and also that he has things to say. A wide range of "Very rugged blues, electro samples and lyrics that do talents, which expresses itself even better in live " not use tweezers" culture. Forerunners in the new DIY generation that's palette de talents, qui s’exprime encore mieux en live » reinventing itself every day, their la test album, Trouble, features reck less riffs ripping through the hollows of a smoky electronic mist. The Kids repeatedly surprise and "No Money Kids is good to count among the groups to watch very closely" "A proof that France, on the groove side, has incredible astonish during this new and ca ptivating musical talent. -
26-29 January 2013 Cannes, France
26 - 29 January 2013 Cannes, France PRESS RELEASE MADNESS, ARCHIVE, C2C, LOU DOILLON, ASAF AVIDAN, BALTHAZAR AND BIRDY HUNT TO PERFORM AT SECOND MIDEM FESTIVAL IN CANNES “PLAY MIDEM LIVE 2013” COMPETITION TO PLACE NEW TALENT ON THE MIDEM FESTIVAL STAGE Paris, Wednesday 14 November 2012 – midem announces today the second edition of the live music midem festival, featuring an international roster of acclaimed headliners and a one- of-a-kind competition allowing the public to vote for emerging artists and get them to perform in front of the midem global audience. As part of the midem tradeshow (26-29 January 2013) and organised by Reed MIDEM, the midem festival will take place every night from Saturday 26 to Monday 28 January on the Palais des Festivals’ esplanade, in Cannes, France. Following the success of its inaugural edition and sponsored by Opel ADAM, the 2013 programme of the midem festival will present ten concerts over three nights at the heart of the world’s largest music market. Performed inside a specially built Magic Mirrors venue and in front of an audience of both international music professionals and general music fans, each concert programme will be preceded by a happy hour networking event with DJ sets between 6.30pm and 8.00pm. Registered midem participants will have access to every concert and invitations are available for the general public through the City of Cannes, midem’s media partners (Les Inrockuptibles, Infoconcert...) and on midemfestival.com. The midem festival 2013 talent line-up includes, on Saturday 26 January, the world-renowned British band Madness, who recently performed at the Queen’s Diamond Jubilee concert and at the Olympic Games closing ceremony and who’s new album Oui Oui, Si Si, Ja Ja, Da Da was just released this week through Cooking Vinyl/Atmosphériques.