Women in France earn around 15.1 percent less than men, according to the latest data from the European Union’s statistics agency Eurostat, which Les Glorieuses has calculated to mean women will be essentially working for free for the rest of the year after 4:34pm on November 7.“As of 4:34pm [and 7 seconds] on November 7, women will be working ‘voluntarily’,” the organisation said in a statement on its website.
“We call on women, men, unions and feminist organisations to join the movement… and to hold events and protests in order to make income inequality a central political problem. By tackling this subject, we’re showing that the gender pay gap is not just a ‘woman’s issue’.”
The emotional journey of the Eagles of Death Metal since last year’s bloodbath in Paris will be the subject of a new HBO documentary, the network announced Wednesday.
After four years of absence, Pauline Croze returns with an album, “Bossa Nova”. A return to his first musical emotions. Notes she whispered in his teenage bedroom. Pauline Croze chose bossa nova for its fourth album. An amazing musical turn for the audience but that sounds like a homecoming for her. A hot air that lives for years, since his first love with music: “I discovered it in a movie where there is a story of impossible love. That’s what I was at that time of my adolescence. I saw myself in this character who exorcised his sentence listening to bossa nova “, says the young woman. It is in this music “the dramatic message, but the notes soaring.”
She tells her story, her way to exist: “There’s a lot of sensuality, a nonchalant sensuality that looks like me.” So for hours in his teenage bedroom, she draws, sings, and discovered a passion: “I singing phonetic way the
Baker’s DozenIn Place: Yann Tiersen’s Favourite Albums
Fred Bowler , November 2nd, 2016 09:56
With his ninth album, EUSA, out now, the French composer and multi-instrumentalist takes Fred Jage-Bowler from the Velvets to Bill Callahan via NEU!, Vashti Bunyan and Joanna Newsom on a tour of his favourite records
With the Eiffel Tower as our November issue cover star, we celebrate the City of Light—just one of our readers’ favorite places, revealed in the 2016 Readers’ Choice Awards.Nobody does a pastry basket quite like the hotels of Paris—it’s a little thing, to be sure, but when you add up all the little things Paris does well, all the details it has mastered over the centuries, you’ll see why it’s one of the world’s great cities. It consistently lands on our Readers’ Choice Awards list of best international cities—as it did this year, just unveiled today—so we know our readers agree.
And we know that, no matter how golden a city may seem, even the finest face adversity: It was nearly a year ago that Paris suffered its worst attack since World War II, and since then, it has faced the invisible, lingering threat of fear, the kind that troubles locals like a nervous undercurrent, and keeps travelers from visiting.
I speak to Yann Tiersen a few hours before he is due to play the Gewandhaus in Leipzig, as he continues to tour his new album Eusa. A collection of ten piano songs originally released as sheet music, Tiersen decided to record the songs after playing them live. In the midst of his tour, I find Tiersen unwell with a miserable autumn cold. “At least I don’t have to sing tonight!” he laughs, before coughing and spluttering over the phone to me some more. Despite being so unwell that he clearly should be in bed with whatever the French equivalent of Lemsip is, he continues enthusiastically. Nothing, especially not a meagre cold, will stop him conveying the love he has for his latest project – a musical mapping of his home in Ushant.
It doesn’t seem like eighteen years since Tiersen’s 1998 solo album Le Phare, or fifteen years since 2001’s Bafta winning Amélie brought him into the musical consciousness of so many. Made up of tracks from his first three studio albums, La Valse Des Monstres (1995), Rue Des Cascades(1996) and the aforementioned Le Phare, the Amélie soundtrack felt like a love letter to the bustling Parisian area of Montmartre; Le Phare, by contrast, was an album where the remote, desolate landscape of Ushant inspired Tiersen to write in self-imposed seclusion on the island. Eusa, as it is known in the local Breton language, is again providing inspiration for Tiersen’s ninth studio album; however, rather than being merely inspired by Ushant, the album is Ushant, as Tiersen uses music to paint a vivid picture of his home landscape.
