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29/12/2012
Three generations of family JARRE...
Jarre composed the scores to all of Lean's films since Lawrence of Arabia (1962). Other notable scores include The Train (1964), Mohammad, Messenger of God (1976), Witness (1985) and Ghost (1990).
Jarre was awarded a star on the Hollywood Walk of Fame.Three of his compositions spent a total of 42 weeks on the UK singles chart; the biggest hit was "Somewhere My Love" (to his tune "Lara's Theme", with lyrics by Paul Francis Webster) by the Michael Sammes Singers, which reached Number 14 in 1966 and spent 38 weeks on the chart.
Jarre was a three time Academy Award winner, for Lawrence of Arabia (1962), Doctor Zhivago (1965), and A Passage to India (1984), all of which were directed by David Lean. He was Oscar nominated a total of eight times.
Maurice Jarre Discography: discogs.com
His son is the electronic composer Jean Michel Jarre.
Jean Michel André Jarre is a French composer, performer and music producer. He is a pioneer in the electronic, ambient and New Age genres, and known as an organiser of outdoor spectacles of his music featuring lights, laser displays, and fireworks.
Multifaceted artist, not only recording artist, creator and performer of unique outdoor concerts, Jean Michel Jarre is also composer and lyricist of mile-stone hits in his native France and composer of international movie soundtracks. He is also the first composer to introduce electronic music into the sanctuary of the Paris Opera House, with the ballet AOR in 1971. Between 1968 and 1972, after having worked with Pierre Schaeffer in the GRM (Group for Musical Research), he also composes and produces a series of electronic music pieces like The Cage, Deserted Palace…
His first mainstream success was the 1976 album Oxygène. Recorded in a makeshift studio at his home, the album sold an estimated 12 million copies. Oxygène was followed in 1978 by Équinoxe, and in 1979 Jarre performed to a record-breaking audience of more than a million people at the Place de la Concorde, a record he has since broken three times. More albums were to follow, but his 1979 concert served as a blueprint for his future performances around the world. Several of his albums have been released to coincide with large-scale outdoor events, and he is now perhaps as well known as a performer as a musician.
As of 2004 Jarre had sold an estimated 80 million albums. He was the first Western musician to be allowed to perform in the People's Republic of China, and holds the world record for the largest-ever audience at an outdoor event.
Official: jeanmicheljarre
His son is the David Jarre
Born in 1977, son of British actress Charlotte Rampling and French musician Jean-Michel Jarre. After a 10 years career as a magician, David Jarre is now a member of the duet The Two / David Jarre and Ara Starck .
In Paris, both Starck and Jarre are considered celebrities by birth.
Starck is the daughter of modernist designer Philippe Starck who has crafted chairs with stiletto heels and orange juicers that seem to defy gravity.
There is a lot of 60s British folk and acoustic pop influences in the music of “The Two” : Donovan, Nick Drake and a bit of Vashti Bunyan.
Starck and Jarre are darlings in France, but they are hoping to find the same sort of love in the US.
Official: thetwomusic.com
L’Aerosystem One présenté officiellement à Berlin
Les enceintes conçues par Jean Michel Jarre et qui portent sa griffe ont
été présentées à Berlin dans le cadre d’un salon hi-tech :
Source de la vidéo :
Fichier sélectionné dans Actualité
Sound Of The Dead: Don’t Lose Your Head Over This Jean Michel Jarre Apple Dock Connector
November 7, 2012
AeroSkull packs two 15-Watt speakers behind “sunglasses,” and a 40-Watt sub woofer in the “brains” of this skull-shaped Apple dock connector. Designed by French composer Jean Michel Jarre, the speaker system offers optimal sound quality, as well as one percent THD (Total Harmonic Distortion).
Jean Michel Jarre first used the image of the skull in 1976 on the album cover for Oxygene.
“For me, the skull symbolizes the perfect acoustic instrument it is the sound box for word, song and music,” Jarre
The AeroSkull is compatible with every generation of iPhone and iPod.
A jack cable can connect to other MP3 players, PCs or CD/DVD
players. Bluetooth makes connecting to smartphones and cinch. And the
listening experience is optimized by the APTX codecs.AeroSkull is available in 11 colors.
Total output power 70 W RMS at 1% THD+N
2.1 System with built-in subwoofer
Bass Reflex Cabinet
Bluetooth, A2DP, atpX for high quality wireless audio
Line-in 3.5mm
Touch sensor control
IR remote, backlit
$510 US
Source: magneticmag
28/12/2012
Jean Michel Jarre reclaims the future
29 Sep 2010
The synthesizer maestro talks to Neil McCormick about his new tour - and his painful relationship with his composer father.
Jean Michel Jarre wants to go back to the future. The French synthesizer
maestro arrives in the UK this weekend with his 2010 tour, named to evoke
the “hopes and dreams of my friend Arthur C Clarke”, author of the
science-fiction classic 2001: A Space Odyssey.
“We have lost our vision for the future,” says Jarre, his strong accent
lending a romantic flair to his every pronouncement. “Before, we say,
'Nothing will be the same, cars will fly and we go to the end of the
universe’, we have this kind of naïve but exciting idea of the future. Now
the vision has been reduced to ways to select our garbage, and how to
survive global warming.
“Suddenly, we are putting ourselves as the next dinosaurs. It’s rather dark;
we have narrowed our dreams. It is time to restore our visions. And so it’s
not a nostalgic idea; it is based with this unconscious need to restore a
kind of dynamic for tomorrow.”
With long, flowing black hair and matinee-idol looks apparently suspended in
time (he is 62), Jarre has the charismatic presence of a rock star but talks
with the excitability and intellectual intensity of an eccentric professor.
“This kind of mad-scientist approach, I like very much,” he says and enthusiastically shows me a pair of glasses with cameras mounted on them, which he wears on stage so that audiences can see what it is like from his perspective, “surrounded by 71 instruments, machines that are part of the legend and mythology of electronic music”.
“This kind of mad-scientist approach, I like very much,” he says and enthusiastically shows me a pair of glasses with cameras mounted on them, which he wears on stage so that audiences can see what it is like from his perspective, “surrounded by 71 instruments, machines that are part of the legend and mythology of electronic music”.
Once the poster boy for Seventies electronica, Jarre is now a kind of elder
statesman of the first synthesizer generation. For what is actually his
first world tour of arenas (Jarre has previously concentrated on mounting
one-off spectaculars), he has forsaken digital technology in favour of using
original analogue instruments.
“There is such warmth, such depth, that we have lost somehow,” he says. “These instruments are quite special in the history of music. They just disappeared at the beginning of the Eighties when the Japanese created the DX7 and also with the explosion of the development of computers. These instruments didn’t even have the chance to become adults and occupy the future.
“So I want to be in a total live situation, with no computers on stage, exposing myself to accidents because these instruments were not necessarily made for performance. The challenge is that every concert should be different, something special.” There is something intriguingly paradoxical about the notion that electronic music, once so determinedly futuristic, has begun to venerate the retro sounds of the original synths. Yet Jarre always stood in opposition to the kind of cold, dystopian futurism of most early electronica. “I remember Stockhausen, when I was studying with him for a few months, saying, 'All that is close to emotion in music is suspect.’ Which is absolutely crazy. Emotions are the basics of any art form!”
The son of film composer Maurice Jarre, he studied at the Paris Conservatoire, where he came under the influence of “musique concrete” pioneer Pierre Schaeffer in the Sixties. “For the first time someone said, 'OK, music is not only made of notes; it is made of sounds, and all kinds of noises can become music. This simple idea changed music of the second half of the 20th century.”
After years of writing film music, advertising jingles, ballet scores and pop songs for other artists, Jarre recorded his groundbreaking electronic composition Oxygene in 1976. Buoyed by multi-million global sales, Jarre became known for mounting huge audio-visual spectacles with fireworks, lighting and lasers.
The populist nature of such events and dramatic qualities of his music led to his work being dismissed as a kind of symphonic pomp-rock vulgarisation of the electronic experiments being carried out by the likes of Kraftwerk or Philip Glass. His marriages to strikingly beautiful actresses, Charlotte Rampling (whom he was with for 20 years) and Anne Parillaud (whom he married in 2005) have helped maintain an image of showbiz glamour somehow at odds with the aestheticism of experimental music. Yet the warmer tones of the electronic explosion in techno and ambient music of the Nineties began to make Jarre look increasingly prescient and influential.
“For me, electronic music is like cooking: it’s a sensual organic activity where you can mix ingredients. It is the reason I still have this intact thrill, it’s almost sexual somehow, not cold at all.”
He equates this with the tactility of analogue synthesizers. “With the computer screen, you have a kind of abstract interface between your idea and the audio result. With analogue instruments, you have the direct interactivity between the sound and your hands. I think the future of music will involve cross pollination between analogue and digital.”
His retro futurism extends to a suspicion of the internet. “I think we’ve been very naïve with the internet, thinking it’s a great community where we can exchange and share ideas, and we are all holding hands in a very new hippie type of mood. I predict the rebels of the next generation will get very cautious. The cool thing in 10 or 15 years from now will be not being on the internet because they will consider that the biggest marketing exploitation machine ever.”
Jarre’s father, from whom he was almost completely estranged, died in 2009, and his mother died this year. They separated when Jarre was five, and he did not see his father again until he was 18, and rarely after that. This, he has come to realise, has been a driving force of his artistic life. “I never succeed to have a normal relationship with my dad. It’s a total failure in my life. It was worse than a conflict, just an absence, which is actually indifference because you have this open hole in your heart. It’s very difficult to fill it.
“I think that music or art or performance is a kind of remedy or therapy, probably more effective than psychoanalysis. Live performance helped me to survive, just to get on and do this.”
Jarre says he is perpetually unsatisfied with his work. “I more and more think if an artist has something to say, he is saying always the same thing, all his life, trying desperately to improve what he has as his own ideal. I have this kind of dream of trying to get the emotions you have in classical music or in jazz, where you have a kind of soundscape, getting rid of the narrative concept. You are inviting people to create something in their mind, which is quite difficult to achieve.
“When I listen to Oxygene, I know there is something quite interesting. And part of this is the kind of innocence and unconsciousness that you have when you are for the first time encountering your audience. We were really privileged, my generation, of opening doors on virgin territories, just because nothing was existing behind.”
The '2010’ tour starts in Glasgow on Sunday, then visits Dublin, Cardiff, Birmingham, Manchester and London.
Source: telegraph.co.uk
“There is such warmth, such depth, that we have lost somehow,” he says. “These instruments are quite special in the history of music. They just disappeared at the beginning of the Eighties when the Japanese created the DX7 and also with the explosion of the development of computers. These instruments didn’t even have the chance to become adults and occupy the future.
“So I want to be in a total live situation, with no computers on stage, exposing myself to accidents because these instruments were not necessarily made for performance. The challenge is that every concert should be different, something special.” There is something intriguingly paradoxical about the notion that electronic music, once so determinedly futuristic, has begun to venerate the retro sounds of the original synths. Yet Jarre always stood in opposition to the kind of cold, dystopian futurism of most early electronica. “I remember Stockhausen, when I was studying with him for a few months, saying, 'All that is close to emotion in music is suspect.’ Which is absolutely crazy. Emotions are the basics of any art form!”
The son of film composer Maurice Jarre, he studied at the Paris Conservatoire, where he came under the influence of “musique concrete” pioneer Pierre Schaeffer in the Sixties. “For the first time someone said, 'OK, music is not only made of notes; it is made of sounds, and all kinds of noises can become music. This simple idea changed music of the second half of the 20th century.”
After years of writing film music, advertising jingles, ballet scores and pop songs for other artists, Jarre recorded his groundbreaking electronic composition Oxygene in 1976. Buoyed by multi-million global sales, Jarre became known for mounting huge audio-visual spectacles with fireworks, lighting and lasers.
The populist nature of such events and dramatic qualities of his music led to his work being dismissed as a kind of symphonic pomp-rock vulgarisation of the electronic experiments being carried out by the likes of Kraftwerk or Philip Glass. His marriages to strikingly beautiful actresses, Charlotte Rampling (whom he was with for 20 years) and Anne Parillaud (whom he married in 2005) have helped maintain an image of showbiz glamour somehow at odds with the aestheticism of experimental music. Yet the warmer tones of the electronic explosion in techno and ambient music of the Nineties began to make Jarre look increasingly prescient and influential.
“For me, electronic music is like cooking: it’s a sensual organic activity where you can mix ingredients. It is the reason I still have this intact thrill, it’s almost sexual somehow, not cold at all.”
He equates this with the tactility of analogue synthesizers. “With the computer screen, you have a kind of abstract interface between your idea and the audio result. With analogue instruments, you have the direct interactivity between the sound and your hands. I think the future of music will involve cross pollination between analogue and digital.”
His retro futurism extends to a suspicion of the internet. “I think we’ve been very naïve with the internet, thinking it’s a great community where we can exchange and share ideas, and we are all holding hands in a very new hippie type of mood. I predict the rebels of the next generation will get very cautious. The cool thing in 10 or 15 years from now will be not being on the internet because they will consider that the biggest marketing exploitation machine ever.”
Jarre’s father, from whom he was almost completely estranged, died in 2009, and his mother died this year. They separated when Jarre was five, and he did not see his father again until he was 18, and rarely after that. This, he has come to realise, has been a driving force of his artistic life. “I never succeed to have a normal relationship with my dad. It’s a total failure in my life. It was worse than a conflict, just an absence, which is actually indifference because you have this open hole in your heart. It’s very difficult to fill it.
“I think that music or art or performance is a kind of remedy or therapy, probably more effective than psychoanalysis. Live performance helped me to survive, just to get on and do this.”
Jarre says he is perpetually unsatisfied with his work. “I more and more think if an artist has something to say, he is saying always the same thing, all his life, trying desperately to improve what he has as his own ideal. I have this kind of dream of trying to get the emotions you have in classical music or in jazz, where you have a kind of soundscape, getting rid of the narrative concept. You are inviting people to create something in their mind, which is quite difficult to achieve.
“When I listen to Oxygene, I know there is something quite interesting. And part of this is the kind of innocence and unconsciousness that you have when you are for the first time encountering your audience. We were really privileged, my generation, of opening doors on virgin territories, just because nothing was existing behind.”
The '2010’ tour starts in Glasgow on Sunday, then visits Dublin, Cardiff, Birmingham, Manchester and London.
Source: telegraph.co.uk
Jean Michel Jarre to host IFPI Platinum Europe Award, Music Control confirmed as first ever sponsor
French composer and musician Jean Michel Jarre will host the 4th IFPI Platinum Europe Award honouring artists who achieve sales of one million recordings in Europe. Top artists from all over Europe will attend the prestigious biennial music Award on Wednesday, 10th July, at Hotel Le Plaza in Brussels.
Jean Michel Jarre said:
"I am delighted to come back to Brussels for the fourth time for the IFPI Platinum Europe Award. Platinum Europe is a unique event that shows the very best that European music has to offer."
IFPI is also pleased to announce Music Control, the leading European broadcast music monitoring service, as its first ever sponsor of the Award.
Performing live onstage at the event will be the British R&B band Blue who achieved Platinum status with their recent debut album, "All Rise". Finnish dance group Bomfunk MCs will also perform their pan-European hit "Freestyler" at the event. In the first award of its kind for a single, Bomfunk MCs will be honoured with a Platinum Award for this recording that achieved sales of two million despite a general downturn in the singles market.
Other artists who will be present to receive Platinum awards include Scottish group Texas; French singer Helena Segara; Italian singer Laura Pausini; German rock star Westernhagen; and Belgian singer Axelle Red.
Gerd Gebhardt, Chairman of IFPI Germany and of IFPI's Communications Committee said: "The Platinum Europe Award is the pre-eminent music industry sales award for the European music market.
The range of talent from different European countries participating in this year's event demonstrates the vitality and diversity of music in Europe. It also shows the growing strength of local repertoire. It is specially gratifying to have Jean Michel Jarre return as host of this event."
Karlheinz Kögel, Founder and Chairman of Music Control said: "Music Control has worked with IFPI in many countries worldwide to provide the music industry with reliable data and innovative reporting methods. We are delighted to be sponsoring this event in recognition of our long association."
The Platinum Award ceremony will take place in Brussels in the presence of leading European politicians and senior European Commission officials.
Launched by IFPI in Brussels in 1996, Platinum Europe is a celebration of the creativity and variety of European music. The European music market is valued at 12.1 billion Euros and European repertoire accounts for approximately one third of the global music retail market.
The Award underlines the importance of an industry that employs, directly or indirectly, around 600,000 people across the continent.
Europe's most successful artists achieved 87 million or multi-million selling albums in 2001, taking the number of recordings honoured with the IFPI Platinum Europe Award to a six-year high. Around 60% of platinum-qualifying albums carried music by European artists, while Award winners came from 14 countries around the world.
The dominance of European artists in Europe has steadily increased in the last six years. European artists have maintained a share of 60% or more of all Platinum albums since the launch of the IFPI Platinum Award in 1996.
Music Control tracks music broadcast on more than 700 radio and TV services worldwide using a unique fingerprint recognition technology. Music Control is part of the Media Control Group, Europe's leading music monitors for over 20 years.
 |
| Sharon Corr who worked with Jean Michel Jarre on Metamorphoses |
The Guardian,Sensual healing - 17 September 2004
Nervous mutterings about the death of the music industry may be
premature, but the age of the CD is almost certainly coming to an end.
Vinyl, with its tactile glamour, provided its own ritual, from the
excitement of placing the needle on the groove to studying the cover
artwork in detail. CDs merely perform the function of holding music, and
now iPods can do that so much better. The future, if Jean-Michel Jarre
is to be believed, lies in a new technology that allows a return to the
vinyl experience of pure listening.
"I always dreamed, when I started writing music, to find a way of immersing yourself in it," says Jarre, who has just made the world's first record in 5.1, a five-speaker surround-sound system that has so far only been used for movies. Jarre has taken some of his most famous tracks, Equinox and Oxygène among them, and re-recorded them for Aero, the album that he claims he has been waiting his entire life to make. "This is not a technological trip but a physical experience, which is what music is. It is sensual, or sexual even, and music has the ability to let you create your own movie. Stereo could never give justice to this experience. Now you can be in the heart of the sound."
Jarre's Paris pied-à-terre, in a very smart block under the shadow of the Eiffel Tower, seems designed with the sole purpose of providing an environment for this experience. Apart from a bust of Beethoven that was commissioned by Hitler and stolen by the French Resistance en route to Berlin, there are no ornaments in the living room. A row of plastic chairs, surrounded by five speakers, faces a large plasma screen. We take our seats and let Jarre's music assail our senses while the screen holds an image of his girlfriend's eyes, which were filmed in real time as she listened to the album.
"Our senses have changed, even though our emotions have not," says Jarre, who looks remarkably young for a man who has been making music since the 1960s; perhaps an electronic image of his deteriorating face is locked deep in some computer vault. "At the beginning of the 20th century, people were crying in front of silent movies, but if Ridley Scott made a black-and-white silent movie now, he wouldn't find a distributor. So the evolution of our senses is dictated by technology, and during the CD era, we lost our emotional link with music. CDs are not as good as vinyl, and you buy one in the supermarket along with the yoghurt. When I was a kid, an album was something. Finally we can return to the sensual warmth of vinyl with 5.1."
Jarre insists that the technology is only a means to an end, although the technology meant that everything had to be re-learnt. "When you make your first album you are a virgin, and you dream, for the rest of your life, of going back to that purity," he says. "With this I was a virgin again because everything was new and nobody had done it before. Soon I'm doing the first concert in 5.1, in Beijing in China, in front of the Forbidden City and near Tiananmen Square. This is an experiment and we do not know how it will work. It is a virgin concert."
Jarre can trace his musical awakening to seeing a performance of Stravinksy's The Rite of Spring at the Théatre de Champs Elysées when he was a child. "This is where Stravinsky created it in 1913, and it was a huge shock. I also saw the last concert by the great Arabic singer Om Khalsoum. She is the goddess, the Maria Callas of the Orient. Then I heard Georgia on My Mind by Ray Charles, and I realised that music can talk to your tummy. I was so impressed by the organic sensuality coming from Ray Charles's music - there was no intellectual process and it was great."
Another big influence was Pierre Schaffer, the Parisian grandfather of electronic music and the inventor of musique concrète . "He was the first guy to say that music is made not only of notes but also of sounds, so you can record the sound of anything - the rain, footsteps - and turn it into music. Now every band is using musique concrète. That is what samples are. Pierre Schaffer, who was my master, began this line of a very influential style." Further down this line are Underworld, a key electronic band of the rave era and Jarre's favourite of recent years. "They should be admired for creating a live experience with electronic music," he says. "Watching people sit behind laptops for two hours is the least sexy experience in the entire world, so I look to opera for inspiration. I use the tools of my generation - lights, electronics - to follow the opera tradition, and Underworld did that too. The musicians are not on show: it is the experience that counts. The performer is only one aspect among other media."
Jarre, it seems, was a raver before his time, hijacking an unlikely venue, projecting films on the walls and making the light show as important as the music. What he is hoping for now is a shot in the arm from the new technology for a new generation. "I really love Orbital and the Aphex Twin, and they share the same spirit as me. We will see people like this moving out of the CD era and exploring the possibilities of 5.1. The record industry is not in trouble because people are less interested by music, but because music has been sold as if it were washing-up powder: something functional and disposable. Piracy is not the problem; that is merely a product of the way the industry has gone. We need to move into a new age, in which music can perform the deeper functions that it once did again."
Source: guardian.co.uk
"I always dreamed, when I started writing music, to find a way of immersing yourself in it," says Jarre, who has just made the world's first record in 5.1, a five-speaker surround-sound system that has so far only been used for movies. Jarre has taken some of his most famous tracks, Equinox and Oxygène among them, and re-recorded them for Aero, the album that he claims he has been waiting his entire life to make. "This is not a technological trip but a physical experience, which is what music is. It is sensual, or sexual even, and music has the ability to let you create your own movie. Stereo could never give justice to this experience. Now you can be in the heart of the sound."
Jarre's Paris pied-à-terre, in a very smart block under the shadow of the Eiffel Tower, seems designed with the sole purpose of providing an environment for this experience. Apart from a bust of Beethoven that was commissioned by Hitler and stolen by the French Resistance en route to Berlin, there are no ornaments in the living room. A row of plastic chairs, surrounded by five speakers, faces a large plasma screen. We take our seats and let Jarre's music assail our senses while the screen holds an image of his girlfriend's eyes, which were filmed in real time as she listened to the album.
"Our senses have changed, even though our emotions have not," says Jarre, who looks remarkably young for a man who has been making music since the 1960s; perhaps an electronic image of his deteriorating face is locked deep in some computer vault. "At the beginning of the 20th century, people were crying in front of silent movies, but if Ridley Scott made a black-and-white silent movie now, he wouldn't find a distributor. So the evolution of our senses is dictated by technology, and during the CD era, we lost our emotional link with music. CDs are not as good as vinyl, and you buy one in the supermarket along with the yoghurt. When I was a kid, an album was something. Finally we can return to the sensual warmth of vinyl with 5.1."
Jarre insists that the technology is only a means to an end, although the technology meant that everything had to be re-learnt. "When you make your first album you are a virgin, and you dream, for the rest of your life, of going back to that purity," he says. "With this I was a virgin again because everything was new and nobody had done it before. Soon I'm doing the first concert in 5.1, in Beijing in China, in front of the Forbidden City and near Tiananmen Square. This is an experiment and we do not know how it will work. It is a virgin concert."
Jarre can trace his musical awakening to seeing a performance of Stravinksy's The Rite of Spring at the Théatre de Champs Elysées when he was a child. "This is where Stravinsky created it in 1913, and it was a huge shock. I also saw the last concert by the great Arabic singer Om Khalsoum. She is the goddess, the Maria Callas of the Orient. Then I heard Georgia on My Mind by Ray Charles, and I realised that music can talk to your tummy. I was so impressed by the organic sensuality coming from Ray Charles's music - there was no intellectual process and it was great."
Another big influence was Pierre Schaffer, the Parisian grandfather of electronic music and the inventor of musique concrète . "He was the first guy to say that music is made not only of notes but also of sounds, so you can record the sound of anything - the rain, footsteps - and turn it into music. Now every band is using musique concrète. That is what samples are. Pierre Schaffer, who was my master, began this line of a very influential style." Further down this line are Underworld, a key electronic band of the rave era and Jarre's favourite of recent years. "They should be admired for creating a live experience with electronic music," he says. "Watching people sit behind laptops for two hours is the least sexy experience in the entire world, so I look to opera for inspiration. I use the tools of my generation - lights, electronics - to follow the opera tradition, and Underworld did that too. The musicians are not on show: it is the experience that counts. The performer is only one aspect among other media."
Jarre, it seems, was a raver before his time, hijacking an unlikely venue, projecting films on the walls and making the light show as important as the music. What he is hoping for now is a shot in the arm from the new technology for a new generation. "I really love Orbital and the Aphex Twin, and they share the same spirit as me. We will see people like this moving out of the CD era and exploring the possibilities of 5.1. The record industry is not in trouble because people are less interested by music, but because music has been sold as if it were washing-up powder: something functional and disposable. Piracy is not the problem; that is merely a product of the way the industry has gone. We need to move into a new age, in which music can perform the deeper functions that it once did again."
Source: guardian.co.uk
Jean Michel Jarre's Acropolis spectacle
| by Christy Papadopoulou |
 |
| Pioneering composer Jean Michel Jarre plans 'an artistic, poetic tribute to the Acropolis' |
the visual impression of the horizon are transformed into ever-expanding
soundscapes in New Age composer Jean Michel Jarre's music.
In his first appearances in Greece ever, scheduled for June 19 and 20 at
the Irodion Theatre, the French wizard of synthesized music will
present the international premiere of Hymn to the Acropolis, as well as
a selection of older favourites "re-orchestrated for the occasion".
Synthesisers, choirs, lights, video and internet-connected computers have been
recruited for the purposes of Jarre's Acropolis composition, a futuristic
suite of sorts that aims to reflect the philosophy and art of ancient Greece.
At a recent press conference Jarre referred to the work as "an artistic,
poetic tribute to the Acropolis with the sets adapted to the architecture of
the Irodion".
"Graphics and architecture are complementary to the music," he explained,
underlining his intention to link "the respect of tradition and the past with
technology and modernity".
"I don't want to make a historical or national statement. Instead, I've tried
to come up with a poetic, emotional approach to the site," Jarre told the
press, who had gathered at the Eleftherios Venizelos airport on June 14, the
day of his arrival.
Organised by the Friends of Children with Cancer Society - Elpida,
Jarre's two sold-out charity concerts fall within the framework of the Greek
Festival. Proceeds will go towards the first oncological hospital for children
in Greece and the campaign for the return of the Parthenon Marbles.
The June 20 concert - to be broadcast live in France - marks the opening of
France's Fete de la Musique, Jarre said, adding that the June 18 dress
rehearsal will be attended free of charge by children and students of music
schools and conservatories.
Jarre, an Ambassador of Goodwill for Unesco since 1995, is a firm supporter of
the return of the Parthenon Marbles to Greece. "I do everything I can through
my work to promote this cause," he said.
A New Age/electronica pioneer, along with Brian Eno and Ruichi Sakamoto, Jarre
made his breakthrough in 1969 with The Cage. His music has influenced
many a subsequent act including New Order, Orbital, the Orb and OMD.
His groundbreaking Oxygene (1976), bridging the gap between rock and
classical music, caused a stir. Known for his spectacular audiovisual shows
and his knack for atmosphere, rhythm and melody, the million-selling performer
hasn't lost his touch for rejuvenation.
The Twelve Dreams of the Sun, his 12-hour Millennium show in Egypt, and
his 1990 Paris performance Paris- La Defense, A City in Concert
attended by a Guinness record 2.5 million-strong audience have made history.
Source: athensnews.gr
Jean Jean-Michel - Face à Face (RTL TVI) 02-11-2010
Jean-Michel Jarre pour sa tournée « 2010 » qui passera le 3 décembre par le Sportpaleis d'Anvers
Source: rtl.be
Radio FG - Happy Hour au Festival de Cannes
Radio FG - Happy Hour au Festival de Cannes by radiofg
Les meilleures nuits cannoises avec FG DJ Radio !
Toutes les interviews avec l'Happy Hour, spécial Festival des films de Cannes, 60ème édition.
Source: radiofg.com
23/12/2012
MERRY CHRISTMAS & NEW YEAR!
Merry Christmas!
Frohe Weihnachten!
Gajan Kristnaskon!
Gladelig Jul!
Hyvää Joulua!
Joyeux Noël!
Vrolijk Kerstfeest!
Selamat Hari Natal!
Nollaig Shona Dhuit!
Buon Natale!
Shinnen omedeto!
Selamat Hari Natal!
God Jul!
Boas Festas!
Wesolych Swiat!
Craciun fericit!
Vesele Vianoce!
Feliz Navidad!
Veseloho Vam Rizdva!
Vasel Koleda!
Hello my dear friends, subscribers and visits my channel ...
Christmas wish is the ideal way to pray for love and peace for all.
Wishes can be given to anyone, whether you know a person or not. It is
the way to share your feelings and happiness with all those whom you
come across on this sacred occasion. You never know; you might make a
lonely person smile because of your Christmas wish. The idea of
Christmas wishes can go a long way in maintaining relationships and
creating a bond that can only become stronger with time. Christmas
wishes come in many different forms but have one single essence - To
spread peace and happiness on this sacred occasion.
Love, Peace and Joy came down on earth on Christmas day to make you happy and cheerful.
May Christmas spread cheer in your lives! May all your days be merry and bright and may your Christmas be white! Merry Christmas!
May your world be filled with warmth and good cheer this Holy season, and throughout the year! Wish your Christmas be filled with peace and love.
MERRY CHRISTMAS!
John 3:16 For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.
These videos are faithful to the biblical account, with scripts based on the King James Version of the Bible. The text also accompanies each video scene.
For the purpose of helping more people understand and appreciate the matchless life of Jesus Christ, the Son of God and Savior of the world.
I Hope that you will feel free to share these video with family and friends the world over.
An Angel Foretells Christ's Birth to Mary
Luke 1:26-38
Mary and Elisabeth Rejoice Together
Luke 1:39-55
Mary and Joseph Travel to Bethlehem
Luke 2:4-7
Shepherds Learn of the Birth of Christ
Luke 2:8-18
The Wise Men Seek Jesus
Matthew 2:1-2, 11-15
Love, Peace and Joy came down on earth on Christmas day to make you happy and cheerful.
May Christmas spread cheer in your lives! May all your days be merry and bright and may your Christmas be white! Merry Christmas!
May your world be filled with warmth and good cheer this Holy season, and throughout the year! Wish your Christmas be filled with peace and love.
MERRY CHRISTMAS!
John 3:16 For God so loved the world, that he gave his only begotten Son, that whosoever believeth in him should not perish, but have everlasting life.
These videos are faithful to the biblical account, with scripts based on the King James Version of the Bible. The text also accompanies each video scene.
For the purpose of helping more people understand and appreciate the matchless life of Jesus Christ, the Son of God and Savior of the world.
I Hope that you will feel free to share these video with family and friends the world over.
An Angel Foretells Christ's Birth to Mary
Luke 1:26-38
Mary and Elisabeth Rejoice Together
Luke 1:39-55
Mary and Joseph Travel to Bethlehem
Luke 2:4-7
Shepherds Learn of the Birth of Christ
Luke 2:8-18
The Wise Men Seek Jesus
Matthew 2:1-2, 11-15
Jarre : “Je veux jouer sur la lune”
CONCERT
Jean-Michel Jarre à Liège, c’est un événement en soi. Jean-Michel Jarre qui dévoile l’homme derrière l’artiste, c’en est un autre…
BRUXELLES On dit souvent qu’il y a un peu de Jarre dans les chansons des Chemical Brothers, de Moby, des Daft Punk ou des Black Eyed Peas. Ce pionnier de la musique électronique, amoureux des concerts improbables, s’apprête, pour son Tour 2010, à plonger le Country Hall de Liège dans une ambiance que lui seul peut amener dans ses valises (qu’il ne pose quasi jamais).
L’entertainer Jarre, l’homme aux plus de 80 millions d’albums écoulés, va donc sévir chez nous. Mais lui, au gré des Oxygene, Equinoxe, Chants Magnétiques, Zoolook&Co, on le connaît. Plutôt bien. L’homme derrière la coiffure impeccable et les traits de jeune premier, beaucoup moins. (Re)découverte.
L’an dernier, vous avez perdu votre père, Maurice Jarre. Comment avez-vous franchi ce deuil ?
“On ne revient jamais d’une perte comme celle-ci. Et c’est encore plus dur lorsque l’on dit adieu à un parent du même sexe que soi. Voir partir mon papa, ça a complètement bouleversé la vision que je posais sur le monde, et en particulier sur le temps. Avant, je voyais le temps qui passe. Aujourd’hui, je regarde le temps qui reste…”
On ne dirait pas – du tout ! –, mais vous allez fêter vos 62 ans. Comment faites-vous pour être un grand-père aussi branché ?
“Il n’y a pas de secret. Mais le mien, c’est la musique. Et l’envie de fuir la stabilité, de se laisser porter par le flot des brouillons, des idées, des envies. Le jour où la notion de désir disparaît, je poserai mes valises sans scrupule.”
En parlant de valises : vous avez déjà fait le calcul du nombre de kilomètres et de tours du monde parcourus ?
“Maintenant que j’ai la fonction GPS sur mon iPhone, je pourrais m’y mettre. Ce sera plus facile à comptabiliser. Pour l’instant, aucune idée… Quand on aime, on ne compte pas.”
Vous avez une histoire, avec la Belgique ?
“À plus d’un titre, ce pays m’a façonné. Déjà, sur le plan artistique, avec les Delvaux, Magritte, la BD,… Mais aussi et surtout sur le plan technique. On ne le sait pas souvent, mais, en matière de haute définition, votre pays compte parmi les précurseurs, et l’on y trouve les techniciens les plus compétents.”
Après La Défense, les pyramides de Gizeh, la place Tian An Men et on en passe, où rêvez-vous de jouer ?
“C’est mon plus vieux rêve, et j’y crois dur comme fer : sur la lune !”
La musique électronique s’empare de tous les genres. Vous en êtes le premier ravi ?
“Je me souviens, lorsque j’ai débuté il y a plus de trente ans, qu’on me traitait de fou. D’ovni. Aujourd’hui, je rigole doucement. Même s’il est important de rappeler que l’électro, ce n’est pas un genre en soi, mais une manière de composer, de faire de la musique. Beaucoup confondent…”
Interview > Alexis Carantonis
Après avoir joué devant 3.500.000 personnes (record absolu), Jean-Michel Jarre veut pouvoir “regarder les gens dans les yeux”. Rencard est donné aux Belges, ce 28 mars au Country Hall de Liège.
Source: dhnet.be
Jean Michel Jarre se produira en mars à Liège
BRUXELLES Le compositeur français de musique électronique Jean Michel Jarre se produira le dimanche 28 mars au Country Hall de Liège, dans le cadre du "2010 World Tour" de l'artiste. Il interprétera divers morceaux issus ses albums à succès. Il s'agira de son unique halte en Belgique.
Avec plus de 100 dates programmées dans le monde, Jean-Michel Jarre s'est lancé un nouveau défi: une première tournée mondiale en salles, où l'artiste promet un show grandiose et démesuré.
"L'idée de cette tournée 2010, c'est d'apporter la magie des concerts en extérieur, dans un espace beaucoup plus contrôlé, qui ne dépend pas des conditions climatiques et de pouvoir, au contraire, plonger le public dans une immersion sonore et visuelle encore plus totale, avec un système de son surround unique et une scénographie donnant la sensation de 3D. Ce qui serait impossible à faire en extérieur", explique l'homme aux 60 millions d'albums vendus.
Jean Michel Jarre à Gdansk
100.000 personnes autour du pape français de la musique électronique pour les 25 ans de Solidarité
GDANSK Plus de 100.000 personnes ont assisté vendredi soir à un concert du compositeur français de musique électronique Jean-Michel Jarre, sur le site des chantiers navals de Gdansk dans le nord de la Pologne, pour fêter le 25e anniversaire du syndicat Solidarité. Le musicien a réinterprété ses anciennes compositions bien connues en Pologne, dont les célèbres suites Oxygène et Equinoxe, devant une foule enthousiaste massée au milieu des immenses grues des chantiers, berceaux en août 1980 du premier syndicat libre du bloc soviétiques.
Sur fond d'images laser qu'il manie à la perfection, au milieu des feux d'artifices et des photos de grèves d'il y a 25 ans projetées sur le mur d'un bâtiment peint en blanc, l'artiste a joué et bavardé avec le public pendant plus de deux heures.
Mélangeant l'anglais et le polonais, Jean-Michel Jarre a rendu un vibrant hommage à Solidarnosc, lors de ce concert intitulé L'espace de liberté et retransmis en direct par la télévision publique polonaise. «Ce concert est dédié à ces chantiers où tout a commencé», a-t-il dit. «Si nous sommes là aujourd'hui, c'est grâce à ces ouvriers des chantiers navals. C'est grâce à leur courage qu'on a pu mettre un terme à l'une des plus graves erreurs du 20e siècle: le communiste soviétique», a déclaré le musicien.
Jean-Michel Jarre a interprété notamment une oeuvre spécialement écrite pour l'occasion, Solidarité ce soir. Il a invité sur scène le chef historique du syndicat polonais, Lech Walesa, et les deux hommes se sont donné l'accolade. «Notre génération a pu donner à l'Europe une chance de liberté et de justice», s'est félicité Lech Walesa. Mais, a-t-il ajouté avec amertume, «nous étions 15.000 à l'époque, alors qu'aujourd'hui les travailleurs des chantiers ne sont plus que 3.000. La liberté s'est révélée difficile pour eux». C'est le 31 août 1980 que Walesa, électricien aux chantiers navals de Gdansk, signait les Accords de Gdansk mettant un terme à 15 jours de grève et donnant le droit aux ouvriers de s'unir au sein de syndicats «libres indépendants et autonomes».
Subissant les pressions du pouvoir polonais et de l'URSS, Solidarnosc finit par être interdit. C'était en 1981. Lech Walesa fut interné dans un lieu secret. L'objectif du pouvoir communiste était alors de le faire plier pour faire cesser la résistance populaire. Un objectif jamais atteint. En 1983, Lech Walesa reçut le prix Nobel. Six ans plus tard, l'ex-électricien, devenu chef de l'opposition, était invité à des négociations qui allaient déboucher sur des élections et la mise sur pied du premier gouvernement non communiste du bloc de l'Est. A la fin de la même année, le mur de Berlin tombait.
Vendredi, Jean-Michel Jarre a également dédié deux compositions au pape polonais Jean Paul II, dans un mixage de chants patriotiques polonais, avec une voix du pape résonnant fort dans oreilles du public enthousiaste: «Nie ma wolnosci bez Solidarnosci» (Pas de liberté sans Solidarité).
Vers la fin du concert qui a constitué un moment fort des cérémonies du 25e anniversaire du syndicat célébré en Pologne, le public a scandé à Jean-Michel Jarre, comme il avait eu l'habitude de le faire au pape polonais: «reste avec nous».
© La Dernière Heure 2005
Jean Michel Jarre à Monaco (09/08/2005)
Un Belge sur la Côte d'azur
MONACO Jean-Michel Jarre a interrompu ses vacances pour faire un passage au Sporting de Monaco, où il a joué deux soirs de suite. « On ne peut pas refuser une salle comme le Sporting» dit l'artiste. « C'est une salle prestigieuse et magnifique». Mais si ce n'est pas sur la côte, où prend-il ses congés alors ? « J'ai loué une maison à la campagne, pas très loin de Paris, pour que les enfants puissent être dans un cadre agréable et que je puisse bouger entre la capitale et d'autres endroits». Rencontre.
Vous venez souvent jouer sur la côte d'azur ?
«Non. Par contre, j'y suis venu beaucoup en vacances, du côté de Saint-Tropez, Gassin et Ramatuelle. Cela dit, quand j'étais ado, je jouais dans les clubs du coin. J'ai pratiquement commencé la scène ici».
Vous avez une anecdote qui s'est déroulée ici ?
«Des tas. Par exemple? J'ai commencé à jouer dans un club qui s'appelait la Playa à Saint-Raphaël. Dans le club d'à-côté, il y avait un musicien à lunettes qui était encore inconnu à l'époque, et qui s'appelait Michel Polnareff. Nous faisions partie des deux groupes qui se faisaient concurrence. Puis, quelque temps plus tard, j'ai été engagé au Papagayo. Il y avait une artiste, Julie Driscoll, la Jimi Hendrix féminine, dont un des musiciens venait de faire une overdose. J'ai dû le remplacer au pied levé. À l'époque, ça m'avait beaucoup marqué. Puis, j'ai une vraie tendresse pour la Côte d'Azur. Même si, comme tout le monde, j'aime moins le béton qu'on a mis partout à Monaco, à Nice ou à Cannes, j'aime beaucoup le Var et Saint-Tropez : pas pour son côté people et mondain, mais parce que je trouve que c'est un des derniers vrais villages de la côte. J'ai même enregistré un album là-bas, il y a quelque temps. D'ailleurs, j'aimerais beaucoup faire un concert géant à Saint-Tropez. On en parle d'ailleurs avec le maire depuis un bon moment».
L'année passée, vous avez sorti le disque Aéro , comment est-ce que cela s'est passé ?
«Aéro, c'était le premier album conçu en 5.1, le son surround, cinéma. Il est sorti en même temps en DVD audio et en CD. Je considère que le pari a été gagné parce que l'accueil a été supérieur à ce que je pensais. Dites-vous que ce format expérimental est une idée nouvelle. Comme le disque a été numéro un dans plusieurs pays à travers le monde, ça se passe bien».
Qu'en est-il de Jarre en Chine?
«C'est mon autre actualité, le premier concert à sortir en haute définition avec le label THX. Ça veut dire que l'encodage de toute la technique de ce film a été fait dans les studios de Georges Lucas qui est évidemment une référence en terme de qualité sonore et visuelle. Donc, j'avoue être plutôt content du résultat artistique. Ca faisait longtemps que j'avais envie de faire un DVD qui soit comparable aux DVD de cinéma. C'est surtout un support d'expression idéal pour la musique et les concerts que je fais».
Jean-Michel Jarre dans une salle de moyenne importance, ça va donner quoi?
«Même si c'est plus intimiste, je crois présenter quelque chose de différent des concerts traditionnels qu'accueille cette salle. D'abord, c'est un concert en 5.1. Je crois que ça va être une expérience sonore tout à fait particulière pour le public. Puis, sur scène, il y aura pas mal de projections haute définition».
Propos recueillis par E. L.
© La Dernière Heure 2005
Jean Michel Jarre, version 5.1.
BRUXELLES Accroché à son téléphone portable, il règle à distance les préparatifs du concert événement qu'il va donner le 10 octobre à Pékin. Pas simple, apparemment, de s'entendre sur l'organisation.
«C'est une situation qui est paradoxale, mais extrêmement privilégiée, encore une fois, dit-il en raccrochant et en s'excusant. J'ai eu la chance d'y jouer à une époque où la Chine s'ouvrait pour la première fois depuis vingt-cinq ans. C'était un pays complètement différent d'aujourd'hui. J'y vais dans le cadre de l'année de la France en Chine. Ce sera le concert d'ouverture qui va se passer devant la cité interdite, avec des écrans sur la place Tienanmen et dans différents endroits de Pékin. Pour la première fois, ce sera un concert en 5.1 en extérieur, qui implique très largement la haute définition. Mais je peux vous dire que pour ce qui est de la bureaucratie, la France et la Chine se valent!»
Mais si Jean-Michel Jarre est de passage à Bruxelles ce jour-là, c'est surtout pour parler d' Aero, son dernier album où se mêlent reprises et inédits. Explications.
En écoutant Aero, on a instantanément des images en tête. C'est l'effet recherché?
«Il y avait effectivement une approche cinématographique dans la manière de concevoir ce projet. Que ce soit un support à l'histoire que vous pouvez vous imaginer vous-même. C'est ça la beauté de la musique: inviter les gens à créer leurs propres images et leurs propres films. Et si je suis vraiment convaincu que le son surround et le 5.1 sont une vraie révolution, ce n'est pas tellement en fonction du cinéma, mais c'est simplement parce que si j'ai fait la musique que j'ai faite à un moment donné, c'est parce que j'avais envie d'être immergé dans le son et de faire partager cette sensation. La musique électronique, paradoxalement, n'est pas froide ou technologique. Elle est organique, sensuelle, presque sexuelle. Chez moi, ça fonctionne quand ça touche le ventre, avant même de toucher la tête. Le 5.1., c'est une révolution aussi importante que quand on est passé du mono à la stéréo. Aujourd'hui, 30 millions de foyers en Europe sont équipés. Ce n'est pas quelque chose d'élitiste. On peut trouver des équipements comme ça pour 300 €. Je pense que c'est vraiment l'après-CD.»
Et vous pensez que les oreilles du public sont prêtes ou qu'il faudra les éduquer?
«Quand on écoute Aero , je pense qu'il y a deux ou trois minutes où l'on est étonné et ensuite, on a l'impression d'avoir écouté ça toute sa vie. La technologie pour la technologie ne m'intéresse pas. Je pense que les émotions se perçoivent, génération après génération, de manière différente et probablement plus subtile, à chaque fois. À cause de notre environnement, de notre évolution. Quand les gens ont vu dans les salles les premiers films muets, ils pleuraient. Aujourd'hui, si un réalisateur sortait un film muet en noir et blanc, il aurait du mal à trouver un distributeur. Ça prouve bien que les choses évoluent et que les gens, pour être émus, ont besoin d'une grammaire et d'un vocabulaire sonores de plus en plus subtil. Je pense que la crise du disque vient aussi de l'éloignement émotionnel que le CD a apporté. C'est un produit, finalement, merdique. C'est un peu le 78 tours du numérique, la VHS du son. Ça a toujours été moins bon que le vinyle. C'est d'ailleurs amusant de constater que depuis le développement du CD, le seul instrument de musique qui a été développé, c'est la platine vinyle!»
Vous avez pris autant de plaisir à réenregistrer vos anciens morceaux qu'à enregistrer les nouveaux?
«Il y a eu, surtout, du soulagement. Depuis que j'ai commencé à faire de la musique, je voulais entendre ma musique comme ça, mais technologiquement, ce n'était pas prêt. Quand ça a été possible, j'ai vraiment tenu à revisiter des morceaux existants de cette manière-là. Je me suis un peu piégé moi-même parce que j'en ai fait un, puis un autre, puis un autre. Alors que j'ai beaucoup de musiques inédites que j'ai composées pendant ces deux ou trois dernières années, que je sortirai... sur un prochain album.»
Jean-Michel Jarre, Aero, (Warner Music)
Propos recueillis par Isabelle Monnart
© La Dernière Heure 2004
Source: dhnet.be
22/12/2012
Jean Michel Jarre au Matin Bleu - 13-11-2007
Le musicien français Jean-Michel Jarre était l'invité de la rédaction du Matin Bleu. Il a participé à la réunion de rédaction le mardi 13 novembre 2007 à Lausanne, en Suisse.
Source: video.lematin.ch
21/12/2012
20/12/2012
Gala By Night : plébiscite pour Michel Drucker
Manuel Valls, Mireille Darc, Jean-Michel Jarre, ils étaient tous là pour l'animateur
19 Décembre 2012
Cemercredi soir, France 2 consacre une soirée spéciale à son animateur vedette avec la diffusion de Qu’est-ce qu’on va faire de toi? à 20h45 suivi du documentaire Itinéraire d’un enfant de la télé à 22h15. Lors de la projection privée, tous ses amis étaient réunis.
«Ce film est un beau regard sur un homme généreux qui incarne le service public.»
À l’instar du ministre de l’intérieur Manuel Valls, les amis de Michel Drucker étaient très enthousiastes au sortir de la projection de la fiction télé Qu'est-ce qu'on va faire de toi? présentée au siège de France Télévisions.
Fort du succès de l’autobiographie de son animateur vedette, (vendue à plus de 550 000 exemplaires), France 2 a décidé de l’adapter en téléfilm (réalisé par Jean-Daniel Verhaeghe).
Le sujet: l'enfance et l'adolescence de Michel Drucker dans la Normandie des années 50, à travers sa relation avec son père, médecin de campagne autoritaire, Juif originaire de Roumanie marqué par sa captivité durant la guerre, interprété par le comédien Simon Abkarian. Tous les proches de celui qu’ils surnomment affectueusement «Mimi» ont tenu à être là pour rendre hommage à leur animateur préféré ainsi qu’à son frère, Jean. Pêle-mêle, on retrouvait : des patrons de chaînes (Rémy Pflimlin, Patrick Le Lay, Christopher Baldelli, Hervé Bourges, Thomas Valentin), des animateurs de France Télévisions (Nelson Monfort, Anne-Gaëlle Riccio), des humoristes (Sandrine Alexi, Jérôme Commandeur, Mathieu Madénian) et quelques personnalités du monde du showbiz (Mireille Darc, Dominique Besnehard, Jean-Michel Jarre).
«Je suis venu au début et à la fin mais je n’ai pas voulu assister à la projection, confiait, ému, l’animateur de Vivement Dimanche. C’est un peu éprouvant pour moi. Ça me rappelle beaucoup de souvenirs.»
Clou de la soirée, Michel s’est vu remettre par Mathieu Gallet, président de l’INA, un IPad contenant les grands moments de sa carrière cathodique, soit 80 000 heures d’émissions. Record en cours!
Source: gala.fr