The year 2022 is off to a strong start for Graciane Finzi. Barely back from Stuttgart (Germany), where the 76-year-old composer went to supervise the recording of one of her works to be released in the spring, in a monographic disc published by the Arion label, she only has a few hours to breathe before leaving. First for Lorient (Morbihan), whose conservatory welcomes her in residence until June, then in various places in France, to present her Fancy Toccata (2015), as part of the High School Composers Prize.

Despite all these trips, it is not the kilometers that count, in the eyes of Graciane Finzi. ?I just spent three months writing thousands of notes,? entrusts the one who benefits from another residence (at the conservatory of 6^e arrondissement of Paris, until 2023) and who is aware of being much more in demand than most composers of his age. ?You should know that I am very active?, she says humbly. In fact, “we” have known it for a long time, but we had to wait until the end of 2021 to discover a first CD, What if it all started again… (Arion), exclusively devoted to his works.

His music combines freedom of language and rigor of writing

The idea came from the violist Karine Lethiec, who, with her Calliopée ensemble, is one of the faithful interpreters of a music that combines freedom of language and rigor of writing. Graciane Finzi recognizes herself in this shortcut: ?Making a big chord for fifty-two musicians can take me five or six hours before it sounds really balanced. » Nothing like the two new scores that will be created during the show A transfigured night, on January 18, at La Ferme du Buisson in Noisiel (Seine-et-Marne). Firstly because they will not be intended for an orchestra, but for a string sextet, then because the goal of the composer constitutes the trademark of the ensemble Des quilibres, called upon to play them.

Read also: The ensemble Des quilibres, a fan of permanent mobility, in concert

very personal voice

A long-time interpreter of Graciane Finzi, the violinist Agnès Pyka asked her to take part in a multidisciplinary project on the theme of The Transfigured Night, d?Arnold Schoenberg. ?It all started with a painter, David Thelim, some of whose paintings made a strong impression on me, reports the composer, especially those that represent beings without a face, but not without a personality. »

Confronted with the school of Vienna (Arnold Schoenberg, but also Alexander von Zemlinsky), Graciane Finzi did not let herself be carried away by the waves of post-romanticism. The sextet that will open the program tends towards organized chaos, while The land before being born, concluding piece, releases a sober lyricism.

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His music combines freedom of language and rigor of writing

Read also: The ensemble Des quilibres, a fan of permanent mobility, in concert

very personal voice

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ARTE ? FRIDAY JANUARY 14 AT 10:30 P.M. ? DOCUMENTARY

Half a century after their first concerts, they are still there. Well almost: on July 28, 2021, the group ZZ Top lost one of its members, bassist Dusty Hill. A good reason to review this film by Canadian Sam Dunn, anthropologist, himself a musician, whose quality of work we noticed on Iron Maiden, in 2008, and Alice Cooper, in 2014.

What is most remarkable is that, since 1969, Billy F. Gibbons, Frank Beard and Dusty Hill had been playing together with undiminished pleasure ? ZZ Top, moreover, gave a concert in early August 2021 in Tuscaloosa, Alabama, a few days later the bassist’s death.

Beyond their beards, their hits and their world-famous music videos, the ZZ Top are part of the heritage, with their immediately identifiable sound, their heady rhythms, their well-balanced mix of blues and rock. Sam Dunn manages, in this dive into the heart of the phenomenon that is ZZ Top, That Little Ol?Band From Texas, to make a half-century career a musical history of America. The three cranks have always claimed their Texan heritage, with pride, humor and tenderness.

Read the focus (in 2016): Bearded, pirates and autonomous at the Eurockéennes de Belfort

The quality of the testimonials (musicians, producers), the profusion of filmed archives, in particular of concerts dating from the 1970s, and even the appearance of a few animated scenes, make this documentary a delight to enjoy without dipping your beard in your Bud (weiser)?

Dozens of anecdotes

It is in Houston (Texas) that the three musicians with the growing beard meet, after various experiences with random success. In 1969, Shuffle in C, instrumental blues, marks the real birth of the trio, which was almost called ZZ King ? but it sounded less good? Amazed, Bill Ham, producer and manager, throws at them: ?I will make you stars! »

The following ? Dozens of anecdotes, including that of this mythical concert in Alvin, in the depths of Texas, in front of? a single spectator! These three memorable concerts given in Honolulu, in the first part of the Rolling Stones. Or this insane tour called “Texas Tour”, during which the trio was accompanied by some local beasts: bison, cow with long horns, snakes, birds of prey…

After the colossal success of this tour, “we all needed to rest, to take a step back”, will they explain. A three-month break that will last? two years. Frank, addicted to drugs, goes to rehab. Billy discovers punk in England and strange beliefs in India. ?Success is a great thing, but it can also screw you up,? summarized Dusty. Important hair detail: Billy, Dusty and Frank didn’t shave during this break. Their long beards will become legendary. Just like the small Texan group that has become a global icon.

ZZ Top, That Little Ol?Band from Texas, by Sam Dunn (UK, 2019, 90 mins). On Arte.tv until April 13.

Alain Constant

ARTE ? FRIDAY JANUARY 14 AT 10:30 P.M. ? DOCUMENTARY

Read the focus (in 2016): Bearded, pirates and autonomous at the Eurockéennes de Belfort

Dozens of anecdotes

ZZ Top, That Little Ol?Band from Texas, by Sam Dunn (UK, 2019, 90 mins). On Arte.tv until April 13.

Alain Constant

Give a cardboard box to a child, he will necessarily do something with it: transform it into a hut for his stuffed animal, cut it up to make a sword, decorate it or write on it with markers, etc. In short, he will invent stories. It is to our child’s soul that Olivier Martin-Salvan and Pierre Guillois appeal by creating a cardboard cabaret as crazy as its title: The big ones skate well.

What madness worthy of Monty Python this new show created at the Théâtre du Rond-Point in Paris! As if this duo of artists ? who had already entertained us with Hold off, unforgettable burlesque melody ? realized a childhood dream here. Either tell a crazy epic from Iceland to the south of Spain thanks to countless boxes which, in turn, are transformed into objects, animals, decorations, dialogues, subtitles.

Read also: Revival: ?Bigre? at the Tristan-Bernard Theater

In the middle of the stage, in the role of the traveler in desperate search of a mermaid, Olivier Martin-Salvan, three-piece suit and bow tie, remains seated, motionless, and does not stop talking, grumbling, singing country music, in an apparently English but above all imaginary language. Around him is his accomplice Pierre Guillois, just dressed in a swimsuit and a black bathing cap. In charge of the story, he puts all his energy and his false clumsiness into providing the right boxes to scroll through the landscapes, characters, climatic events, tools and other trinkets encountered throughout this incredible road-movie. Mime, dancer, there is in this actor with irresistible grimaces a mixture of Jim Carrey and Jerry Lewis.

Consoling Virtues

You can make anything, or almost, with pieces of cardboard: a control tower as well as a bar, a freighter as a camera, a shark as ice skates. And when it comes to evoking a herd of Shetlands or a Breton drizzle, all you have to do is combine sound effects and words written in thick black felt-tip pens. Everything does the trick. Especially since this duo, which evokes the white clown and the august, works wonderfully: one is as corpulent as the other is thin, one is as fixed as the other is twirling.

Cartoonish and delirious, this show, by its economy of means and its unbridled imagination, has consoling virtues in a hypertechnological and consumerist era. We laugh at these pranks spiced up with absurdity and burlesque but which do not forget to slip, here and there, allusions to the madness of our world, migrants who drown in indifference, concreting of landscapes, madness of greenhouses supplying tomatoes whatever the season?

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Read also: Revival: ?Bigre? at the Tristan-Bernard Theater

Consoling Virtues

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?A child would do the same! » We have often heard this antiphon, and again during our visit to the exhibition that the Villeneuve-d’Ascq museum is devoting until February 27 to Paul Klee (1879-1940). The final sentence was in this case pronounced by a lady for her neighbor and, this time, we cannot blame her.

This is precisely the purpose of the curators of the exhibition: to show how Klee was knowingly and conscientiously inspired by children’s drawings ? some, by his son Félix, born in 1907, are next to his in the course ? but also of the art of prehistory, the primitive arts and the productions of the mentally ill to go in search of a freshness and a spontaneity which was lacking in the art of his time.

Read also (2017): Exhibition: Paul Klee, the triangle and the dromedary

Rich in 120 works and produced with the Zentrum Paul-Klee in Bern, which retains its archives and all of its studio collections, the exhibition was presented in the summer of 2021. It is divided into four parts, in a somewhat rigid but with very clear pedagogy, documentation and chronology, each of which corresponds to one of the aforementioned sources of inspiration: “asylum art”, “arts of the world”, “prehistory” and “childhood” .

Jeanne-Bathilde Lacourt, curator of the exhibition with Fabienne Eggelhöfer and Sébastien Delot, explains: ?As early as 1912, even before joining the Blaue Reiter movement, Klee asserted, in the Swiss review The Alps, that one finds in the insane as in children or so-called ?primitive? peoples the same creative impulse. » An influence whose research by Fabienne Eggelhöfer, chief curator of the Zentrum Paul-Klee, in her archives and the works of the artist’s library, has made it possible to define the contours. “We even found objects that we thought were missing, like these Oceanian spears that we knew he had had but couldn’t locate,” adds the commissioner.

lunatic art

Klee approaches this with great seriousness and consistency. He documents himself, attends conferences, is in contact with doctors, including Walter Morgenthaler, the one who treated Adolf Wölfli (1864-1930), a farmhand diagnosed with schizophrenia after raping a few young girls and the main representative of art. gross in Switzerland. This interest in the art of the insane will not escape the Nazis, who will be happy, during their sadly famous exhibition on “degenerate art” in 1937, to compare modern art to that of the insane.

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Read also (2017): Exhibition: Paul Klee, the triangle and the dromedary

lunatic art

You have 54.89% of this article left to read. The following is for subscribers only.

Read also (2017): Exhibition: Paul Klee, the triangle and the dromedary

lunatic art

Klee approaches this with great seriousness and consistency. He documents himself, attends conferences, is in contact with doctors, including Walter Morgenthaler, the one who treated Adolf Wölfli (1864-1930), a farmhand diagnosed with schizophrenia after raping a few young girls and the main representative of art. gross in Switzerland. This interest in the art of the insane will not escape the Nazis, who will be happy, during their sadly famous exhibition on ?degenerate art? in 1937, to compare modern art to that of the insane.

You have 54.89% of this article left to read. The following is for subscribers only.

Read also (2017): Exhibition: Paul Klee, the triangle and the dromedary

lunatic art

Klee approaches this with great seriousness and consistency. He documents himself, attends conferences, is in contact with doctors, including Walter Morgenthaler, the one who treated Adolf Wölfli (1864-1930), a farmhand diagnosed with schizophrenia after raping a few young girls and the main representative of art. gross in Switzerland. This interest in the art of the insane will not escape the Nazis, who will be happy, during their sadly famous exhibition on ?degenerate art? in 1937, to compare modern art to that of the insane.

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FRANCE 2 ? THURSDAY JANUARY 13 AT 9:10 P.M. ? DOCUMENTARY

Inequalities in access to care remain a recurring issue, particularly in the area of ??cancer. In its issue broadcast Thursday January 13 on France 2, available online since January 7, ?Cash Investigation? looked into this problem.

The two journalists Gabriel Garcia and Julien Beccu sifted through, according to a precise research protocol, millions of health data on cancer operations. These thousands of lines of code, transformed into the average number of operations carried out by each establishment between 2016 and 2018, will be made available on January 13 on the France Télévisions site.

One of the main surprises was to find that few establishments follow the recommendations of the scientists to perform more than 150 procedures per year. More seriously, in 2018, 812 clinics and hospitals operated on cancers without state authorization, “irregularly” emphasizes Gabriel Garcia.

Risks of excess mortality

For Professor Fabien Reyal, a surgeon at the Institut Curie, it is “a real loss of opportunity for patients”. Because the scientific studies are formal: the less the surgical teams practice, the higher the risk of excess mortality. These data are therefore essential for transparency with regard to the patient and for his care.

It is then in the world of dialysis, this heavy treatment to compensate for kidney failure, that the documentary immerses us, with supporting testimonials. No less than 88,000 patients in France suffer from end-stage renal failure, including around 50,000 dialysis patients. The other possibility, the kidney transplant, “significantly improves life expectancy and quality of life, and also costs much less”, recalled a forum published on the site of the World on December 22, 2021.

Read also ?A revolution is needed for the fourth transplant plan?

But, surprisingly, some hospitals prefer dialysis to transplantation. The documentary follows a doctor who wears a hidden camera during his visit to a structure that dialyses a hundred patients every day… We discover how the doctor, by “monitoring” the patients on dialysis, gets paid for the consultation, which is supposed to last twenty-five minutes, 40 euros. The survey shows dysfunctions: doctors preferring dialysis rather than grafting, enormous cost for public finances, patients not informed… These drifts in the management of kidney failure have already been pointed out on several occasions, in particular in a report by the Court of Auditors in 2015.

Read also Dialysis: ?Transparency must become the rule?

Finally, this documentary tackles the question of medical deserts, which would concern eight million French people, a sea serpent for years… Which creates deep inequalities in access to care and health. A real subject for a presidential campaign under the influence of Covid-19?

Freedom, health, inequalities, by Gabriel Garcia and Julien Beccu (Fr., 2021, 104 min). On France.tv until January 20.

Pascale Santi

FRANCE 2 ? THURSDAY JANUARY 13 AT 9:10 P.M. ? DOCUMENTARY

Risks of excess mortality

Read also ?A revolution is needed for the fourth transplant plan?

Read also Dialysis: ?Transparency must become the rule?

Freedom, health, inequalities, by Gabriel Garcia and Julien Beccu (Fr., 2021, 104 min). On France.tv until January 20.

Pascale Santi

ARTE ? THURSDAY JANUARY 13 AT 8:55 P.M. ? SERIES

After the screening of the first two episodes (out of six) of Vigil, at the Series Mania festival in Lille in September 2021, the public crowded around representatives of Arte (broadcaster and co-producer of this British series) to find out when the sequel would come. The affair seemed well underway: the collision, aboard a nuclear submarine, between a deliciously old-fashioned and typically British genre (no offense to Edgar Allan Poe and Gaston Leroux), the murder behind closed doors and the novel of espionage, produced an impressive number of twists and suspects.

It was probably too much to expect Vigil. Still, the trajectory of the first two thirds of the series is as tense as that of one of the missiles on board the vessel which gives it its title.

original device

After the suspicious death of one of the crew members of this Trident-class submarine, the kingpin of British nuclear deterrence, the commander of the Glasgow police, Amy Silva (Suranne Jones), is sent on board, somewhere in the North Atlantic. Which is bad, since she suffers from claustrophobia, as we will learn from the flashbacks, from those who often return to scenarios determined to make their investigators broken by life.

Fortunately, these conventions are eclipsed by an original device. While on board the Vigil, Amy Silva comes up against the mistrust of officers and sailors to gather evidence of an assassination, her collaborator and companion, Lieutenant Kirsten Longacre (Rose Leslie) leads the investigation ashore among the peace activists who camp near the submarine base. The immersed policewoman discovers that Major Burke (Paterson Joseph) had gathered information that he was about to make public despite the defense secret.

Gathering this data should make it possible to close the case in no time, without the secrecy that surrounds the patrol mission of the Vigil. The two interviewers each have only half of the image, leaving the viewer, who has guessed, or almost guessed, in a state of excited exasperation that he has probably not known since the theater of puppets.

As all directors who have worked on board submarines have realized, cramped conditions are stressful. James Strong and Isabelle Sieb, behind the camera, skilfully play with the topography of the Vigil, transforming the torpedo tubes into morgue drawers, the watertight compartments into deadly traps, in which Amy Silva struggles, threatened as much by masked enemies as by her own demons. In the streets of Glasgow and on the banks of the lochs, Kirsten Longacre sees a web being woven in which both peace activists and a Scottish nationalist politician are caught.

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ARTE ? THURSDAY JANUARY 13 AT 8:55 P.M. ? SERIES

It was probably too much to expect Vigil. Still, the trajectory of the first two thirds of the series is as tense as that of one of the missiles on board the vessel which gives it its title.

original device

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Her voice is associated with one of the most famous hits of the girl group era, those sets of singers who dominated the music market in the early 1960s, between the call to the flag of Elvis Presley and the advent of the Beatles. . Interpreter of the irresistible request in romance that remains Be My Baby, Ronnie Spector died of cancer on Wednesday January 12 in Danbury (Connecticut), his relatives announced. She was 78 years old.

If the star of the New York trio The Ronettes only achieved fame for two seasons (1963 and 1964) thanks to the revolutionary production ? the famous musical effect ? Wall of Sound ? developed by her future husband, Phil Spector (1939-2021), the impact of Be My Baby was dazzling and lasting. Approaching the magic of this pop mini-symphony immediately became an obsession for Brian Wilson, the demiurge of the Beach Boys. And when Amy Winehouse (1983-2011) appeared in the 2000s with her sauerkraut bun and her doe eyes highlighted with mascara, the homage to the eldest was obvious. Tribute that Ronnie Spector made in turn by interpreting Back To Black a few months before the death of his British admirer.

Be My Baby is presented upon release, in the summer of 1963, as a single from The Ronettes. But the one who is then referred to by her simple first name, Veronica, is the only one of the vocal trio to have participated. Crazy in love with her, Phil Spector puts her well forward on the cover of the only album published by the three girls, Presenting the Fabulous Ronettes Featuring Veronica (November 1964), a compilation of their hits ? besides Be My Baby, Walking in the Rain,
Baby, I Love You, Do I Love You ? and (The Best Part of) Breakin?Up ? which is already a swan song.

Life turned into hell

On this date, the beatlemania and the ” British Invasion indeed leave only crumbs to the girl groups. The psychopathic Pygmalion Spector (unhealthy possessiveness, violence, firearms?) soon decides to keep his Galatea for himself, cloistering her in his Beverly Hills mansion.

In January 1964, the Ronettes toured Britain with the Rolling Stones as opening acts, which provided an opportunity for their lead singer and Keith Richards to get to know each other intimately. In the summer of 1966, they raised the curtain in America for the Beatles’ last tour, without Veronica, who became Ronnie Spector when she married in 1968. Her life, she recounted in her Memoirs, Be My Baby : How I Survived Mascara, Miniskirts, and Madness, Or, My Life as a Fabulous Ronette (Harmony Books, 1990), turns into hell, from which she will only emerge through a divorce in 1974 and sessions at Alcoholics Anonymous.

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Life turned into hell

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“The Child Who Wanted to Disappear” (Hell of a Book), by Jason Mott, translated from English (United States) by Jérôme Schmidt, Otherwise, 432 p., ?22.90, digital ?16.

Burlesque comedy, magical realism, social fiction: The Child Who Wanted to Disappear fourth novel by Jason Mott (National Book Award 2021), crosses genres to breathe new life into literature on racism in the United States. It begins with a vaudeville scene. Naked as a worm, launched into the corridors of a hotel in the Midwest, the narrator sprints in the middle of the night. He tries to escape his mistress’s husband, who chases him with a hanger in his hand. We do not know the name of this narrator, but we know the essentials: he is a 38-year-old writer; he is on a promotional tour for his bestseller, a “book from hell” by all accounts; he has made flight and gossip a way of life; and he spends his days daydreaming. Thus, jet lag, exacerbated by the alcohol running through his veins, contributes to producing visions in him worthy of a David Lynch film: an insomniac octogenarian with blue hair who exfiltrates him via the elevator, or the actor Nicolas Cage who explains life to him on an airplane.

Read also (2020): ?The Other Half of Self?, by Brit Bennett: the color of skins and hearts

But nothing in Jason Mott’s novel is there just to entertain. Like dreams, the narration constantly changes register and form, creating unexpected echoes. Thus, this vaudeville race resonates, further, with the jogging of a black man victim of violence in the south of the United States. As for the appearance at the hotel buffet of a child “the skin of the deepest black possible”, it is reminiscent of a police blunder that upsets the country, while our hero plays the ostrich, pretending to be aware, then to sympathize: all this only too revives a buried part of his past.

Read also (2021): ?Friday Black?, by Nana Kwame Adjei-Brenyah: all literary genres in a single book to describe African-American life

With a slight southern accent, he looks like “rolled his bump”, this child who comes to the buffet has everything from a spectrum. The strange relationship to the world of our protagonist, however, makes him apprehend as a fan. Giving him some “kid”, he hopes to get out of it, as usual, with a flirtatious smile, ready-made sentences and a dedication. Except that “Kid” has not read his book. He had been waiting to meet him for a long time: ?I just wanted you to see me. Nothing more. » The writer picks up where he left off: media training session with his publisher; minibar clearance; seduction of women named Kelly (or Kellie, or Keli). Without ever losing us, the fiction borrows the bifurcations of the narrator’s mind and his avoidance strategies. Jason Mott tells the story of a man who didn’t want to see the color of his skin ? ?A hell of a discovery that I could have stumbled upon much sooner! », he wonders, in the second third of the novel.

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“The Child Who Wanted to Disappear” (Hell of a Book), by Jason Mott, translated from English (United States) by Jérôme Schmidt, Otherwise, 432 p., ?22.90, digital ?16.

Read also (2020): ?The Other Half of Self?, by Brit Bennett: the color of skins and hearts

Read also (2021): ?Friday Black?, by Nana Kwame Adjei-Brenyah: all literary genres in a single book to describe African-American life

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Laurence Bloch rubs his hands. France Inter, the radio station she has been running since 2014, broke an absolute audience record on the last wave of November-December 2021 compiled by Médiamétrie. Generalist public service radio attracted 6.959 million listeners, ie 55,000 additional listeners in one year, and 12.7% of cumulative audience.

?Knowing that no station had ever reached this level is the best answer we can give to critics of public service?, she welcomes. ?We take our listeners for free and enlightened citizens: there is no clash, no tables of editorialists who do not know the field, but information. » She also takes on the recruitment of columnists like Alexandre Devecchio (Figaro Vox), Etienne Gernelle (Le Point) or Natacha Plony (Marianne). ?The 7am/7.30am has one of the best audiences in the morning. We needed to have another line. My job is to represent all the trends,? she says.

Read also At France Inter, the novelties of the grid tense the writing

However, a shadow appears on the table: the station’s audience share, which also takes into account the listener’s listening time and which serves as a barometer for advertisers, fell by 1.1 points, to 13.6 %. ?It remains a record. Last year, the confinement and the curfew had generated extraordinary listening times?, she continues, while the management of Radio France is thinking about her succession, even if officially, no decision has been made and no departure date has been communicated. ?It is a subject between me and the president [Sibyle Veil]. All I can say is that I have my summer grid?, explains Laurence Bloch. The one who entered Radio France in 1974, during an internship, will be 70 years old on August 30, 2022, specifies that there is no “no age limit”.

If France Culture is also doing well (1.712 million listeners, ie a cumulative audience of 3.1%), Franceinfo fell by one point over one year, with 8.5% cumulative audience. Every day, 4.68 million listeners listen to it. ?There is a form of public weariness vis-à-vis the Covid-19, even though the presidential campaign has not started?, justifies Jean-Philippe Baille, the director of the antenna, recalling that in 2021, all attention was focused on the pandemic. He hopes to catch up this semester, thanks to political news. “It’s a nice score for the public service to attract 15.5 million listeners every day, and to have the first, France Inter, and the third, Franceinfo, stations in France”, assures Dana Hastier, the director of the antennas of Radio France.

“Risk taking”

Eternal rival of France Inter, RTL attracted 6.013 million listeners (11% cumulative audience), ie 105,000 listeners less in one year. But his boss, Régis Ravanas, prefers to focus on the famous audience share, crucial for his advertising revenue, which rose by 0.7 points, to 13.3%, and which reflects an increase in the duration listening time of six minutes a day on average.

?Our back-to-school risk-taking is paying off?, testifies the leader, citing pell-mell the extension of one hour of the program of Julien Courbet, the replacement of Jacques Pradel by Jean-Alphonse Richard to animate “The Hour of crime”, or the change of schedule by Pascal Praud, now scheduled at 1 p.m. ?His audience share has increased by 24%?, welcomes Régis Ravanas. Europe 1, the station in difficulty of Lagardère in the process of being swallowed by Vivendi, the group of Vincent Bolloré, would it not want to bring in this close cousin, who officiates first on CNews (Vivendi)? « Joker », answers the boss of the radio.

Read also At Europe 1, the great exodus will begin

In the landscape, Europe 1, redesigned at the start of the 2021 school year, is sinking into ever deeper waters. It only had 2.279 million listeners over the November-December period, losing 448,000 listeners. The cumulative audience barely reached 4.2% (?0.8 points) and the audience share, 3.4%. The station continues to suffer from the departure of the humorist Nicolas Canteloup, crossroads of the morning, but which it nevertheless decided. Without his new grid having so far borne fruit. For this wave, Constance Benqué, his boss, did not wish to speak. In a press release, the station prefers to detect the beginning of a resumption of its afternoons on “CSP + compared to September November 2021”.

Sandrine Cassini

Read also At France Inter, the novelties of the grid tense the writing

“Risk taking”

Read also At Europe 1, the great exodus will begin

Sandrine Cassini