Eric Cantona is a brand that is available on all media. After football, advertising, theater, cinema and the (abortive) revolution against the banking system, the song: “Canto” released his first album, whose title sums up the ambition, Cantona sings Eric. Megalo? The singer-songwriter-himself certainly is. On his site, he “sells” himself in a Hamlet-like posture, holding at arm’s length the head of his own “Guignols de l’info” puppet. But the man also knows, at 57, that success does not come easily – especially in music. “At worst, we are ridiculous for some, brilliant for others, he confided, realistically, to New Obs. Everything is subjective. »
The first lines devoted to the phenomenon in the pages of Monde, on August 14, 1987, were subject to the most complete objectivity. The journalist Jean-Jacques Bozonnet could only be ecstatic about this young 21-year-old footballer, “surprising composure and nerve” in the defeat (2-1) conceded, two days earlier, by the French team in a friendly match against the Federal Republic of Germany (FRG), in West Berlin. The AJ Auxerre striker scored, for his first selection in blue, the only goal on the French side, at the end of a match largely dominated by the Mannschaft. “The only positive element that the coach [Henri Michel] wanted to remember from this meeting is therefore called Eric Cantona, “an international class striker””, reports Jean-Jacques Bozonnet.
A few months later, on May 7, 1988, the sports columnist devoted a first portrait to this “young glory”. The biggest European clubs then scrape their “funds of drawers to collect the billions of centimes (more than 20, it seems)” necessary for the transfer of an attacker who radiates with his “a clever cocktail of physical power, technique and playing intelligence”. By his personality, too. “At twenty-one, this boy is already a character, s’amuse Jean-Jacques Bozonnet. He did not wait for the immunity of his new glory to shoot with ardor in professional football conventions. » The original Marseillais lives without a telephone, on a farm near Auxerre. Shows himself to be stingy with smiles. Says he is disappointed by “The not-so-healthy football environment” to the point of considering early retirement, before changing his mind. ““I am completely unstable, he admits. Normal, I’m a Gemini. But instability is a charming thing.” » Not sure that Henri Michel shares the observation.
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Untrained musicians prepared for concert: ‘More than just playing a scale’
#Untrained #musicians #prepared #concert #playing #scale
They had never played a decent note. Still, they took up the challenge. A group of untrained musicians prepared themselves for a performance in ten rehearsals, with an audience. “Every concert is exciting, even for people who have been making music for a long time.”
Today they are there for it tomorrow. The 26 orchestra members of the New Talent Orchestra. In January, without any musical background, they started their first practice session. They now master their wind or percussion instrument. Thanks to conductor Durk Dikland and the Beiler Harmonie Orchestra. They helped the indefatigable ‘music rookies’ towards their final goal: a final concert in the Karspelhof in Beilen.
“Everyone came to the rehearsals very faithfully. They were always there, all of them,” exults Gerda Buiten, secretary of the Beiler Harmony Orchestra. “They were so enthusiastic that they continued to practice even during the holidays. Outside of rehearsals, in groups among themselves.”
The New Talent Orchestra is an initiative of musicians Guus Pieksma and Annewiep Bloem. They developed a method to introduce adults, inexperienced with a wind or percussion instrument, to music in the simplest possible way. The goal is to perform after a handful of rehearsals. These ‘talent orchestras’ have sprung up everywhere in the country.
The Beiler Harmonie Orchestra took up the challenge months ago and brought together a bunch of aspiring orchestra members. Then came the practice, but also regularity. Because there had to be enough instruments available, which is quite essential for a well-functioning orchestra. “We had to rent or borrow them. That is exciting. You think: how can we get out of it, is this manageable.”
Thanks to a healthy dose of determination and perseverance, the fledgling orchestra made good progress. However, a rehearsal cannot be compared to a performance. Tension? Of course it is present among the orchestra members. “I always found it exciting,” Buiten draws from her music past. But I always thought: most people in the audience can’t even make music themselves.”
She recently sent her mantra to the tense wind and percussion musicians. “But they also like it,” Buiten explains. “They think: we can now show what we have learned in ten rehearsals. It is more than just playing a scale.”
The New Talent Orchestra appears on the scene with a colorful mix of instruments: horns, saxophones, clarinets, trumpets, baritones and percussion. During the concert in the Karspelhof they will be supported by the seasoned musicians of the Beiler Harmonie Orchestra. So they are not completely alone.
“You never know how things will go at a concert,” says Buiten. In any case, the preliminary process was appealing. “It is a very social event. You are working with people you have never seen before. During the breaks, drinking coffee, it was great fun. And you know what’s nice: eighteen participants have already registered for a follow-up program. They want to continue making music.”
The New Talent Orchestra will play from 3 p.m. in the Karspelhof in Beilen. The doors open at 2:30 PM. Entrance is free.
Untrained musicians prepared for concert: ‘More than just playing a scale’
the photographic exhibition of Patricio Salinas A.
“Transits: the trace of impermanence” is the title that the Chilean-Swedish photographer gives to his exhibition about to open at the Juan Naranjo gallery this April 18 in Barcelona. The sample is based on two books that Salinas published with the Saposcat publishing house (Chile 2018 and 2020).
The first of them, “The Last Days of Walter Benjamin” portrays the route that the German philosopher followed through the Pyrenees from Banyuls-sur-mer in France to Portbou in Spain, while fleeing Nazism, the war and in which destiny met its tragic end.
The other book, “Atacama: Geometry of a Captivity”, immerses us in desert landscapes and in the ruins of the former saltpeter mine of Chacabuco, converted into a concentration camp during the Pinochet dictatorship, where Salinas was held as a political prisoner before being expelled. from the country.
In both works the photographer retraces the traces of the past, both historical and personal. He immerses himself in a search inspired by the thought of Benjamin himself, for whom history resides in what has been discarded, obscured, in what is not said or revealed. And his way of facing these places, these geographies, also derives from another idea of the German thinker; that of the stroller or flâneur.
That of the character who walks aimlessly, oblivious to the demands of an instrumental function or a definitive goal, uses his anonymity to appreciate details that escape the common eye. But on these journeys, perhaps lonely and silent, Salinas carries her camera. In this way, he develops an exploration of what remains, a search for fragments, for individual and collective stories, which are intertwined by tension and violence. For the exercise of force between human beings.
In each of the images captured by Salinas, both in the landscapes through which Benjamin fled through the Pyrenees and in the streets and buildings of Port Bou, or in the implacable vastness of the Atacama Desert and in the vestiges of Chacabuco, concentrates history and memory.
Scars of those who passed through there, and it is the earth, it is the trees, the mountains, the streets and ruins that retain the memory of what happened on the surface. And it is the eye of the photographer, the walker, who freezes everything before. Who manages to evoke impermanence in life and society through his images. Who continues to explore the consequences of uprooting, both that of Benjamin fleeing the Nazis, losing his nation in the hands of barbarism, as well as his experience, a mirror in another time and another place.
«Perhaps, I can better understand the fragility that Benjamin experienced, from my own personal history, marked by imprisonment and expulsion from my country and condemned, in some way to a permanent uprooting, to a drift, which haunts me like a shade. It is no coincidence that, no matter where you have lived, whether in Panama, Mexico, Buenos Aires, Barcelona, Tarragona or Stockholm, the question that invariably repeats itself is: where are you from? The paradox is that this same question persists even today in my own country of origin.
Currently, Patricio Salinas resides in the north of the Stockholm archipelago, on the island of Björkö.
Datasheet:
From April 17 to May 10. Juan Naranjo Gallery.
Jardins de Montserrat s/n. Barcelona.
The exhibition “Transits: the trace of impermanence” will also be exhibited in Portbou [Girona] in September and in Paris in November 2024.
*Italian Fabriano artistic paper of 300 grs (with the characteristics of a handmade paper from 1300).
*Work on Atacama carried out in the Platinum Palladium process.
The sizes are 40×50 cm and 50×70 cm