#judith bérard

[starmaniamania]

(1993 cast - Not my pics!)

[unknown171204]

Starmania 1993

This is the first version of the show created without Michel Berger

Performed from 1993 to 2001 at the Théâtre Mogador, then at the Palais des Congrès to continue at the Palais des Sports and finish at the Casino de Paris, we can almost say that it is a traveling show !

The show will have a 50-50 success, part of the public will adore it while the other will simply hate it (the costumes considered ugly and a staging bordering on the psychedelic, some critics will even say that this version was a betrayal / a bad parody of the original work)

The album :

The particularity of the show was the possibility of choosing the language ! In English on Friday and French the rest of the week !

DISTRIBUTION :

Johnny Rockfort :

Bruno Pelletier (1993 - 1995)

Norman Groulx ( 1995 - 1999)

Frank Sherbourne ( 1999 - 2001)

Cristal :

Judith Bérard ( 1993 - 1996)

Edith Fortin ( 1996 - 2001)

Marie-Jeanne :

Luce Dufault ( 1993 - 1995)

Isabelle Boulay ( 1995 - 1997)

Joane Labelle ( 1998 - 1999)

Lulu Hugues ( 1999 - 2001)

Zéro Janvier :

Michel Pascal ( 1993 - 1997 and 2000- 2001)

Richard Groulx ( 1997 - 1999)

Martin Fontaine ( 1999 - 2000)

Stella Spotlight : Patsy Gallant

Ziggy :

Frank Sherbourne (1993 -1999)

Andy Cocq ( 1999 - 2001)

Sadia :

Jasmine Roy ( 1993 - 1996)

Marie Carmen (1996)

Véronique Béliveau (1997)

Kwin ( 1997 - 2001)

Liners :

Jean Ravel / Sabrina Lory / Éric Melville

Clip :

There is only one official recording of the show with the troop of 2000 , But a recording of Tycoon (probably filmed in secret by a spectator) of VERY poor quality is available :

Tycoon 1993 :

Fanmade of the 1994 French version :

The Full Show :

ANECDOTES :

For the first time Roger Roger is no longer a human character, he is now a robot with the voice of Muriel Robin in French and Tim Rice in English

...

In this version Zero Janvier murders Cristal by strangling her with his own hands !

...

For the first time the auditions for the role of Sadia were open to men !! ( We are now in 2024 and Sadia still has not had a male interpreter )

...

Andy Cocq and Eric Melville were spotted by Plamondon when they both auditioned for Notre Dame de Paris !

...

Andy Cocq is one of the big names in the world of French musicals, having played in Emilie Jolie 2002, le Soldat Rose , Doty et le magicien d'Oz , and in the French adaptations of Spamlot and the Producers ( which I had the chance to see at the Paris theater in 2022 )

...

Luce Dufault is the only performer in the history of Starmania to have performed on stage while she was 6 months pregnant !

...

Technical accident occurred at the Mogador when Bruno Pelletier's long hair was found stuck while he was suspended in the air and had to go down on stage roped up ! The show stopped and Plamondon himself came on stage to reassure the audience ; in his own words : " a black star must be able to face any eventuality ! "

...

In 1995, Stella Spotlight's slide dress hit the stage…without Patsy Gallant! The performer had gone backstage to quench her thirst and had forgotten that she had to make a short appearance on stage just before the businessman's blues …

For more Starmania or to discover other French musicals I invite you to follow the path of my main masterlist to learn more about French musicals and their stories :

[emmagoldberg]

Aujourd'hui 17h -- Today 5 PM Show N° 110 -- "Just Like Emma" 242 Radio UK

"Just Like Emma" on -sur 242 RADIO K will be broadcasted every 2 weeks at the following times; "Just Like Emma" on -sur 242 RADIO K sera diffusée pendant 2 semaines aux heures suivantes;

Monday -Lundi 16h 00 UK/17h 00 France / 11h 00 EAST COAST/ 07h00 PST Tuesday- Mardi 22h 00PST Wednesday - Mercredi 06h 00 UK/ 07h 00 France/ 01h 00 EAST COAST Thursday - Jeudi 19h00 EAST COAST /16h 00 PST Friday - Vendredi 00h 00 UK/ 01h 00 FRANCE

Show N° 110 -- "Just Like Emma" 242 Radio UK -- The Guests

1- Les Amoureux Du Sacré-Coeur Francois Deblaye Sandy Sandy LR – «J’ai très envie de vous » 2- Olivier Aven – « Here are the signs» 3- Judith Bérard – « Je n’ai pas vu passer le temps » 4- Calron Jay – « Je m’accroche au ciel » 5- September Boy – « Alive » 6- San Salvador – « Fai Sautar » 7- Lazie J – « The Beginning » 8- Yndi. C Yndic Cindy – « La Folie » 9- Russell Foisy – « Smile » 10- Marion Py – « Ma Terrasse » 11- Maridé – « Tu sais » 12 – Koretta– « A Dream » 13 – Didier Boutteville-Kraemer – « Pour toujours » 14 – Kdessa -- « Listen to Your Heart » 15- Gage -- " Si on partait" 16 - Eddie Dièze -- "Soul Mate" 17 – Générique « I Love You The Way You Are » Emma Goldberg

[petalidiagapanto]

Judith Bérard - J'aurai soin de toi (La cura - Franco Battiato) testo - ...

[comediesmusicales]

Starmania (1993 Mogador cast) - Medley for French TV :

- Quand on arrive en ville - Besoin d’amour - Duo d’Adieu - Les Uns Contre Les Autres - SOS d’un Terrien en Détresse - Le Monde est Stone - Les Adieux d’un Sex Symbol - Le Blues du Businessman / Sextet

[weirdletter]

Canadian Science Fiction, Fantasy, and Horror: Bridging the Solitudes (Studies in Global Science Fiction), edited by Amy J. Ransom and Dominick Grace, Palgrave Macmillan, 2019. Cover art: Oxygen/Getty Image, info. palgrave.com.

Canadian Science Fiction, Fantasy, and Horror: Bridging the Solitudes exposes the limitations of the solitudes concept so often applied uncritically to the Canadian experience. This volume examines Canadian and Québécois literature of the fantastic across its genres—such as science fiction, fantasy, horror, indigenous futurism, and others—and considers how its interrogation of colonialism, nationalism, race, and gender works to bridge multiple solitudes. Utilizing a transnational lens, this volume reveals how the fantastic is ready-made for exploring, in non-literal terms, the complex and problematic nature of intercultural engagement.

Contents: Notes on Contributors Introduction: Bridging the Solitudes as a Critical Metaphor – Amy J. Ransom and Dominick Grace Colonial Visions: The British Empire in Early Anglophone and Francophone Canadian Science Fiction and Fantasy – Allan Weiss Nevermind the Gap: Judith Merril Challenges the Status Quo – Ritch Calvin Two Solitudes, Two Cultures: Building and Burning Bridges in Peter Watts’s Novels – Michele Braun The Affinity for Utopia: Erecting Walls and Building Bridges in Robert Charles Wilson’s The Affinities – Graham J. Murphy The Art of Not Dying: Station Eleven by Emily St. John Mandel and Oscar De Profundis by Catherine Mavrikakis – Patrick Bergeron When Are We Ever at Home? Exile and Nostalgia in the Work of Guy Gavriel Kay – Susan Johnston Reconciliation, Resistance, and Biskaabiiyang: Re-imagining Canadian Residential Schools in Indigenous Speculative Fictions – Judith Leggatt Indigenous Futurist Film: Speculation and Resistance in Jeff Barnaby’s Rhymes for Young Ghouls and File Under Miscellaneous – Kristina Baudemann Building Hope Through Community in Élisabeth Vonarburg’s The Maerlande Chronicles – Caroline Mosser Cruising Canadian SF’s Queer Futurity: Hiromi Goto’s The Kappa Child and Larissa Lai’s Salt Fish Girl – Wendy Gay Pearson 12. Crossing the (Trans)Gender Bridge: Exploring Intersex and Trans Bodies in Canadian Speculative Fiction – Evelyn Deshane A Maelstrom of Replication: Peter Watts’s Glitching Textual Source Codes – Ben Eldridge The Missing Link: Bridging the Species Divide in Margaret Atwood’s MaddAddam Trilogy – Dunja M. Mohr “I Can’t Believe This Is Happening!”: Bear Horror, the Species Divide, and the Canadian Fight for Survival in a Time of Climate Change – Michael Fuchs Interacting with Humans, Aliens, and Others in Science Fiction from Québec – Isabelle Fournier Holes Within and Bridges Beyond: The Transfictions of Élisabeth Vonarburg and Michel Tremblay – Sylvie Bérard Tropes Crossing: On Some Québec SF Writers from the Mainstream – Sophie Beaulé Transculture, Transgenre: Stanley Péan’s Fantastic Detective Fiction – Kathleen Kellett Excerpts from A Glossary of Non-essential Forms and Genres in English-Canadian Literature – Jordan Bolay Index

[dravenn-dark]

If you go with me, people will point the finger at you If I go with you, I'll forget who I was You'll be an outlaw If I chain you to me, you will love your chains I'll cling to you like ivy to an oak tree @alodia-allilina

[atouchofsass]

english translation under the cut, you're welcome flop stans

The True Story of Cindy Cendrillon 2002, the Worst French Musical of All Time

January 2021. Within the great chorus of internet memes, the video “Rave Party”, a clip from the musical “Cindy 2002” and its infamous “Can someone explain to me what a rave party is?” makes its zillionth round on social media. Little is known about this show, if only because the tour had to be quickly cut off. I understand now that it is time: I must turn the knife in the wound and investigate one of the greatest fiascos in the history of the musical industry. For several months, I contributed heavily to the view count on the full recording of the show (here) and had conversations with the fans, singers, dancers, technicians, and creators of “Cindy, Cendrillon”. I jumped from facebook profiles to deleted groupie blogs, saved from internet limbo by my top secret methods. I found one of the performers in Quebec in their spiritual medicine practice and then another in their cabaret in Salzburg. And now, after all this work worthy of an Albert Londres, I can finally write with confidence: once upon a time, there was Cindy 2002....

--

At the root of this affair: a point in time. We are in 2001, I am seven years old, I dream of being a stylist while playing “Dessinons la mode”, plastic butterfly clips in my hair. “Aimer”, the overbearing duet from “Roméo et Juliette,” crackles through my radio. The unctuous adaptation of Shakespeare’s play has just been launched at the Palais des Congrès at the same time as “Les 10 commandments” at the Palais des Sports. The dawn of the 2000s is the advent of the sentimental musical; its paragon, “Notre Dame de Paris.” Between 1998 and 2005, the show written and composed by Luc Plamandon (“Starmania”) and Richard Cocciante was seen by 2.5 million people. In 2001, on the wind of this success, there is a great pondering beneath Plamandon’s shock of white hair. The Canadian thus unearths the idea of the century: what if Cinderella became a princess of the projects?

In the role of this hood heroine: Lââm, 29 years old at the time and already in possession of hundreds of oversized hats. Who better than this child of foster care, called “the cinderella of the ghetto,” figurehead of aptly-named “urban music”? The prince, Ricky, is played by Frank Sherbourne (Ziggy in “Starmania”) sporting shoulder-length blonde hair and a triangular mini-goatee affixed to his chin.

And now, the pitch- pay very close attention. Cindy’s father is an Irish pilot, a veritable Don Juan of the airport. She has never met her mother, a Cuban woman who once spent a night with her father during a layover. When her father disappears, Cindy is raised by her racist stepmother, La Palma (Patsy Gallant) and her two stepsisters, the irritating Pétula (Carine Haddadou from Star Académie) and Tamara (Assia). But, God bless, Cindy can find comfort in her greatest passion: the jig, a bouncing Irish dance from the 17th century, omnipresent in the show. One night, Petula and Tamara, the vile sisters, are invited to the birthday party of the ultra-famous rocker and arch-hottie, Ricky, in the nightclub Le Galaxy. This idol, costumed in leather which exposes one nipple, comes directly from Manchester, a city “where there’s nothing to do but become either a footballer or unemployed.” Cindy has not received an invitation for this Ball 2.0, but turns up anyway thanks to her fairy godfather Gontrand- a fashion designer fallen from grace who mourns his days of Parisian glory. When she arrives at the “bal à Ricky” (direct quotation) in her pseudo-eastern getup, all eyes are on her- to the despair of Ricky’s girlfriend, the model Judy (Judith Bérard, seen in Starmania), a fragile, vivid soul who drowns herself in hard drugs to the point of embarking on the “Cocaine Express.” The Mancunian singer asks Cindy to dance, but the clock strikes midnight. As she flees, the orphan loses her ring. A few days later, she responds to a casting call for Ricky’s next music video: a brand new single set to the tune of a jig, the Irish dance so beloved by our princess of the ghetto. During the audition, Ricky recognizes the love of his life. Watching the two fall head over heels for each other, Judy, the rocker’s girlfriend, commits suicide. Overcome with guilt, Cindy flees to Ireland, her country of origin as well as that of the jig, but her prince succeeds in finding her. The two lovebirds ditch everything and leave on a spaceship.

--

“Luc Plamandon had the concept for the piece when he finished Notre Dame,” Romano Musumarra, speaking from Rome, tells me. He composed the songs for the show, but above all he is famous for such gems as Elsa’s “T’en va pas” and Jeanne Mas’s “Toute premiere fois.” “Rehearsals ran for six months in Caen. The production had already reserved the Palais des Congrès for September 2002. We were working under pressure: while the singers and dancers were gradually learning everything, we were still finishing writing the piece,” he continues. Behind both the production and the tight schedule was, fittingly, Charles Talar, ex-director of the PSG, who had hit the jackpot with “Notre Dame de Paris.” The financial investment for Cindy approached 7 million euros. Onstage, an enormous centerpiece- a mechanical tower, eight meters tall, weighing eight tons, and with eight rotating arms- would surely wow audiences. And the super-2000s costumes? Those were Givenchy.

The studio album with its pink cover was released at the end of February 2002, six months before the premier. While the CD dragged itself laboriously to 24th on the French charts, in Caen, it was rehearsals for Waterloo. “Talar, the producer, put the cart before the horse when he reserved a theatre before the show was really done” notes Judith Bérard (who played Judy, Ricky’s suicidal girlfriend). She explains “Plamandon is a free spirit, he doesn’t work well with a gun to his head. They gave us rough, unfinished drafts that we worked with. The show existed, but primarily in his head. Really, in the cast, we quickly realized that we were on a magnificent Titanic. It was a splendid project.”

--

From Caen, they sold an unfinished show to the national press. “Cindy 2002” was launched like a feature film, with omnipresent posters and a trailer playing on repeat on TV. But more water was being poured on this drowning show. A month before the musical’s opening, the director Lewis Furey walked out. Rumors flew that Lââm wanted to jump ship. The alleged cause? Overly soppy songs.

After six months of intense rehearsals, it was the big Paris premier. September 25th 2002 in the wings of the Palais des Congrès, Lââm, armed with her legendary swagger, rallied the troupe. They warmed up their voices. In the audience: Céline Dion and her husband René, as well as then-Minister of the Interior Nicolas Sarkozy.

“Obviously, before the opening, we were really nervous. We just weren’t ready at that time,” recalls Patrice Blouin (who played Jack, Ricky’s producer dressed in Beetlejuice stripes). “This musical had been reduced to its most minimal form. There was an inability to reproduce on stage what had been created on paper. That’s the real tragedy,” he explained. He still sings to this day, in addition to opening a spiritual medicine practice in Montreal.

The curtain rose. For two hours, the audience discovers the urban tone Plamandon has breathed into the show- and with it, errors in French to increase authenticity: Ricky “spreads ketchup on hot dogs on burgers,” and the stepmother asks herself “What we can do to shut up his mouth?” And, as a bonus, we get such daring rhymes as in the song “Salaud” where Judith Bérard lists rhymes for “axe” in the middle of her pre-suicide number: “Like a solo by a sax/This word that I fax/Bleached like with Ajax”

After the premier, the press tore the musical apart. Le Parisien described with great cynicism how “The audience, all the same, stood up to applaud at the end of the show, as if trying to convince themselves that they had liked it. As if the public had wanted to reassure itself!” In an interview, Plamandon condemned the media’s tenacity.

--

The journalist Julien Baldacchino, at the microphone of “Les rois du monde est stone etc,” a podcast dedicated to musicals, recalls the day in 2002 when, at 11 years of age, he had rushed to the CD section of Auchan de Béziers on a saturday outing with his grandparents to buy the live album of Cindy. He already owned the studio recording. “I think it was written in the stars that it was going to go badly. Like a stroke of cruel fate, when I got home, I realized that the case was empty,” the expert says with irony. With hindsight and his enormous knowledge of musicals, he has his own theory to explain this failure. “I think that Plamandon wanted to combine too many different concepts together in a single show. There’s a problem of coherence with the script” he diagnoses, noting that certain characters disappear without explanation and that in the filmed version, the same cutaway shot of the audience appears roughly a dozen times.

In 2002, some months after the opening, backstage, the production announced the end of its run. “We were despondent, the team was very close-knit,” recalls Judith Bérard, “It was a catastrophe. It permanently stuck to some singers’ careers- they couldn’t bounce back after that failure.” “Plamandon is an innovative artist; critique flew right by him because he was ahead of his time. The media was waiting to do him in after Notre Dame,” retorts Romano Musumarra, the composer. “It took a little reading-into to understand the text. He may have been too bold. Nevertheless, the public was there. 100,000 people bought their tickets in Paris. That’s not nothing.”

What if Musumarra was right? What if Cindy 2002 was just too ahead of its time?

On Twitter, maintaining that she did not want to respond to my requests, Lââm shut me up with a “Sorry it’s in the past. I have nothing to say thank you good luck.” Floored by this silence, then seeing three little dots pop up on the chat window, I realized, relieved, that the star was still writing to me! “Know that artists rarely speak about their failures. I was 30, I landed the role of Cendrillon and I celebrated my 31st backstage. With bad press coverage you're screwed: Lââmayonnaise did not come together.”*

*translator's note: too lazy to make it work in English; this is a joke on her name and a French expression literally meaning "the mayonnaise didn't thicken/come together" with the figurative meaning "it didn't catch on"

delightful article honestly. this is exactly what I needed to read after two whiskeys

[admiraldora]

i was tagged by @mcrololo. thank you for tagging me, as always, you’re a sweetheart / a cool dude (whichever you prefer, or both)

Rules: tag 10 songs you’re vibing with and tag 10 people.

1. Boney M - Daddy Cool

2. Aqua - Turn Back Time

3. Mademoiselle chante le blues - Judith Bérard ver.

4. Like Morning Follows Night - Jeff Williams

5. Together In Electric Dreams - Nouvelle Vague ver.

6. Times Square - Emily Kinney

7.  Trøllabundin -  Eivør

8. I always love the one who doesn't love me (AMK cover) - The Marshmallow Kisses

9. Lithium Flower -  Scott Matthew

10. The Taste of Blood -  Jozef Van Wissem ft. Sqürl (this is an instrumental track, but I guess it counts as a song)

in order not to attract any attention to the fact that i don’t listen to any Cool Music, i’m not gonna tag anyone lol

[tagitables]

#NowPlaying Tant qu'on rêve encore by Judith Bérard

[starmaniamania]

40-min montage of 93 Starmania promo on Québec late night show Ad Lib (1994).

Performances of "Duo d'Adieu," "Stone," "Banlieue Nord," "Le rêve de Stella / Sextet" and several interviews which yield the following anecdotes:

Luce Dufault's bar fell off the stage, Frank Sherbourne pranked her for the last Paris show by pretending to be injured and bleeding from a blood capsule that he hid in his codpiece, and Patsy Gallant sang "Il faudrait que j'convole avec Chrétien et Mitterrand" (French president, Canadian premier) for the 100th while they were in the audience (Luc Plamondon was not amused lol)

I would give ANYTHING for the 2022 troupe to do something like this ;_______;

[starmaniamania]

Québecois review of the 94 production in Montreal (with Patsy Gallant, Luce Dufault, Michel Pascal etc., using the 93 Furey mise en scène). Translation under the cut -- I love how they keep calling it "the Parisian Starmania" and ragging on Paris and the French lol

The Parisian Starmania was not damaged in transit

Last night, in the foyer of the Saint-Denis theatre, at the intermission of the Montreal premiere of the Parisian Starmania which was created last October at the Théatre Mogador and transported here as is -- for lack of a local producer -- Luc Plamondon was signing autographs. Near him, a very young girl was bouncing up and down, her programme in her hand, obviously overexcited at the idea of getting a scribble by the man with the smoked sunglasses.

The scene was as telling as the plethora of special effects, acrobatics, costumes, videos, pyrotechnics and fancy lighting effects which had dazzled the venue just as much as the rock opera's story and songs a few moments before. Plamondon, who neither sings, dances nor bungees down from the rafters like the Etoiles Noires -- the thugs who terrorize Monopolis -- had still found a way to live the dream that Ziggy, Zéro Janvier, Stella Spotlight and all of Monopolis's inhabitants have: last night, Plamondon was not only an artist, he was also a star. He matched his show and its triumph perfectly.

Indeed, this umpteenth Starmania production is having the intended effect -- unsurprisingly. Of course, it did not reach Paris-levels of hysteria -- we need much more than they do to go mad with admiration -- but it is clear that new audience members, those who were discovering Lewis Furey's mise-en-scène yesterday (while all the media had already been invited to see it in Paris) were wide-eyed at all the staging innovations designed by Furey (the interaction between video and actors was particularly deftly done) and were falling, like the French have, for this new batch of characters. Not all, however: Frank Sherbourne, the only non-Québecois in the cast, gave a slightly stilted Ziggy, and next to me there were whispers that Judith Bérard lacked character and precision. On the other hand, Patsy Gallant's Stella Spotlight was in my opinion much better than at Mogador. She was heartbreaking and wholly believable, evoking Gloria Swanson in Sunset Boulevard.

This is the genius of this Starmania's casting choices: the actors are the same age and have almost the same background as their characters. Gallant is true to life as an ageing star -- she is, to some extent, playing herself. Michel Pascal as Zéro Janvier has no trouble convincing us he wanted to be an artist -- Starmania is the first time he's had the chance. And Luce Dufault, the club-hopper, Dan Bigras's background singer, could very well be found waitressing in a Montreal Underground Café. She was perfectly credible and natural, with that rebellious streak which allowed her to stare the audience in the face shamelessly, and served us the Complainte de la serveuse automate with utter sincerity.

That said, beyond the characters and the mise-en-scène (which is not always good -- the pyrotechnics and the robot newsreader are a bit much) it is the songs which, once again, give this Starmania its real grandeur. At the most, a typical musical is build around 2 or 3 great themes: Starmania has 6 or 7, which are decidedly timeless. Le monde est stone, Les uns contre les autres, re-incarnated by Luce Dufault, were new songs. In the end, that's all we ask.

[emmagoldberg]

Aujourd'hui 17h -- Today 5 PM Show N° 110 -- "Just Like Emma" 242 Radio UK

"Just Like Emma" on -sur 242 RADIO K will be broadcasted every 2 weeks at the following times; "Just Like Emma" on -sur 242 RADIO K sera diffusée pendant 2 semaines aux heures suivantes;

Monday -Lundi 16h 00 UK/17h 00 France / 11h 00 EAST COAST/ 07h00 PST Tuesday- Mardi 22h 00PST Wednesday - Mercredi 06h 00 UK/ 07h 00 France/ 01h 00 EAST COAST Thursday - Jeudi 19h00 EAST COAST /16h 00 PST Friday - Vendredi 00h 00 UK/ 01h 00 FRANCE

Show N° 110 -- "Just Like Emma" 242 Radio UK -- The Guests

1- Les Amoureux Du Sacré-Coeur Francois Deblaye Sandy Sandy LR – «J’ai très envie de vous » 2- Olivier Aven – « Here are the signs» 3- Judith Bérard – « Je n’ai pas vu passer le temps » 4- Calron Jay – « Je m’accroche au ciel » 5- September Boy – « Alive » 6- San Salvador – « Fai Sautar » 7- Lazie J – « The Beginning » 8- Yndi. C Yndic Cindy – « La Folie » 9- Russell Foisy – « Smile » 10- Marion Py – « Ma Terrasse » 11- Maridé – « Tu sais » 12 – Koretta– « A Dream » 13 – Didier Boutteville-Kraemer – « Pour toujours » 14 – Kdessa -- « Listen to Your Heart » 15- Gage -- " Si on partait" 16 - Eddie Dièze -- "Soul Mate" 17 – Générique « I Love You The Way You Are » Emma Goldberg

[emmagoldberg]

"Just Like Emma" - On 242 Radio UK -- ENGLISH will be broadcasted every 2 weeks at the following times;

"Just Like Emma" sera diffusée pendant 2 semaines aux heures suivantes;

Monday -Lundi 16h 00 UK/17h 00 France / 11h 00 EAST COAST/ 07h00 PST Tuesday- Mardi 22h 00PST Wednesday - Mercredi 06h 00 UK/ 07h 00 France/ 01h 00 EAST COAST Thursday - Jeudi 19h00 EAST COAST /16h 00 PST Friday - Vendredi 00h 00 UK/ 01h 00 FRANCE

Show N° 110 -- "Just Like Emma" 242 Radio UK -- The Guests

1- Les Amoureux Du Sacré-Coeur Francois Deblaye Sandy Sandy LR – «J’ai très envie de vous »

2- Olivier Aven – « Here are the signs»

3- Judith Bérard – « Je n’ai pas vu passer le temps »

4- Calron Jay – « Je m’accroche au ciel »

5- September Boy – « Alive »

6- San Salvador – « Fai Sautar »

7- Lazie J – « The Beginning »

8- Yndi. C Yndic Cindy – « La Folie »

9- Russell Foisy – « Smile »

10- Marion Py – « Ma Terrasse »

11- Maridé – « Tu sais »

12 – Koretta– « A Dream »

13 – Didier Boutteville-Kraemer – « Pour toujours »

14 – Kdessa -- « Listen to Your Heart »

15- Gage -- " Si on partait"

16 - Eddie Dièze -- "Soul Mate"

17 – Générique « I Love You The Way You Are » Emma Goldberg

[emmagoldberg]

DEMAIN LUNDI 17H -- TOMORROW MONDAY 5 PM

"Just Like Emma" - On 242 Radio UK -- FRENCH will be broadcasted every 2 weeks at the following times;

"Just Like Emma" sera diffusée pendant 2 semaines aux heures suivantes;

Monday -Lundi 16h 00 UK/17h 00 France / 11h 00 EAST COAST/ 07h00 PST Tuesday- Mardi 22h 00PST Wednesday - Mercredi 06h 00 UK/ 07h 00 France/ 01h 00 EAST COAST Thursday - Jeudi 19h00 EAST COAST /16h 00 PST Friday - Vendredi 00h 00 UK/ 01h 00 FRANCE

Show N° 110 -- "Just Like Emma" 242 Radio UK -- The Guests

1- Les Amoureux Du Sacré-Coeur Francois Deblaye Sandy Sandy LR – «J’ai très envie de vous »

2- Olivier Aven – « Here are the signs»

3- Judith Bérard – « Je n’ai pas vu passer le temps »

4- Calron Jay – « Je m’accroche au ciel »

5- September Boy – « Alive »

6- San Salvador – « Fai Sautar »

7- Lazie J – « The Beginning »

8- Yndi. C Yndic Cindy – « La Folie »

9- Russell Foisy – « Smile »

10- Marion Py – « Ma Terrasse »

11- Maridé – « Tu sais »

12 – Koretta– « A Dream »

13 – Didier Boutteville-Kraemer – « Pour toujours »

14 – Kdessa -- « Listen to Your Heart »

15- Gage -- " Si on partait"

16 - Eddie Dièze -- "Soul Mate"

17 – Générique « I Love You The Way You Are » Emma Goldberg

[emmagoldberg]

"Just Like Emma" - On 242 Radio UK -- ENGLISH will be broadcasted every 2 weeks at the following times;

"Just Like Emma" sera diffusée pendant 2 semaines aux heures suivantes;

Monday -Lundi 16h 00 UK/17h 00 France / 11h 00 EAST COAST/ 07h00 PST Tuesday- Mardi 22h 00PST Wednesday - Mercredi 06h 00 UK/ 07h 00 France/ 01h 00 EAST COAST Thursday - Jeudi 19h00 EAST COAST /16h 00 PST Friday - Vendredi 00h 00 UK/ 01h 00 FRANCE

« Just Like Emma » 242 RADIO UK – Show N° 109 - The Guests 1- Chris Adam " On fera semblant"

2- Mrs Butterfly " Le nouveau Monde"

3 - Oliver Aven "Tell me what you see"

4-Kazero " Elton"

5-Russell Foisy « Smile »

6-Judith Bérard « Emma à Paris »

7-Mibuzzu « Je voudrais Danser »

8- Frédérick Arno « On s ‘est tellement »

9- Yavanna « Ma dernière page »

10- Olivier Villa « Ma Dordogne »

11- Maridé « Tu sais...Enfin tu vois »

12- Perrine « Même si je souris »

13- Kdessa « Listen to your heart »

14- Sans prétention « Le vent »

15- Générique « I love you the way you are » Emma Goldberg