5 track album

An all vinyl hour long collage of tracks from the Nurse With Wound List assembled by Andy Votel and Steve Stapleton. Originally broadcast in August 2019 on Stuart Maconie's Freak Zone"on BBC Radio 6 M

After years of mythology, misinterpretation and procrastination Nurse With Wound’s Steven Stapleton finally chooses Finders Keepers Records as the ideal collaborators to release “the right tracks” from his uber-legendary psych/prog/punk peculiarity shopping list known as The Nurse With Wound List, commencing with a French specific Volume One of this authentically titled Strain Crack Break series. Featuring some Finders Keepers’ regulars amongst galactic Gallic rarities (previously presumed to be imaginary red herrings) this deluxe double vinyl dossier demystifies some of the essential French free jazz and Parisian prog inclusions from the alphabetical “dedication” inventory as printed the anti-bands 1979 industrial milestone debut.

When Steven Stapleton, Heman Pathak and John Fothergill’s anti-band Nurse With Wound decided to include an alphabetical dedication to all their favourite bands on the back of their inaugural LP the notion of creating a future record dealers’ trophy list couldn’t have been further from their minds. By adding a list of untravelled European mythical musicians and noise makers to their own debut release of unchartered industrial art rock they were merely providing a suggestive support system of existing potential likeminded bands, establishing safety in numbers should anyone require sonic subtitles for Nurse With Wound’s own mutant musical language. Luckily for them, the record landed in record shops in the midst of 1979’s memorable summer of abject apathy and its sound became a hit amongst disillusioned agit-pop pickers and artsy post-punks, thus playing a key role in the bourgeoning “Industrial” genre that ensued. On the most part, however, the list , like most instruction manuals, remained unreadable, syntactic and suspiciously sarcastic… As potential “real musicians” Nurse WIth Wound became an Industrial music fan’s household name, but in contrast many of the names on The Nurse With Wound List were considered to be imaginary musicians, made-up bands or booby traps for hacks and smart-arses. It took a while for the rest of the record collecting community to catch on or finally catch up.

Since then, many of the rare, obscure and unpronounceable genre-free records on The Nurse With Wound List have slowly found their own feet and stumbled in to the homes of open-minded outernational vinyl junkies, D’s and sample hungry producers, self-propelled and judged on their own merit, mostly without consultation of the enigmatic NWW map. But, to the inspective competitive collector’s chagrin, one resounding fact recurs, NWW got there first! via vinyl vacations, on cheap flights and Interrail tickets, buying bargain bin LPs on a shoestring while oblivious to the pending pension worthy price tags after their 40 year vintage, Stapleton and Fothergill, even if you’ve never heard of them, were at the bottom of the pit before “digging” became paydirt. And NOW at huge international record fairs that occur in massive exhibition halls (or within the confines of your one-touch
palm pilot) amongst jive talk acronyms such as SS, PP, BIN, DNAP and BCWHES the coded letters NWW have begun to appear on stickers in the corner of original copies of the same premium progressive records accompanied by a customary 50% price hike to titillate/coerce the initiated as dealers extort the taught. Like “psych” “PINA” or “Krautrock” did before, “NWW” has become a buzzword and in the passed decades since its first publication The List has been mythologised, misunderstood and misconstrued. It’s also been overlooked, overestimated and under-appreciated in equal measures, but with a growing interest it has also come to represent a maligned genre in itself, something that all members of the original line-up
would have deemed sacrilegious. Bolstered by the subtitle “Categories strain, crack and sometimes break, under their burden,” all bands on the inventory (many chosen on the strength of just one track alone) were chosen for their genre-defying qualities… A check-list for the uncharted.

Forty years after Nurse With Wound’s first record, Finders Keepers Records, in close collaboration with Steve Stapleton remind fans of THIS kind of “lost” music, that there once existed a feint path which was worn away decades before major label pop property developers built over this psychedelic underground. As long-running fans and liberators of some of the same records, arriving at the same axis from different-but-the-same planets, Finders Keepers and Nurse WIth Wound finally sing from the same hymn sheet resulting in a collaborative attempt to officially, authentically and legally compile the best tracks from the list, succeeding where many overzealous nerds have deferred (or simply, got the wrong end of the stick). Naturally our lavish metallic gatefold double vinyl compendium would only scratch the surface of this DIY dossier of elongated punk-prog peculiarities hence out decision to release volume one in a series which, in accordance with Steve’s wishes, focuses exclusively on individual tracks of French origin, the country that unsurprisingly hosted the highest content of bands on the list. Comprising of musique concrète, free jazz, Rock In Opposition, Zeuhl School space rock, macabre ballet music, lo-fi sci-fi, and classic horror literature inspired prog, this first volume of the series entitled Strain Crack And Break throws us in at the deep end, where the Seine meets the in-sane, introducing the space cadets that found Mars in Marseilles.

Like the Swedish flat-pack record shelves that attempt to house the vast amounts of vintage vinyl that goes into a multi-volume compilation like this, it is time to prepare your own musical penchants and preconceived ideas about DIY music and hear them slowly strain, crack and break.
Read less -
Tracklist

Jacques Thollot - Cècile
Philippe Besombes - La Plage
Igor Wakhévitch - Materia-Prima
Mahjun - Les Enfants Sauvages
Lard Free - Warinobaril
Etron Fou Leloublan - Le Désastreux Voyage du Piteux Python
Jean Cohen-Solal - Captain Tarthopom
ZNR - Solo Un Dia
Red Noise - Sarcelles, C'est L'avenir (edit)
Pierre Henry - Générique (Thème De Myriam)
Horrific Child - Frayeur
Dashiell Hedayat - Fille De l'Ombre
Jean Guérin - Triptik 2

9 track album

Je découvre peu à peu l’univers des musiques expérimentales et je suis curieux de connaître vos dernières pépites.
Y a-t-il des artistes, labels ou projets incongrus que vous avez découverts récemment et qui vous ont marqué par leur originalité ou leur approche sonore hors normes ?

En me renseignant, je suis tombé sur ce label qui propose une belle sélection d’œuvres expérimentales :
https://www.luzandkirecords.com/fr/
Certains d’entre vous connaissent ? Qu’en pensez-vous ?

J’aimerais élargir mes horizons, alors toutes les suggestions sont les bienvenues, même les plus déroutantes !

Join Clyde for an alterno-etho-weirdo show.

Days of Sorrow (de - post-punk)
The Ultimate Dreamers (be - cold wave)
The Log Equation (fr - dark wave)

dj sets by Misty (So New Wave, No Classix)

La Brat Cave
113B Rue Barthélémy Delespaul - 59000 Lille
(prévente: https://daysofsorrow-lille.eventbrite.fr)
http://www.lefantastique.net

80 ans d’hiroshima : projection de The Atomic Café au Bar de l’ Aube

Le 6 août 1945, les États-Unis anéantissaient Hiroshima. 80 ans plus tard, la menace n’a jamais disparu, elle s’est juste perfectionnée. La veille de cette sinistre « commémoration », on vous propose de se mater The Atomic Café, un documentaire qui révèle, à partir d’archives d’époque, comment les États-Unis ont rendu l’arme nucléaire acceptable. En pleine Guerre froide, entre désinformation, absurdités pédagos et propagande, la bombe devenait un objet du quotidien.
Aujourd’hui, les discours bellicistes remettent la bombe sur le devant de la scène et menacent. La Russie joue de la frappe nucléaire tactique comme d’un levier diplomatique. La Corée du Nord fait de la bombe un symbole d’indépendance. Israël et l’Iran s’affrontent sur fond de dissuasion atomique. L’Inde et le Pakistan restent au bord du précipice. Les arsenaux nucléaires sont modernisés au Royaume-Uni, aux États-Unis, en France à coups de milliards.
Et la France justement, qui s’est dotée de l’arme nucléaire dans les années 1960, a mené 210 essais, notamment dans le sahara algérien entre 1960 et 1966, puis en Polynésie française jusqu’en 1996. Les conséquences sont encore visibles aujourd’hui  : radioactivité persistante, contamination des sols, hausse des cancers et malformations. L’atome militaire, c’est aussi une histoire coloniale, marquée par le mépris des vies et des terres « lointaines », rendues sacrifiables au nom de l’intérêt supérieur de l’Etat.
The Atomic Café nous rappelle une évidence : il n’y a pas de sécurité dans l’arme nucléaire, seulement la permanence d’une épée de Damoclès globalisée.
Cette projection sera suivie d’une discussion ouverte et d’un repas à prix libre végan et sans gluten.
Face au complexe militaro-industriel soutenu par les États, reprenons la parole. Luttons contre cette culture de guerre permanente et cette banalisation du pire !

via https://lenumerozero.info/80-ans-d-hiroshima-projection-de-The-Atomic-Cafe-au-Bar-de-l-Aube-7501

Alors pour commencer, merci a Valkiri pour m'avoir fait découvrir l'aventure des plantes
http://www.dailymotion.com/video/x2ej62_l-aventure-des-plantes-2-01-02-01-0_animals#from=embed&start=72

Dans le même registre il y a aussi les inventions de la vie.
http://www.dailymotion.com/video/xegtpk_les-inventions-de-la-vie-8-l-aventu_animals

Il y a aussi les reportage de Mosco Boucault que j'ai découvert récemment.

Mon favoris, le " Roubaix commissariat central " mais je le trouve pas en streaming.

Berlusconi, Affaire Mondadori
http://www.youtube.com/watch?v=FpEXvbeFVhQ

Ni travail ni famille ni patrie
http://www.dailymotion.com/video/xc3bfh_ni-travail-ni-famille-ni-patrie-1_news

https://martineravagerecords.bandcamp.com/album/afterburn

https://f4.bcbits.com/img/a2463695578_10.jpg

AFTERBURN explores that strange moment that follows a phase of intense effort. A period when you're left with anger, fear, bitterness - like a residual tension, still present long after the effort. As if the body were continuing to burn off what was left.
Martine Ravage is excited to welcome Mentome Moir for her 2nd EP. At the crossroads of Bass music and IDM. A multi-layered, surgical sound design that blends glitch and breakbeat to give us heavy, experimental electronic music.
When tension falls, when momentum becomes inertia.

-----
MARTINE RAVAGE / Musique Electronique Inaccoumutée

6 track album

8 track album

5 track album

3 track album

(et oui, on est toujours là)

Deux supers concerts à ne pas manquer :

Télécharger
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Enregistrer dans Photos
QUANTUM DREGZ
(weird rock de l'outre-espace)
Nouveau trio formé par Zad Kokar, Luca Retraite (Ventre de Biche, Rompicapo) et Cheb Samir (les Percussions de la Montagne Verte, Ppaulus et frère), Quantum Dregz produit un synth-punk no-wave brinquebalant entre dualité onde-particule et principe d'incertidude.
PPAULUS ET FRÈRE
(électronique cheloue non-identifiée)
Membres du collectif Travail Rythmique, Ppaulus et Frère font toutes de sortes de bruits avec toutes sortes de choses : des boites à rythmes augmentées, des instruments construits maison, des dispositifs acoustiques, des platines vinyles qui se prennent pour des guitares, un lecteur K7 manipulé comme un sampleur…

Ça commencera à peu près à 20h, ça coutera plus ou moins 5 euros.

Boissons, chips et bonne ambiance.
(Youpi, c'est la fête)

--
http://artsduforez.blogspot.com

https://i.imgur.com/WbyQ1Vl.jpeg

pile of pieces composed and played during spring time recorded at home.
credits
released November 9, 2024

MIX & MASTER : LIAM LENORMAND
PAINTING : AUDREY DANET
MAQUETTE VISUELLE : CASIMIR + INDUSTRIES GRAPHIQUES
PIANO : HUGO MAILLARD

6 track album

Rosita Pelua – Todavía Keda Ansiedark (2025)

Los diarios de Pizarnik en publicaciones de Instagram. Los retratos de Bacon en imágenes de Google. Avello confesando en un podcast que lo penetraron para revivir, que tuvo un hijo chancho, o contando la historia de las empanadas de San Carlos hechas de fetos.

Eso ve. Eso imagina, escucha, le gusta. Eso es. Y eso es este disco.

Todavía Keda Ansiedark es una continuación espiritual de su anterior trabajo Creatividark y destrucción: ansiederk 001. Un eco, una persistencia.

Rosita vuelve a la guitarra acústica —porque es la única que le queda— y con ella regresa también a las raíces: música latinoamericana, valses peruanos, boleros, landó.

Chabuca Granda, Omara Portuondo, Eva Ayllón, Elizabeth Morris: sus guías.

Este álbum es un diario de vida sonoro, un intento de canalizar la ansiedad que la acecha. Canciones construidas desde la guitarra, como las primeras. Folk, pero destructivo. Con samples, con ruido. Porque la ansiedad suena así: ruidosa, desbordada. La envidia, los celos, el amor: todo suena así.

La producción se sumerge en una estética neo barroca, inspirada en el muro de sonido de Phil Spector. Exagerada, grandilocuente, por momentos grotesca o incómoda.

Así se siente la ansiedad.
Y así la expresa Rosita.

Es un trabajo íntimo y profundamente personal, por eso tan intenso.
Rosita Pelua expone aquí su mundo de cantautora chilena, anclada en la tradición afrolatina, pero en diálogo constante con una producción digital, saturada, industrial y rústica, de la mano de Arrova Kalila.

Un disco que quiere ser una historia, pero que permite múltiples lecturas.
Una narrativa surrealista, como esa sensación de irrealidad que provoca la ansiedad.
credits
released May 13, 2025

Todo grabado, ejecutado y producido por Rosita a.k.a. Arrova Kalila en su casa de Quilpué (entre 2023-2025), excepto “Querida Reinalda” que es una versión en vivo, grabada en el Complejo Luksic UC el año 2024 junto a Ensamble Artificial, arreglos por Iván-Manuel.

Mezclado y masterizado por Arrova Kalila.

Arte de portada: Rosita

Edita y distribuye Registro Móvil Discográfica
regmvl218

We’re closing out the show with an unreleased live set from Carrageenan, founder of the Cold Moss label, recorded last summer at the Guyenne Festival.

Since over 30 years I produce music, but also travel around the world finding sounds on every corner and exploring as many new genres and musical genres as possible. This is my latest mixtape which turned out to be an atmospheric, experimental tropical bass journey over several continents. Would love to deliver sets like this on your next party. Get in touch! booking@catani-music.de

Shelter Press is happy to announce the release of Perceptual Geography, Thomas Ankersmit’s latest record. The music was created as a loosely structured piece for live performance in 2018-2019, commissioned by CTM in Berlin and Sonic Acts in Amsterdam, and premiered there on the GRM Acousmonium. The music is inspired by - and dedicated to - the pioneering research of American composer and installation artist Maryanne Amacher (1938-2009), and created entirely on the Serge Modular analog synthesizer.

Ankersmit and Amacher first met in New York in 2000, and kept in touch over the following years. Her concerts and installations left a deep impression on him. Amacher, being close to the Tcherepnin family, also first introduced Ankersmit to the Serge synthesizer, developed by Serge Tcherepnin in the 1970s.

In the piece, Ankersmit explores different “modes” of listening: not just which sounds are heard and when, but also how and where sounds are experienced (in the room, in the body, inside the head, far away, nearby). So-called otoacoustic emissions (sounds emanating from inside the head, generated by the ears themselves) play a prominent role. When turned up loud, the material moves beyond the loudspeakers and starts to trigger additional tones inside the listener’s head; tones that are not present in the recorded music. Cupping the ears with the hands and slight movements of the head also help to bring these tones to life. Maryanne Amacher was the first artist to systematically explore the musical use of these phenomena, often referring to them as “ear tones”.

The title is a reference to Amacher’s essay “Psychoacoustic Phenomena in Musical Composition: Some Features of a Perceptual Geography”, and despite the all-electronic instrumentation, a dramatic sense of landscape and environment often emerges. There are sparks of fire, howling wind, distant thunder, a swarm of bats disappearing into the distance. Ghostly, floating tones are contrasted with highly dynamic sounds darting around the listener, and large, heavy waves rolling in slowly. “Ear tone” stimuli weave in and out of these textures, emerging from them. Once or twice, the music seems to completely freeze in time, but a slight movement of the listener’s head reveals changes.

For each live performance, Ankersmit tunes his instrument to the resonant characteristics of the performance space, so that the sounds activate the structure, traveling through the architecture and setting it in motion.

The record is accompanied by an extensive conversation between Ankersmit and Serge Tcherepnin, creator of the Serge Modular and friend and collaborator of Amacher.

This is a digital-only release (CD and download) because the “ear tone” material can’t be adequately transferred to vinyl.

Please play loud and use speakers, not headphones.
credits
released April 30, 2021

Music: Thomas Ankersmit
Mastering: Kassian Troyer
Design: Bartolomé Sanson
Interview editing: Michelle Arrouas

“High urgency music with a very personal expression of the artist: in one way or another”, this has always been the important or maybe even the core factor of every Cortizona release so far.

So it was just a matter of time until DJ Marcelle/Another Nice Mess, longtime fan of The Fall and Jiskefet, topnotch producer, dj wizard with three turntables (and a lovely person in general) – and myself – would collaborate towards a Cortizona release.

I guess the initial idea of working together with DJ Marcelle/Another Nice Mess dates back to 2019. One day she called me four times in five minutes just to hear Mark E. Smith's voice message on my phone. Since then there has been no going back. I mean: what's not to love about her?

Some time ago, she sent me the digital files of her new LP 'Sorry, No Service'. One of the tracks, 'Sorry, No Silence', features the Nan Goldin sample: 'this is clearly ethnic cleansing', taken from Goldin's impressive speech to which the audience cheered in support at the opening of her exhibition at the Neue Nationalgallerie in Berlin end of 2024.

Two weeks later Marcelle contacted me again: her German label refused to release the track. This was the moment we had both been waiting for: at last Cortizona and Marcelle would work together!
The album is due to be released later this year, but, with things as they are in Gaza, it is important to issue 'Sorry, No Silence' as a stand-alone track as soon as possible. Talking about urgency!

‘Sorry, No Silence' resonates feelings of global despair over the genocide in Gaza and the moral and political bankruptcy of 'western values'. It does so over a repetitive, militant tribal beat, complete with heavy basslines. The spirits of Mark Stewart, On-U Sound and Muslimgauze loom over the track, but as is always the case with Marcelle, both ‘Live’ and in the studio: she has an authentic style of her own, where playfulness meets courage and – in this case – anger meets rhythm.

'Sorry, No Silence' is a track I didn't know I was waiting for. A track reflecting the sign of the times. The 12'' also features an even more heavy (and faster) dub version and the avant garde track 'Never Again Means', featuring more Nan Goldin samples: 'never again means never again for everyone'.

For obvious reasons the proceeds of this 12 inch and the digital Bandcamp release will be donated to PCRF, Palestine Children's Relief Fund.

www.pcrf.net

Support more than welcome.
credits
released May 2, 2025

Electronics & bass played by DJ Marcelle/Another Nice Mess
Recorded at home in Amsterdam, February/March 2025
Mastered and cut by Frédéric Alstadt at Mont Analogue
Sleeve design by Marcelle Van Hoof
Lay out by Joke Leonare

https://www.youtube.com/watch?v=s3m3S9pn8aw

14 track album

https://i.imgur.com/9zlDjoU.jpeg

🎂 marcel (BE)
noisy post-punk

https://vive-marcel.bandcamp.com

🎂 YAR (Paris)
strangewave

https://yargang.bandcamp.com

🎂 PILI COÏT (Lyon)
pink noise

https://pilicoit.bandcamp.com

🎂 BLAANK (Caen)
post punk de salle des fêtes

https://youtu.be/R2hgdbWbmZg

🎂 SARAH BRISTOL (Paris)
DJ set de 14h à 18h !
_____

EN GROS de 14h à 18h ce sera un moment chill pour se détendre dans le grand et immense
jardin du Sample. 🪴
Vous aurez ainsi tout le temps de parcourir les stands d’artistes, distros, friperie, flash tattoo
et goûter aux nombreuses boissons proposées tout en jouant au ping-pong, à la pétanque
ou au baby-foot accessibles gratuitement. 🏓🍹

Ensuite de 18h à 23h : explosion de son en alternance sur les scènes extérieures et intérieures. 🤯
Attention on vire tout le monde à 00h pile ! 🌚

🤑 PRIX LIBRE 🤑
Attentiont pas de bouffe sur place !
_____

🎨 Exposants :
@arrachetoiunoeil
@benoitbedrossian
@charlotte.delarue_
@erwann.guennec
@guillaumeettlinger
@imogen_cathala
@lentechris
@matmotus
@mimieux92
@ronanfurax
@sebastien_loraine

💿 Labels / distros :
MadameMacario
@pied_de_biche_records

👕 Friperie solidaire :
La Valse des Vêtements 💃
_______

Artwork : @guillaumeettlinger

Le Sample
18 Av. de la République, 93170 Bagnolet

Lieu associatif de travail, de culture et de solidarité, Le Sample est un espace accueillant,
ouvert à tous-tes, où les discriminations quelles qu’elles soient n’ont pas leur place. Le
respect des publics et des artistes est au cœur de cet espace que nous tentons au quotidien
de rendre plus accueillant pour chacun-e.

released April 19, 2024

Todas las canciones fueron compuestas y producidas por Cristóbal Avendaño y Silvia Moreno.

Grabado en Valparaíso entre junio del 2022 y marzo del 2024.

Cristóbal Avendaño: Guitarras, letra en «XXIII — Lancé esto al otro lado del mar» y «VI — Desde el otro lado del mar», voz en «XVI — Habitación contigua».

Silvia Moreno: Voz, letras, guitarra en [ ].

Cristina Moreno: Letra en [ ].

Arte por Silvia Moreno.
Fotografía de portada por Cristóbal Avendaño.
Fotografía de postal por Bianca Matus.

Edita y distribuye Registro Móvil Discográfica en junio del 2025
www.registromovil.cl
regmvl224

CEM has gained international notoriety over the past years for bewitching club and festival audiences alike with his feverish, polymorphic and richly referential DJ sets. For his debut full-length album, FORMA, the Berlin-based Herrensauna founder momentarily departs the dancefl oor, instead contributing a refl ective and at times menacing compositional study on terror and temporal anachronism for our perplexing times. All six pieces were originally commissioned to accompany Portuguese artist Mauro Ventura’s performative installation of the same name, shown fi rst at the Volksbühne in 2022; the work engaged notions of labor and repetition through a multiplicity of gestural and corporeal interventions. Featured prominently on FORMA are the sound of bells—doorbells, meditative bowls, farm cowbells, Shinto bells—a motif CEM distills repeatedly onto the record to presage and work through both the violent specter of order and discipline, as well as the reparative qualities of harmony and retreat.

Opening the album with poignant synths, granulated bell hits, and double bass string drones is “The Calling”, which summons listeners into a rattling and twisting soundscape that dichotomously channels alertness and serenity at once. “Bells Corrupt”, in turn, transforms the comforting chime of bells into an alarming and insistent pattern as it evolves in pitch and form, recalling the anxious fi lm grammar of Italian giallo legends Lucio Fulci and Dario Argento or Czech animator Jan Švankmajer. “An Industrial Satire” is conceived as an homage to experimentalist Limpe Fuchs, known for her Dadaist use of self-made, metallic instruments and strings. The second part of the piece takes a staggering turn with the addition of ghaita—a Northern Moroccan double reed horn with a series of holes—sampled from the Master Musicians of Joujouka’s collaborative 1971 album with Brian Jones and layered alongside CEM’s own percussion work. The horn elements—linked to the ancient fertility rites of Pan—here culminate in a melodic embodiment of panic and celebration. “Statue Garden” is a minimalist organ drone piece interlaced with fi eld recordings accumulated through the musician’s recent travels across East Asia. Its dexterous balance of stillness and depth provides a contemplative interlude amidst the album’s vigour. The album closes on a provocative note with “The Sincerity Test” that features Berlin-based Lithuanian performance artist Gertrūda Gilytė, whose wry spoken-word intervention mirrors the kind of grotesque, deluded ‘positive affirmations’ that abounds on social media, suggesting a relatedness between narcissistic online speak and the rise of reactionary politics.

CEM is no stranger to the ever-threatening past and present of fascism, having been raised in Vienna within a Turkish-Kurdish immigrant household. FORMA thus emerges as a militant sonic offering and, through its razor-sharp interweaving of atmosphere and texture, conjures a fractured, albeit elegiac, space of possibility wherein time is out of joint and the circular motion of history with a capital H is dizzyingly thrown into disarray. As our world rushes forward into the past, casting dissonant spells might turn out to be our last rempart.
credits
released March 28, 2025

Forma is a series of action painting performances founded and directed by Mauro Ventura with movement direction by the choreographer Kiani del Valle

Track 1 mastered by Raphael Valensi
Track 2-6 mastered by Rashad Becker
Artwork by Niels Wehrspann
Photograph by Philipp Gerlach

10 track album

Projection : « Remue-Ménage » un docu de Ivora Cusack

Un document d’archive, filmé au plus près de femmes qui se sont soulevées contre un système d’exploitation. Petit débat à la suite du film. Remue Ménage au Remue-Méninges !

À Paris en mars 2002, des femmes de chambre employées par la société Arcade pour travailler dans les hôtels Accor, se mettent en grève. Leurs revendications principales : la baisse des cadences de travail et le paiement de toutes les heures travaillées. La plupart des grévistes sont des mères de famille d’origine africaine qui vont pour la première fois lutter pour leurs droits. Après un an de lutte, elles sortent victorieuses...
Mais en mai 2004, la déléguée syndicale qui avait joué un rôle prépondérant dans la grève, est licenciée. La lutte reprend autour d’elle.
Tourné sur une période de plus de quatre ans, ce film brosse un tableau de luttes où avec peu de moyens mais une volonté tenace, des individus organisés collectivement bousculent la loi de la soumission qui règne dans le monde du travail et en particulier dans la sous-traitance.

Un documentaire de Ivora Cusack.

via https://lenumerozero.info/Projection-Remue-Menage-un-docu-de-Ivora-Cusack-7454

RDV lundi 30 Juin 18h sur les marches de 'Hôtel de Ville pour le dernier conseil municipal de l'année

via https://lenumerozero.info/Lundi-30-Juin-dernier-conseil-avant-le-proces-Perdriau-7472