café snake - Lignes Ouvertes #14

Episode Date: July 21, 2026

C'est ENFIN le retour des lignes ouvertes de café snake! Vous avez été très nombreux à nous envoyer vos opinions/questions! On vous écoute et on vous répond tout l'été!  Camille Missions de recrutement, publicités : quand Québec promeut l’immigration temporaire, Radio-Canada, Romain Schué ⁠https://ici.radio-canada.ca/rci/fr/nouvelle/2081173/immigration-recrutement-legault-quebec-trudeau-temporaire⁠Les travailleurs temporaires étrangers au Québec. Quels avantages pour les travailleurs qualifiés ? Diversités urbaines, Danièle Bélanger, Myriam Ouellet et Charles Fleury ⁠https://www.erudit.org/fr/revues/du/2019-v19-du04915/1065120ar/⁠RÉVOLUTION TRANQUILLE 2.0 et Rendez-vous du OUI Québec : on parle souveraineté avec Miriam Hatabi, Comité Panaris, ⁠https://www.youtube.com/watch?v=sflZTG4xM-o⁠Frédérique The failed coordination of Canada’s social good sector, The Future of Good, Isaac Peltz⁠https://futureofgood.co/the-failed-coordination-of-canadas-social-good-sector/⁠Samira ⁠News Brief: The Call to Boycott—and Delegitimize—the New York Times⁠, Citations NeededJF The Whale and The Reactor, Winner Langdon, ⁠https://monoskop.org/File:Winner_Langdon_The_Whale_and_the_Reactor_The_Search_for_Limits_in_an_Age_of_a_High_Technology.pdf⁠Claudia The failed coordination of Canada’s social good sector, The Future of Good, Isaac Peltz⁠https://futureofgood.co/the-failed-coordination-of-canadas-social-good-sector/⁠Élo Maire de Laval: YouTube et le déluge médiatique, Mas Media Qc, ⁠https://www.youtube.com/watch?v=DudVl6CQh0g⁠Jacob 2 The Typo Vibe Shift, The Atlantic, Michael Waters, ⁠https://www.theatlantic.com/culture/2026/05/typo-ai-trend-human/687237/⁠Post-Reality & A Hierarchy of Humanness, Whats Anu, ANU et Philip Teale⁠https://whatsanu.substack.com/p/2510-humanwashing⁠Rob Horning, ⁠https://bsky.app/profile/robhorning.bsky.social/post/3mmhpmn4nns2e⁠SophieÀ l’Ouest de Pluton, ⁠https://www.primevideo.com/detail/0MBRT0E2DQ0ZHE1QFL7BXONC3P⁠Alexia The Whale and the Reactor, Langdon Winner ⁠https://www.ratical.org/ratville/AoS/WhaleAndReactor.pdf⁠Dossier Crypto-Épique de Santé, Café Snake ⁠https://www.patreon.com/cafesnake/posts/dossier-crypto-155590202⁠Izara Satanic Panic: Pop-cultural Paranoia in the 1980’s ⁠https://spectacularoptical.com/product/satanic-panic/⁠In the trail, Isaac Peltz, ⁠https://www.instagram.com/p/DXPcV2mFjDa/⁠Kat The feed is fake, The Vulture, Lane Brown ⁠https://www.vulture.com/article/social-media-feeds-chaotic-good-projects-clipping.html⁠The Geese Psyop Is A Psyop, Garbage Day, Ryan Broderick ⁠https://www.garbageday.email/p/the-wild-geese-chase⁠Where Are the Rock Bands?,  Café Hysteria, Madison Huiziga ⁠https://madisonhuizinga.substack.com/p/where-are-the-rock-bands⁠Sandrine Jay du Temple, Faits Divers #49, Maire de Laval ⁠https://www.youtube.com/watch?v=kF_ncSMMmrQ&t=1665s⁠Entrevue avec l’humoriste Jay du Temple, Tout peut arriver ⁠https://ici.radio-canada.ca/ohdio/premiere/emissions/tout-peut-arriver/segments/rattrapage/1562607/entrevue-avec-humoriste-jay-temple⁠Joanie Your Chatbot Is a Fortune Teller, Not a Truth Teller, The New York Times, Jennifer Szalai⁠https://www.nytimes.com/2026/04/29/books/review/prophecy-carissa-veliz.html⁠ Arnaud Le web prend un tournant sonore, La Presse, Daphné B. ⁠https://www.lapresse.ca/societe/chroniques/2025-04-06/culture-web/le-web-prend-un-tournant-sonore.php⁠Time to shadow network, The Trend Report, Kyle Raymond Fitzpatrick ⁠https://1234kyle5678.substack.com/p/time-to-shadow-network⁠Émile Un petit essai sur Angine de Poitrine, Mathieu Arsenault, ⁠https://www.instagram.com/p/DVKFxBiEb6M/⁠L'Xtrmst.Zen, ZiggyZa ZiggyZi ⁠https://www.youtube.com/watch?v=sJK2Q0eMfhY

Good morning Yo, it's my name I'm gonna lookie just I'm gonna say, you know, do you, what's gonna say to Hello, man, it's like, I'm gonna be, I'm gonna'clock,

and I'm gonna'n'r on a horse, and I was gonna not this film that. It's Café Snake. Good morning, hello, morning Yo, yo, yo! Hello, yeah.

Hello, Hello, welcome to Link Open to Line Overte of Café Snake. So, as like the The habitude, during the season estival, we abrove of your tea. We're saying, we're

doing the micro. You have, sometimes, some of the other times, it's some of the question, so it's apart.

And then you profited of this period for the for the one of you who have had listened

Caffe Snake at the year, and we will come in force eventually, so pass

a bell day. Good Elete Mellon Uver. I'm a question to pose

to government. Is he I'm Is he I'm It's It's so

The Lines Open of Cafe Snake Yeah Yeah, and Hello,

Mr. Hello Today, I'd I'd probably I'm This

This year The Lorette Yeah, There's There There's Yeah,

yeah, for Camping Coal Coffield, he has not Marked

40 B, The Society in General I think it's not I feel I've seen

already the influence American that I'm I'm playing because Hello My name

my text would be concerning the band of Brooklyn Geese and more more than your take

to you on the popularity that would be astroturfed at for the so for a little

mis in context the band Geese is accused by by Wired to be

an industry plant a Psiup a product of a product by the company

of marketing digital chaotic good projects. Then, they use these simulations of trend, the count of bot,

and create the activity artificial on the radio with the clipping, of the artist and the comments between false accounts.

But there's also an article of Garbage Day who nuance a situation, and he says that any company can

really affirm to know how many to make a algorithm. And at final, we never

had never had ever had ever on the chives or the service of the agency that,

so we have not really real data on the repercussions of the supposed virality that creates. But all that, especially in-time artist, I mean, it's all over question, is that the marketing should be authentic? Is that this genre of hype astroturfi it, it's an on a dead internet, or it's just a form aggressive and modern of promotion that is adapted to new reality

mediatic? Also, one of my question question is, is, is, is, is the simulation of hype, it's, it enlaves the meritocracy to artists, or it's just a way more efficient to be direct to these real fans. Because at the final, the result is that there are kind of these real fans

who like the music for real, and who support the artist for the right after? So, in fact, is the real issue of all that, is, in the fact,

the accessibility and the privilege that you have to have to be able to make the technology, does that, you know, can't be, the pageage cultural

in making the advance just these artists who have the privilege to pay the methods of marketing for to find

to know rapidly in an environment that's a bit pay-to-play. In termination, these questions that, for me, they're like intensified by the fact that we're being intensified by the fact

like an identity alternative can't go to with a marketing digital because it's a bit our dreams. It's a bris the narrative that we're doing these artists indie.

It's like if we're not as they're just, granted, their talent, their work acharned, and there's a bit more than it's chocked a bit more pop star

and these grow labels who utilize these methods at the final, we're trying to perce the same murgorithmic, but just with some ways and the privileges different. So, yeah, I'm glad to to see your tech to you on this. Thank you. Thank you,

Kat. It's a very that's a subject that has made cool a lot of ink, to even if we're in a cafe snow. Is you clippin and de guise, or? Of the controversy around geese. We've only talked. Okay, I've made a piece in context, but I'm going

re-re-re-lure, relive, print of Articke, and in fact, it's really the two co-foundator of the agency co-fondateer of the agency co-unner and Andrew Spellman, who have accorded an interview in a festival, I imagine, of music. And then, they said that, yeah, he used these faux-contre for create the anguement artificial for artists, but really at all the levels of the industry musical. So, these little bands, like, these big bands. We call that, in the lingua, a simulation of tendons. One of the co-fondator

has even said that all that's true to be a bit cynical, I'm seem, but we're

also of a company that with really many people with really Alex Warren Sumber. You're called

the list artists, that's like of course that's not, Alex Warren and Sumber

especially Alex Warren, you know, all the video of marriage But the But the outrage on the internet and in the media has certainly been focalized around the band Guy.

Just to say that all this outrage had started when a photo of lead singer of band had been with Olivia Rodriguez. It's been in same time, but I don't think it's not that had to come back that for real. So is, is it a spy-up? And more largely,

a question that we pose to more, is we should consider that all on the web is a Psy-Up. And there, there's also an article that's parupe that I'm going to make in the notes, which is called The Feed is Fake, which is parrue the 15th,

so that it's made also cool, soot, soot, so many, soot, so many people, we said, for example, a man Joe Lim who said that 90% of what we

saw on internet, it was the publicity douged, that he made a company called Flodd and Fy during several years, and that's

On apoge, this enterprise, this enterprise, that gere 65,000 faux-counts on the social, who was justly to promote

these clients, in a journey Type Flooddify Publiiiii publiced 50,000 videos on TikTok, Instagram,

YouTube X, all these publicities deguised. So it had really relanced the debate on

is, is that internet is more, is that all what we see is false or

it's the bot? And in the same there had had all the deba, the coverture mediatics on the clipping, which is a subject that I'm going to hear often abhorreded in a cafe snake. So the clipping, a form of sutreatence, more or more

systematized, where is there streamers pay, pay, these individuals for decouper and diffusers, and diffusers, and they're often, they're paid on the rentment. And even also, in Quebec, we've started to do the coverture of that. We've talked to bijjutier Medusa that used this technique that. I'm the impression

that it's like a panic moral, almost. Honestly, I never used to listen

this band. I was going to listen it's like indie rock but a type of song that

I'd could I could hear 15 years, when I was young when I had 20

years, the first tune of popular always on Spotify is called The PEO

The Cocah In French? Yeah, no, it's that. It's really that, with the fort of orthograph. To payee of cocaine. This site, me seem, it's, like, the authenticity fabricated.

We're at New York, we're trying to do the drug, the cocaine. I'm, that's the narrative that I'm doing in my head, but we're soup and we're saying to say to say,

it's done very authentic. It's like, it's like, really, on Velvet Underground, the type of people, like, I'm doing,

I'm doing the dope at Brooklyn. Basically, the guy who attends on some poacher on the coiffure on the same themeatic,

same endroar, but when I talk about the Velvettes Underground, we're in 1997, it's not

groundbreaking, like music indie, we're all it's like the recrache, the romache, but it's

sure that the persona and the identity of indie rock it's supposed an form

of authenticity and I think that today we're that this authenticity that, well,

it's it's because of the millennial. Yeah, it's another fault. But it's

you who had rendered that the genre the genre the type and they're aesthetic,

it's like indie rock but it's like signy on two Universal Music Group It's like

there's there's there's a people who you know, it's the type of music that is not

of the pop mainstream so we don't not to they're on their part

we're going to a band that just a travel just at the fact

that is understood than a travel similar similar to I'm

on blue sky some the theory social, you know, is, is it not a bit simplest to establish an espouse of an

space of sentiment of artificiality or the fact that we're bombarded of video court, while we've been in an ecosystem mediatic, which is based on these indicators of

performance, and that's algorithm, and that works also at the invitation to capture the attention, to capture the attention of people?

How how is we can be publiced to do you know in, in guise, authentic, in a system, in an apparel

who is liy to attention, and that this attention, and that is linked to a certain profy. Garbage Day, he said, well, it's the Psiup of a Psiup, because his team is to go ahead consult the did Fongone that had been, so-de-say-for-dome to make the engagement,

the company Chaotic Good, and apparently that they have really not a lot of views. So, is that the sort of mediatic of the two co-foundateer of chaotic Good us, we just croir to a success fabriced for us

to us to make believe that their service, the services that are super effective, and that,

that, so, it's a piece. I'm going to get the article of Garbage Day in the

notes also, but someone could be viral, only in the whole through the whole world

would be real real. He does have been an authenticity in the sense

where the people have really really this song, this music and

these personalities that. So, is that it's really the merit of the artist. And in which measure is the

is the tributer of today? Alex Warren, is he he called? As he said, it's the way. In fact, we're saying, we're,

so we're talking to a form of manipulation of the pageage cultural, but I think even in the world of the resources,

there's always a manipulation of the pageage cultural. If you see, the people who are invited,

by example, in the missions of Quebec or the shows, it's not the hazard who chooses

these people, not only it's not the hazard, but it's even not the popularity of these people that who define their place around the table. The take that I've

found the most interesting is Madison Wooziga, which is called Where Are the Rock Bands, Rock Identity, Post-Irony, so I'm going to put also his text in the notes. And she said that, well, the Generation Z, even Alpha, have grown,

immersed in the web, and they are very conscious that, in the fact, all the full, all overreve of the performance. And then, I'm going to make a bimole in the sense that even if we're out-line, in a reality

that is just physical, we're also in performance. If we're not always in a context of a situation, I'm not in the same way to moonir

that I'm gonna a madame of the pelleur or a florist or a potential person who would engage my services. And also,

it's the fact that it can be kepted, all it can be a story Instagram or to become a TikTok. You know,

I've also observed in the full, I remember in certain of the COVID in in 2002, I'd go to

the set of Y, you're at Metro Metro. I want to be a little for the set of Yit

and the Kord was really when it's when it's when you're just a point in the

point you need to until 2020, 2020, year it has been really really

have been not a role of just the Rage Rabe and it was really this audience TikTok

that. At a moment it had like a kind of a space bit

and I'm didn't people had their cell out of their cell out of there's

the two video semi-viral that was oh my God the crowd at Metro Metro

are so they're so I have the impression that everyone to see that who's

going to get to get to get to know that she's very well that's

yeah, go down the moshp just for continue on the take of Madison

this this espest of the performance so it would

make in sort that we're in the kind of on

nonchalons too yeah when you being concerned that all

all we're also concerned that authenticity it's relive

to the performance, especially when it's mediated, or by example, on a stage, it's said that

we're more more close of the artists who are in way to be able to make in scene, insisting on the aspect performative

of their work in the space of the pop. Maybe that for the generations more than

the authenticity in the music, it's more than a image, and more with the idea

to be honest by about the performance that. A good example of that,

it's Charlie XIX who's sedule at Genzy really with an espete of an issue of sense of sincerity,

but really with a good dose of irony and always the sure of the sure of the sure that what's

we're in doing to do it's a performance. To respond also to your take I think

that you like you know, it's a new form of marketing it's not the sci-up

and I think it's the reconfiguration of marketing digital who, that has

been structured around the auctioned publicitar and and the partanarias with the

influencer and that I think that's played in the model of the model of the platform and it's

that also I think is not addressed in the whole of the final about that I'm that I'm

like I'm like that something that's like white spread we're talking about that cameella

H.Q and the something it's not something new to do do something to do

bring to reprint of the old clip of and It's just that it's had this term that, it's had some little moment mediatic, but it's not something new. I think, in fact, that if there's a new affair

that risked to arrive, it's the platforms that are going to be more restrictive on finding these accounts who are, perhaps who are this genre of tentative of strategy publicitar because that, in fact,

it's a lot of because how the marketing numeric has been structured from the eventment at grand scale of the media social, it has made sure, that you work on you work in a team of marketing,

You work for an agency of pub, and you're conceivate this campaign, for this new new product, this new band of music. You're doing your plan, you're doing full of meetings, you're all plenty of people who are there's plenty of people who are

doing that you're doing on your plan, there's a budget publicitar for buy some TikTok, YouTube, Meta, you're actually the public and then once that the campaign is finished,

you're a kind of post-mortem and you're like, well, here, we're 931,000 impressions on meta, we have 800,000 impressions on YouTube, with a click rate of 0.6%, it's that you gonfle, in fact,

the result of your campaign, because when we do you think, and it's what I say to everyone who wants to talk to marketing, let's on the industry cultural, Quequequeous, is what your report to you

with the publicities on your feed internet? It's a pollution, in fact, there's a part, there's some, there's a lot of,

my God, I know that you've got to buy a drone on $0. $0.50s on your money, to pay, on time,

that's, like, to bring your attention for one or two seconds, I personally, how I'm personally,

I want to interact with the publicity. D'clock, like, you look at the... D'clock, like, you look at least. Yeah, and even, Daphne, they're so much... I insist on, like, let's turn, add block, on her... My, de facto, I mean, I'm doing the publicity, because I think it's a way of...

When we look at the TV, I like, I mean, I like... Yeah, when it's just... ...uncippable ad, web, especially that, on every single, they're going to rejuvie the main pub. The fact, we... We...

in the world of marketing digital for the long of the number of many of the way it's that's a real dead internet theory because we're

plenty of firm of marketing who's felicit for having attained millions of impressions but it's no impact

probing on the culture all that's to sort of felicit mount the corporate ladder when we're

talking to promote a product, a restaurant a business whatever, it's not but when we

talk to promote of the work in the moment where is like a culture

summer? So, it's a impact cultural the foe account that he generates these clips

Yeah, yeah, even not I'm not I'm in your phone there's a content of Quebec,

that's popular on TikTok this account that's an auditors of Caffe Snake emerge literally of me

that's stream on Twitch and and it would be create some and it create a movie of

a month in three three months we've made a million of views actually and it's

in 2020 I'm I remember when I remember when I think I've made a job of

stage in a board of pub in England it's diffuse in my because it

It's been fucking long time, but we'd demanded to write some kind of message board, a little like Reddit, like I'm like I'm

like, don't content of the product, even you, you know, you know, that's also it's Astrocher.

Yeah, but I like that when it seems authentic, you know, sometimes I'd just the Mavis reviews.

I'd like that read some if I had could give zero etoels, I'd like, I'd like to learn the Mawxerer

You know, there's something, we're still on the research of your own to so we're not in a report that's totally cynical.

So often, there's that's like, they're doing to see review bomb by some people who are too lour-obsessed and they're like,

no, the backroom, it's not that, it's like, it's like, some kind of, the fan of of Five Nurt

to get to be able to be a unicorn that you're supposed to have been if you'd give us if you're

saying, you have a, a new story worse movie movie in my life, and it's not because it's

not because There's that there are some commentaries that's not botty. There are these characters like that in the reviews that are a bit like these entice of certain milieu

cultural. I know that on Goodreads there was an user or an utilizer who's called Geek the Girl I don't know if she was still there

but she'd systematically to the author Quebecoa a one- and often that leave paresse.

So it had made sense it be based the medium of course but I'm a little box demon who lefts

a one on my film, and that I'll see her profile, and he lets plenty of one star on the one etoile on the film Quebecuan, but he has made my documentaire in his list of my films preferre of 2026.

It's a part of the internet. For me, it means that even internet is not mad. I don't dare not totally the dead internet theory, what's it's impossible to come,

especially with the intelligence generative. Yeah, it's sure with the slut and all. I think what we assist with the clipping that is favored by the gross artists,

like, let me turn, there's on multiple campaigns of clipping that were in the same time that were going to be Now, more than ever, the engagement organic. And when we're saying engagement organic,

it's not how the content has been generated, it's how it's propage on the platforms. You want to be able to, perhaps, maybe make a video, or a reposte five times with an idea of different, but that perse the algorithm, that generates, and the comments, and the discourse.

Exactly. And I'll add something, okay? There's been a peak inference era, where it's important to have the engagement, quote-and-quote, in-dose to your post, some of the comments or like.

But today, there's a great part of, in any case, for me, of my joiccences to scrolled and to come

on a video that I'm to find out of the comments, for read if the people, for example, have seen the

people, it's not the video in-so that I consume more than the report of other to

video. And if it's just these comments that are issued of bot of intelligence artificial,

well, it has a impact negative. I'm sorry, or I'm where I don't, where I mean, the profile of this person, on the phone, it's just these bots. It's just these people who are in front of girls.

And I'm, it's not that I want to read. I'm a product derivative, it's to say the reaction, the discourse, around an object, that's a word, that's a word, it's a word, percy.

It's that the real question also, because how it's a lot of it, and how it's a revenue, it's a year 20 years? Let's turn, MGMT, like Guise, or you're like MGMT, how you perse? MGMT, it's in my time.

Oh, I see that I said that I said. Okay. And let's on the Velvette on the Ground. You're going to do you want, in esperant that he's a little show, who comes to talk, who you know, or you're a manned with someone else,

who's signed a label, there's an NR who came, who's like, okay, yeah, you can do that when they're gonna. And then, then you're the first part of this band

there, and there's a lot of people who do you discover a little bit, we've all over the music. And before, I think, the affair, what's different?

Let's say, let's see things, TikTok, and even post Instagram, because with the rap, it's arrived at the time of the SoundCloud rap. It's in 2015, 2016, 2007. It's that there more of gatekeepers. If you go to the absolute, all the world is on the same terrain to generate

the virality. I've said to cafe steak. I've said, don't know of discoverability, but when I said to talk about durability, it's about it, it's going to generate these clips virro. We're in this time. When you talk to virality,

I think it's true that you think there's, let's turn, let's hear the chair around the list. When you say virality, you mean, create the discourse. the language organic.

So there's people who talk, who decortique, who are there, let's on, we're doing the most recent,

who's see, and I'm specule, the avonement viral of an engine of poatrine, how it's made materially

at the time, it's made material, at the time, exactly, nothing other, like they're all the

credit, they go to them for the grind, but what's what's happened on internet,

they've made the performance on YouTube, it has been distributed everywhere on internet, they've made

these offers, these things have been is put in clip on internet. But justly, there's, like, also, an espousey there, there's a piece of opacity, there's there that, there's a form

of anguomom, because when we talk of virality, I'm like, something of viral, it's like a virus, you're a bit victim of the virus, you know, there's something where you don't adopt not,

you don't have been, when I think when you're a reality, you're an aspect mimetic, you know, an aspect where we want to embarked in a conversation

global. It's not just that We've got to get a heartped a disease. When you arrive there, and you're at a consultant marketing or whatever, and that you pitch the virality as strategy, it comes with the fact of the tolerance to the check. We've got to sit there and you face. Another objective is to be viral.

But it's the casino. We don't know what's what we're going to be able to be. But what's the reality? Maybe we're not going to have the good objective. And it's to have postulate, it's the result that will be in a victory. It's heated rivalry, we're in the front. And then I'm in the term of series,

because it's the dad that I'm the same thing with the music. We want an engine of a poitrine. It's what we're going to change of the poitin, what's the same thing. I think that's just really, what's what's the thing. It's just really, we assist in how the media function. Like, there's a subject of the moment. All right. This subject inso has attained a certain vitality.

No, but it has been coined. It's the only thing. It's a far. Forged. Yeah, it has been in more. Well, we've been in light. There's a visibility mediatic. But he wasn't new, and he was not a lot.

Exactly. Sometimes, there's some of the other, in the case, in the media of heritage, who are treated like these newties while it's like, it's like,

I think, I think, I think, like, you know, I think, you know, that's just really doing it,

you know, if you look, if you look, more optimistic, say, well, I think that anybody, in the phone,

can upload on TikTok. What's, what you think? What's, you think? At 50,000 videos, in a week,

or whatever? But what's, but what's you think, to know, the guy who tried to live, it's,

It's been at the first part of the band, and finally, you're at the Tonight Show, and finally... But in the milieu of cultural, there's a lot of... Well, yeah, it's... Maloneyosement, I don't know that it's a game, justly, of merit. There are two things.

You're doing the music, or you'll be in the business of the music. No, but I'll say, that's the reality, and it's with all the artists. And at the end, there are people who are full-arty, and who finish by being by the affair, who will never be to make in market, who will never, like, develop these discourse simple to, like, vend.

Because we've lived in a system capitalist, And then, since it exists, how it has been done to be made at his high level, it was because the chief of state, the royal,

the emperor, have been able to be the business, you know, we've seen as the capitalists, the social are by definition,

are integrated to the system and what's the capitalism, it's a reproduce, reproduing the rapporteur the reports of power,

so those who have already do power have more more of more than more than more than

we're talking. We pass now on comment of Jacob. Hello, Daphne, Hello, my name, Hello, all the coffee,

Snakers, Snakers. My tech will probably be controversial but it will probably have been to give some interesting, it's a

source in the the last time we've talked, the last year the last year the last time we've talked about

the famous of the French and especially in Montreal. It's it was when I

saw the media social, notaman, one and one year someone was dis-credited,

his proposal because that's not impecable, and it made to me to me to me

We'd distance where we'd romped with the Academy Frances for really embrace our language and the evolution of our language, and that we'd have a little this dissonance that between our language written, our language and what we live,

in the different dimensions of our lives, numeric, as real, especially at the air where we've been because of the numeric, we can read more than ever also,

but it's an cruture and a lecture that's kind of different, it's not literary in the sense of the lives, but it's very much more more much more progesterment of how we can communicate, how we're talking,

there's a sign that's created, and it's accentue, the dissonance between, just an encore more long of the French written, and the French is probably, you know,

after when we're going to be able to on the basis of a French, that we're not, that we've evolved in a direction that's different,

perhaps, during the years, that the lute be a lot of difficult to maintain, and that's that's probably in the more

more of course, to be less and more to find, to learn, to learn, to learn, at the school, If we take the movement subvenous

who is a bit of a lot of time of a colony in a guillate, it's a bit ironic, preserves a link that makes an sort that we confirm that we're

still in a question and that our evolution and our adaptation in this territory when we're talking it's for protect the language

but what is the language that we really protect it? It's the French of the France in America or it's

our culture to us that we've been we've been based here. Thank you, I think I'm

We had talked in the first episodes of of Café Snake. So, I'm probably the impression to me repeat I think that

when I'm a subpliant Aisi, who had said something that's in something that's he said, the most

beautiful language, it's the language that's the language, so, it's this language that's linked to your life,

that's in your life, that's in your entire, I've always to apply to my I think that I've already

talked also at Café Sneck, but I've like, I've been like, a kind of my book that's a certain success The Macquay had been published in

France at work at and there, we've made pass through a process of an process of an process of that has done,

that had already that had already I've been not in French of France, it's done a whole other book,

and the person who has adapted the editress, she has done with other books Quebec and then I'd have had been to be afraid

because in the first conversation that I've used with her on telephone, she said that finally the books

in Quebec or like my book, it's like a diamond brutal that that's it's like

it's like this vision that of what could produce the Quebec to the public

and literature it's really a vision biased because I think there there's something in the

the fashion that I've written in my style isosyncratic to, like, my context socio-cultural, the way that's the way that's

part of me, it's part of my style, it's not going to get me, but also the Anglicism that I use, my proximity with the United, in the culture,

like the numeric, I use, you know, I'm a good of influence, also, that I have in the literature American, and it's apparent in even,

not just the words that I employ, but my way to construct my phrase. I'm 100% francophone, it's my long

primary, but there also there in my family, of scent or not, who are anglophone. There's a part of my family that comes to the Ontario, so, you know, it could technically have part of me also the language English. And there's this attitude that that, that, that, and there were prevalent, let's, say, in France, during a boot, on the level of the literature

Quebecoise. And there, de plus and more, by counter, the Masons of Editions Quebecoise more distributed in France, directly, they are in trying to develop a network of distribution, which is that we have not to pass, we, in time, of an office, to a to a new house of edition

French to to be used and distributed in France. So, the more the French have access to

a language and it's also that's me think that Macier, that has been in a university at

many years in France, and the professor is based on the version Quebecuase plus than the

version of because the version French is totally denaturate. And another to do

the language, because I'm I'm traductress of formation, and I'm the impression also that when we're in the

translation, like it's not our text to we're trying, we have often more of scrupule to sincerely in the text, and to be in the way we, we'd want to be, like, to be in touch, to make it in bush. It's something that's something that we do, also, so we'll have a tendency,

to, just, to read a text English, in a French that is the approach to the academy French, but it's in sort that the text tradu, he will be a plough. He will not have lived vivant, because it's not a text that you'd

know there's no there's there's a style he per like a kind of a

place, I'm in the way of I'm trying to do you know to do you know the the last text

that's a new thing when you're in a band design you you're in the philacterer you're

in a form of reality I'm actually to me approach to an orality of a part of

that could be able to be because this BD that's pass at Morale

but it's but I'm that I'm back a It can, that it's with the editor or with the re-lector

or with the correctress, corrector, revisor, there's, I think I'm old to find that it's interesting

to see how in the way that the translation, we're not not a level of the acceptance, you

do that we have a language particular, we have a French particular, and there's

not a non-esternational, it's not, if we're recone this existence that,

it's that we recognize finally a superiority, a hierarchy, and when we're talking to return to a French,

so-d-d-d-sword, it's a form of nostalgia that's a lot of different sort of in all the discourse of the right. This idea of a purity,

of something that's pure, that's over the ADN, or even of a language, well, it's something that's a

fantasy, but that's some of the racine excessively racist. I, with the usage

of Anglicism and of Franklet, the fact that I do that I could deconticke the cause,

but that I've been also diffused that and I've been doing it's like doing there's a

there's a same in the same in the same way, there's a big basin of people

who are a amount of the concept man of franglis and the use of Englishism

and it's like something of visceral. I see some some they're very

negative on the use of Englishis Tandis that for me and that's

one of one of the pan, in fact, narrative that has been in

the document after me because I don't if you remarked in the documenter

but I I'm talking with many of Englishism. And I cite even these examples of show of TV

American when I talk about VRATV, Drake and Josh Anna Montana because there have been quite interesting in

more than I studied the development of VRAC TV, is that the people of my generation who VRACTV

has already to lose the money financial, a cause of the bouleversements technological,

and a group of the degree orerer is progressively to be more of more of the translation

of series American. And with Donie Du Bo there's like a whole part that

I've decided to do the documentary because it's a layer of we'd have a layer of we've found. I've got like one of the thing that's

primed my generation to get some Americanized, is that very young we've existed in an imageeneer American by the translations

of Syria American, the referents, the code, the new, the music, we've just existed in these series of Disney Channel

very young so it's like it's like primed to go to listen Netflix, to go, we're already

pretty, and I think that I think the Englishists are returned in my vocabulary. Then, after, it's a culminate with a group like Delobies, which were the people more viewed than my generation, and who they've been revoked in which he has even more emboldened, you know, I'm not a word French,

but who, he has more, done the legitimacy to our ears, to talk in franglet. Even if they were, they were to be criticised by Sophie D'Rochie. There had, like, an espouse of discourse intellectual, especially of Desmecant, of Jean-Franceriel, on why he'd probably he'd I'd like that. I don't think that it's departing of the Academy French's going to

make in sort that suddenly we will revendique the French Fierreement, when I'm I'm still a big basin of

people who have a reprie total for that. But, you know, at the level of the creation, one of the first thing

you do to accept it, is accepting, and it's also, and not try to do it and try to

it's so, it's cheesy to say, but what's what is particular in your voice? you're going to remount to the person that you're, the influence, the people who are

entombed, and you have to accept that. So, thank you for the take. So, it's an episode of the Ligne Uvirt of Cafe Snake. Bonn-Eette. Thank you, to us and to us support. We're really privileged.

We're at the return the 25thew. Well, I, in any case, I will you go to come with the formula hybrid of Capice Snake we'll be present

in times and years. Exactly. Thank you, to everyone, and I hope to be able to do you. Thank you very much. The music of intro Aslo

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