Ouvre ton jeu avec Marie-Claude Barrette - #101 Ingrid St-Pierre | Ouvre ton jeu avec Marie-Claude Barrette

Episode Date: April 14, 2025

J’ai déjà hâte à mon prochain Ouvre ton jeu avec Ingrid. Je ne voulais plus que cette rencontre se termine. J’ai découvert une femme qui se questionne, mais qui a aussi trouvé des réponses. En nous les partageant et il se produit un effet miroir. Elle aborde son discours intérieur, la façon dont elle se parle: on apprend beaucoup de cela.━━━━━━━━━━━00:00:00 - Introduction00:16:17 - Cartes vertes00:44:19 - Cartes jaunes01:06:18 - Cartes rouges01:21:17 - Cartes Eros01:31:47 - Carte Opto-Réseau━━━━━━━━━━━L'épisode est également disponible sur Patreon, Spotify, Apple Podcasts et les plateformes d'écoute en ligne.Vous aimez Ouvre ton jeu? C'est à votre tour d'ouvrir votre jeu avec la version jeu de société. Disponible dès maintenant partout au Québec et au https://www.randolph.ca/produit/ouvre-ton-jeu-fr/?srsltid=AfmBOoo3YkPk-AkJ9iG2D822-C9cYxyRoVXZ8ddfCQG0rwu2_GneuqTT Visitez mon site web : https://www.marie-claude.com et découvrez l'univers enrichissant du MarieClub, pour en apprendre sur l'humain dans tous ses états et visionner les épisodes d'Ouvre ton jeu, une semaine d’avance. ━━━━━━━━━━━ Ouvre ton jeu est présenté par Karine Joncas, la référence en matière de soins pour la peau, disponible dans près de 1000 pharmacies au Québec. Visitez le https://www.karinejoncas.ca et obtenez 15% de rabais avec le code ouvretonjeu15.Grâce à Éros et compagnie et notre niveau rose, obtenez 15% avec le code rose15 au https://www.erosetcompagnie.com/?code=rose15Merci également à Opto-Réseau, nouveau partenaire d'Ouvre ton jeu. Visitez le https://www.opto-reseau.com pour prendre rendez-vous dans l'une de leurs 86 cliniques.

Hey, well, hello! Welcome to the podcast, Open Your Game. And you know, I do conferences a little bit everywhere throughout Quebec, and I went to do some in Beauce, in the big region of Quebec, in the Bois-Frances too. And everyone, almost, that I meet, talks to me about Open Your Game. me parle d'ouvre ton jeu. Ça me fascine à quel point vous êtes incroyable de venir me partager le témoignage d'un des invités, une phrase, un moment, quelqu'un que vous pensiez pas écouter finalement vous l'avez découvert. J'adore ça puis en plus il n'y a pas d'âge. J'étais dans un événement l'autre fois puis il y avait deux jeunes filles d'une vingtaine d'années puis elles m'ont dit on est I was at an event the other time, and there were two young girls, about twenty years old,

and they told me, we came to hear you because we discovered you with Open Your Game. And next to me, I have someone who is much older, who says, well, me, Open Your Game, it accompanies me in my walks and all that. It makes me a crazy pleasure. You have no idea how extraordinary it is. So thank you for sharing. That's why I also read comments, because I have the chance to read some of them and tell you, you are not alone in opening your game. I think we are all the same. We will look for small pieces of each of the guests.

There is Juscelaine who says, I use card games in my travels. She talks about table games. It's our third with cards. The new one, I love it even more. Even after 25 years, I learn about my chum and our couple. For real, thank you. It brings us all lots of nice conversations.

Thank you, Jocelyne. So she made three trips with the Green Game, and now with her couple, it's the Red Game. Joanne is talking to us about the episode with Louise La Traverse. I have always loved this great lady who has evolved with her time. Yes, she is contemporary and immortal in the Quebec artistic world. I like to hear her voice. She is sweet and comforting.

Thank you for this very real interview. Louise La Traverse is really a monument in Quebec. So thank you for sharing your comments. I always talk to you about partners because if I didn't have a partner, we couldn't broadcast Open Your Game for free. Because you can get it on Patreon one week in advance without advertising, but there is a paid format. You can also go to the Marie-Club where there will be the Open Your Game one week in advance without advertising.

Besides, the Marie-Club is now also a partner of Open Your Game. It's really... At one point, I said to myself, yes, there's the podcast, but what can I do to help more? I want to say women, because it's a lot of women who subscribe, but it's open to men too. But how can I bring those who feel more alone closer together? Or how can we learn together about psychology, about consumption, about health, about parenting. Often, young parents lack a lot of information.

So I thought to myself, how can we join together, how can we create a security net between us? And that's why I decided, with my team, I wasn't alone, of course, to set up the Marie-Claude, which is a better-being space, which is located in the digital space. You go to Marie-Claude.com, go see what's in the Marie-Claude. You can subscribe annually or monthly, you make the choice. And we meet virtually because I do home-work, we exchange together. There are lots of workshops, if you're free 24 hours a week, that's seven days a week, there's no performance, no rush. I'm talking about it, and be curious to go see on mercload.com.

And if you subscribe annually, you'll enter the promo code CLUB10 and you have 10% discount. Karine Jonquard, partner since forever, you see her, she is a partner of so many shows. Karine Jonquo, I think she is a Quebecer, a Quebecer entrepreneur who has more than 1000 sales points in Quebec. I find that extraordinary. She has an extraordinary team, all in simplicity,

who addresses women, who want to improve the quality of life of women. So I'm very happy to have her as a partner. If you go to her website and make online purchases, you will enter the promo code OVRETONJEUX15 and you will have 15% discount. Eros is accompanied, I love that level. We always have nice discussions when the guests choose the question, Eros is accompanied. So we are told that Eros is more than a store. Eros offers you an enriching experience focused on personal enrichment and the discovery of new pleasures. Yes, you also have to explore this area of ​​life. Sometimes we have a little puddle, but it is also part of the health of healthy

living habits. So if you go to the website and you go buy products, you enter the code ROSE15 and you will have 15% discount on your purchase. Optoraiso, by the way we have beautiful glasses in our Optoraiso setting. In this month of the earth, did you know that making eco-responsible online choices is also possible? So, discover a selection of eco-responsible property mounts on the Optoraiso website. So, here we are. Obviously, my team, Caroline Dionne, who is in charge of coordination, David Bourgeois in the online, Jonathan Fréchette, création numérique, mais elle devint captation, Jérémie Boucher, au réseau social.

Aujourd'hui, je l'attends depuis longtemps. Elle est pas mal occupée, notre invitée. Je l'aime depuis la première fois que j'ai entendu sa voix. J'ai eu la chance de la recevoir dans plusieurs émissions. À chaque fois, j'ai aimé sa franchise, son authenticité, son ouverture à parler d'elle. I loved her, her I wanted to go see my show, but he couldn't move. They said, he wanted to go see your show, but there was no suitable transport. I said, it's not true that he won't come see my show. I'm going to go see it, we're going to make the

music. So I left with my piano in the CHSLD. He said, I'm too embarrassed to have the show right in front of me, so I want to make everyone enjoy it. So I settled in the big room. There were lots of ladies and gentlemen, some were sleeping, some were dancing. I did a lot of rounds for an hour and a half, I don't know. Then I went to spend a little time with him. It was the brightest being I've ever met in my life. I've been sleeping in bed for so long,

I don't remember exactly what the disease was, but he couldn't move, he was trapped in his body. A handsome man with blue eyes, I've rarely seen him. And after that meeting, I took the bus and went back to Montreal. And on the way, I wrote The Love Scalfandre, the song. Incredible. I hurried to record it with a friend who had a studio so that he could listen to it on Wednesday.

It was Sunday. He flew away on Wednesday and took medical help to Moreno. So I arrived on Sunday, I recorded the tune, I sent it and he left on the song I wrote for him and his lover. And he was to the meeting. The song is called Open Your Game. It's a song about a woman who is in love with her lover. It's a song about a woman who is in love with her lover.

It's a song about a woman who is in love with her lover. It's a song about a woman who is in love with her lover. It's a song about a woman who is in love with her lover. It's a song about a woman who is in love with her lover. It's a song about a woman who is in love with her lover. It's a song about a woman who is in love with her lover. It's a song about a woman who is in love with her, where you can find more than a hundred masters' classes, led by experts, available on Marie-Claude.com.

The table games Open Your Own Game and the Couples edition are available everywhere in Quebec and on Randolph.ca. It's like a big Open Your Own Game. I was in a state of inattention. I don't know why, but I want to add a layer to that. I'm talking about Ingrid Saint-Pierre. Hi Ingrid. Hello, thanks for having me. You're not so serene.

Are you serene inside? Not all the time. Well, no, I can't say I'm always serene. Absolutely not. But I need that. I'm not necessarily... I'm not looking to be the master of serenity, but I try to be the most receptive possible.

So I'm gaving myself serenity, sweetness. I need that. Then, what I love, I don't know exactly what people see of me. I don't really have control over it, but I need to focus, I need calm, peace, tenderness. Because when I told people, in the last few days, I'm going to receive an award. Ah! Christophe St-Pierre! You're so lucky! Yes, there's something like wow! You have this privilege,

or if I saw that day, like a privilege to see you. It's my privilege. I'm so happy to be able to share this with you. You went to meet the young people at Star Academy, you sang with them. Did you feel the joy you brought to them through your presence? How did you receive that?

It really moved me. It really... It also captured me. It's 15-year-olds, and in their 20s too. I see them in my show rooms, you know, children who are there, and they started listening to my music when they were very young, and now they're 15 years old, you know.

It seems like I see a little bit of them, but seeing them there, young artists with a bright look, full of ambition, and now they're happy to receive me, and they're moved to receive me, it seems like I've taken a big dose of that. They have a bright, ambitious look, and they're happy to receive me. They're moved to receive me. It seems like I took a big dose of love. Because I felt privileged to be with them. I was like, I'm so lucky.

There's a transition. I think it's beautiful. Yes, exactly. Their questions were so beautiful. The interest, the generosity, it was all real. And it made me feel good, this meeting. And on the album, Star Academy, Mia, she's the interpreter of one of my songs. Well, yes.

And it's so beautiful how she did it. She had also done an audition. I was sent to her audition and I was so amazed by this interpretation. Just. Because people often send me their interpretation of a song to me. I often find it beautiful, but Mia really appealed to me. Because she really appropriated it, she interpreted it in her own way, by sticking her story to it.

And I think it's beautiful to have a song beyond interpreting it. Yes, but that changed your life. It changed my life. It changed your life. Oh yes, totally. And I remember the exact moment. I remember, it was a Saturday morning, it was like 7.30, that's before Vas-Y-Molo. I'm about 12 years old, maybe, in any case.

And I remember, I remember that I was in the bathroom, I was in the bathroom, I was I'm a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a

little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a little bit of a I listen to my TV show that I recorded the day before because it's too late and I can't listen to it. It's called Deux Frères. So I listen to this episode a little bit and then I see a voice, I see a music, and then I approach the TV to better capture this voice in the kind of family mess. And then everything stops. And the moment for me is when I slow down,

singing the voice of Marie-José Rieu for the first time in my life. I don't know if it's her yet. And she sings, Make me dance François Hébert. And then I'm like, My God, it's beautiful. It doesn't look like anything I've ever heard in my life. And I kind of found myself in that, in that...

in that power of interpretation, that woman, that... That freedom. That freedom that I heard. I looked for so long for who that voice was, because at the time there was no Shazam. You can't guess who's singing. I looked for it, and when I found it, La Maline, her album accompanied me, my God.

So much, you know, an album that I listened to in a loop and in a loop and in a loop. And then I started writing my songs. Did you understand what a musical universe was? Well, I understood that I had the right to create my own universe, you know. She gave me that talent, Mary Jo Theré Theriot, to write my own songs. I went to see the Maliere a few months ago, at Place des Arts. She kept this madness. When she said, now I'm 60, it seemed like I couldn't believe it.

I saw the same Marie-José Thériault that I liked 30 years ago. It was Evangéline who called me. Her interpretation of Evangéline... Every time I hear someone else, I always think of Marie-José Thériault. Absolutely. We know. You too. She tells so many stories. Do you know her in real life? We meet up, we write to each other. She knows that I love her deeply. We want to collaborate eventually together. I love her, you know, but I'm completely a fan.

So it's stronger than me, I'm baffled, I'm disgusted, and I'm always afraid that she finds me too much, you know. But it's me, you know. I'll always be the same. And I find it beautiful, this kind of strength, this candor, this... the rock spirit, this... I find it too much, you know. But it's me, you know. I'll always be the same. And I find it beautiful, this kind of force, this candor, this...

the look she puts on the world, this... this fuga, she's bigger than nature. And she inhabits every part of her being, I have the impression, you see. And me, that, it inspires me enormously. Wow! What a beautiful testimony. I love it.

Are you ready to open your game? Yes! So the green and grey level are generic questions. The yellow level are more specific questions. The red level are personal questions. And I mean that the game, each question has been chosen for you. It means that we can find them in other games, but there are not two games with the same questions. The pink level is the heroic level where we talk about sensuality and sexuality. Optorizo

is the last card you will have to answer and it always ends in softness. We make sure to land the plane, to open your game and we have the joker. If you think I'm going too far with my questions, you want to change the subject, you put your joker down and I'll move on to the next question. So you have protection. Okay. So how does it work? You're going to scratch the cards, you give me five, you choose five. Okay.

And from these five, I'll read them to you. And you'll choose one that you'll have to answer. And then I'll choose one that you'll have to answer too. So we only answer two questions from the green level. Okay. Thank you. So let's go. To be good with myself, I must. What importance do you agree with others' looks? When I look in the mirror, I see

What character traits did you have to work on? What is your worst flaw? Wow! I'll look at them. Yes, some of them. This is a question I'm asking myself a lot right now. So I think it would be good to open my game on that. Okay, so which one did you choose?

To be good with myself, I must. Okay. Right now, I'm a bit like... I'm between... You know, I'm finishing a period, or I'm pursuing a period of show. So, you know, there was an album, there was a tour, first continue a period of show. There was an album, there was a tour, first there was another tour, all of this is going on and then I see the end coming slowly.

So a period of writing that comes one day, eventually, in the future, in the medium term, let's say. And then I wonder about my loneliness, my relationship with myself, because it requires, a period of writing requires a reply, because for me, a kind of reply on oneself, a period of silence too, of back to the roots. And I often wonder about my relationship with the ordinary. Because I write a lot about it. I write about the ordinary. I like that. The ordinary speaks to me a lot.

I find the details beautiful. The fragments, the repetition, the tiny things. But I'm also confronted with, I need... ...douragan, that's a word that doesn't exist, but I need... I have a part of me that is volcanic too, that needs... ...big projects, big gestures. And to be good with myself,

I have to find the balance between these two parts. So, Ingrid is a mom who is looking for the little one, who puts on some looks on moments that I find beautiful. The little routine, the family and all that. And the Ingrid, who needs to pick me up somewhere, to go on a trip, to start again, to get me into projects that don't have a good sense. This Ingrid, which has always existed, sometimes I really need it to access to... To accept. To accept that. And to also access the benevolent look on the routine, which is what inspires me in the end. Because it's Paul who has a grid,

who is looking for the grandiose. I don't write on that. I write on that. But to make you know what you're writing, you use the grandiose. I need to go there. It's like your projector, that's how you announce it. Yes. So at the end of a process of writing, of

showing, of shooting, well, often I find myself in front of an empty space that I find attractive, that I find beautiful, but that makes me feel fresh. It's often those moments where I feel like everything is sacred and I'm like, OK, I'm going to stop, I'm not doing music anymore, I'm leaving, I'm going to study to be an architect. I'm going to be a psychologist. Oh no, we're going home, we're going around the world.

I have big, I have calls for gestures that don't seem to be good. It's something I understand that you want to get out of. I know this state. You say that and I know that there are a lot of people who recognize themselves. It's like it's going to explode, but you don't know what. You don't know where to go. You don't know where to go. You don't know where to go. You recognize this state. You say that and I'm sure there are a lot of people who recognize themselves. It looks like it's going to explode, but you don't know what.

You don't know where to go. And that's when my cat does like... The irrational. We'll talk about it tomorrow. Loli is fed up with that. Because it's so funny. When you say we sell the house and we go away, he's part of your big deal. I don't know if it's a good idea,

but I see my parents again, you see, I see my parents again at the age when I was 10 years old, like, mom, I want to go to Congo, I want to do the humanitarian experience, I want to help people, and I want to drop school, and I want to do this or I want to do that. And my parents are like, OK, we'll talk about it tomorrow. Sometimes it's projects that end up,

hear me well, it's that I'm not just a pitchers of projects, of grandiose. It's projects that I lead, that I lead with a front. And I pitch, I'm a girl who pitches, you know. Other times, it doesn't sound good in my head, but I need to be that part. So to be good with myself, I can't be everything there, and everything there.

I have to do that. I have to move. What's your next madness? We're going on a trip with the kids. We've been thinking about it for a long time. It's a little madness, but it's still a big madness. We work, we go to Japan with the little backpacks. But my next madness, I dream of something bigger.

I want to dive into a new project, to learn something. I like to learn. I'm going to hear from Jessica Arnois, who you know. She's a wine specialist. Jessica, she drinks, she's a little girl. That's why I know her. Yes, that's it. She's a remarkable woman. She's a businesswoman, she's a little bit... That's why I know her. Yes, that's it. She is really a remarkable woman.

She is a businesswoman. She is someone who has returned to her studies. But that's to say that during the holidays, on Instagram, she announces that she is going to Sri Lanka in an elephant sanctuary. She is going to take care of elephants. Oh, that's beautiful. I wanted to ask you my life. Do you understand? Because I thought that in my house, with my Christmas decorations,

we don't have that in our lives. Go take care of the elephants. And she was very generous on social media. She documented her stay there. I wrote to her while she was there. Do you want to come back or open your game? But I think you're going to give me a little open your game? But she said yes right away. But you see, for me, it's grandiose.

Sometimes I would need to... And when I see the others, it's like it inspires me and reminds me that I'm not doing it. Ah, I understand, we're in the comparison. It's like saying, she had the guts. And it's not that bad, had the guts to do it. It's not that bad, you put that in your agenda for three weeks. I try to say, it's me who's stuck, you understand?

But it inspires me to the top. I love seeing that, and I tell myself, it's possible. It's not that complicated, after all. Yes, it's good for me to see people who do it, who go forward in crazy projects, but who pitch themselves. I find it so beautiful. Families too. Yes, it makes me happy to see moms who don't stop. The fact that we have to...

Yes, I think it's important to keep a routine. Hear me out, I'm not saying that you have to go all out. But to give yourself the right to live life with the children, to get out of your daily life, to see the other, to open the horizons, I think that's important. In any case, for me, it's... And you know, when you do that, you're happy to come back to the routine.

Exactly. That's where the balance is. You embrace more the repetition, the softness of the repetition. I find it beautiful, but my gaze is more... is more fresh, is more... Yes, that's it. I think I really need that space,

to give myself that space, to be too much, to be too much, to want nothing, to desire nothing, to be all full of immense. And after that, I come back, and the tiny bit, I find it even more precious. On a professional level,

do you have ideas of grandeur? Uh... It seems like that's something else. I've always had trouble projecting myself. You know, I've never dreamed of that job. I mean, I've never said to myself, I'd like to live... I'm talking about when I was younger.

I'd like to make music, do shows, meet people from everywhere, and have links through music. I never dreamed of that because I never gave myself the right. I started to think about it when others told me, well, you could have thought about it, it could have been this power. Oh yes, I was always a little surprised, it always took me the approval of others, or the little slap in the back always took the approval of others,

or the little slap in the back, or the kind of momentum to push me. So it seems like dreaming in music, I'm always more... I appreciate what's going on, a lot. I find it very, very precious. I have aspirations. Obviously, I'm not saying that I dream of anything in music,

but I pay attention to what I dream of because I want to focus on what I have a lot, and celebrate it, and collect it. You see, I was in Shawin-Gann for a few days, and I went out of the stage, and I didn't move. I stayed in the dressing room, and after the show, I didn't move for 10 minutes. I imagine the technicians must have thought I was strange.

I just felt a little bit at home, and I was like, Oh my God, I listened to the people coming out, and the room became a little quieter, and the people coming out. I thought, Oh my God, that's my life, that's what just happened. It was my Friday night at Shawinigan. I did that, I made my songs, I played music. It's super sad what I told you there, but I swear I did it for real, and I was very moved by that.

But I need that, you understand? But it's full of conscience. Yes, that's it. Well, yes, and we're so in this world, there's nothing to worry about. I mean, full consciousness, and even, we often talk about it, but in the medical field, now we talk a lot about meditation in full consciousness. Yes. It's even eating, putting, you know, and savouring everything instead of...

But that's what you did, you were in your moment moment and you became aware of all the angles of that moment. It's wonderful to live that way. It makes you last. Do you think so? It makes you last the moment. I feel like it wasn't over. I could have just left the stage, go down to the lodge, sit down and watch if I had any messages. Do you understand?

For me, that would have been your daily life. It's like, it's going too fast, but we say, it's going to be fine. I would go to the lodge, sit down and watch if I had messages. Do you understand? For me, that's... That would have been your little daily life. It's like, it's going too fast, but it looks like you're making the moment last. When you can stop... But you know, you work to get that too. You know, in the end, the meetings you do with people, you know, it's a awareness

of, it fills me up. Yes. Ah yes, it fills me up. Yes. Ah, yes, it fills me up so much. And it seems that in this tour, it's even stronger. It's a solo tour. I'm all alone on stage for an hour and a half, you know. And it's the show that feeds me the most. It seems that the meeting is strong.

I don't know how to explain it. People get more excited after the show. There's a sort of communion that takes place in this show that makes me feel so good that I could do this show all the time. And I'm a girl who stands up fast, you know, Markelaude. I didn't know that. Oh yes, you stand up fast. You must never be an automatic pilot.

In life, I need to have this spark of truth. I can't be on stage being on autopilot. But you're alone, you're in danger. That's the aspect that keeps me. You have to be on the edge of your chair. I'm alone. You can't be at the end of your chair. I'm all alone. That's it. You can't be absent. You can't trust someone else.

But do you have the impression that people who will see you, when they live with you alone on stage, there is like a anchorage that settles between this audience that is there and you? Yes. The rhythm is... It seems that I have the impression of being in a big boat.

We're all together, and I take her where I want. For me, it's not a show, it's a meeting. That's how I see my job. Because it's not part of me to give myself in a show. I've never been that way. Giving yourself in a show is like giving my friends's totally at the mercy of what I am. I'm not a girl, you know. And it's perfect, the people who are there,

this kind of exuberant part, people who are a little bit off, you know. For me, that's not me. So I approach the moment, the show, as a meeting, because for me, the show is not just on stage, it's in the room, you know, and it is from one side to the other. And that's what I find beautiful.

I like that, it's that they see it as the show, and you see them as the show. The show is in front of me. But it's extraordinary. It's so beautiful. And I also talk about it in shows, you know, people tell me a lot of their stories. It's like a kind of... There's a very, very privileged link in music that happens. There's a kind of proximity, there's a very, very big intimacy

that I wouldn't have if we met at the grocery store, you know. And people tell me stories, sometimes very, very difficult, sometimes very, very beautiful. And I carry them inside of me, these stories. And every night, it's a little bit of them that I keep inside of me, because people make my songs exist in their lives, but their lives also make me exist somewhere. Their stories to them, I carry them them in me, I keep them. It's extraordinary to be able to live that in a job, you understand? I think it's the most beautiful description I've ever heard of my life, from the public.

Really? Yes, from the side of your baguette. Yes, from the other side. It's beautiful what you just said. I really think so. You feel it, yes. But it's powerful. I think it makes us realize that when you sit in a room, you participate in the show.

We are the show. Sometimes we don't realize it, we go sit there. We make show. It's extraordinary. The question I'm going to choose, on what character trait did you have to work on? I've done a lot of work on these marks over the last few years. I really worked a lot on myself. It's been eight years since I've seen an extraordinary psychologist who really helped me. You know, I don't have a soft look on myself. On others, yes.

The look I have on others is always... You know, people always start at plus 10 with me, you know? I believe in that goodness. Until the very end, it's the opposite. But on the other hand, the way I look at myself has always been very, very, very hard. Even, I could say, violent sometimes. You know? So I learned to put a caring look on myself. I learned to love myself, really.

That's what I wasn't really able to do. I'm still working on it, but I didn't try to be perfect. I learned to set limits. And that was a big job that I still do regularly, which is good for me. There are harder periods, you know. We all have harder periods. But when it happens, I try to bring myself back to,

okay, but when I feel like that, I feel, why am I getting angry right now? Why is everything I do disgusting? Why am I looking in the mirror and getting angry? Why am I the worst mother, the worst blonde, the worst girl? Maybe it's because I'm trying to get that out of me and understand what the circumstances are that made me get where I am now. It's not because you're a bad mother or something. There are elements of So you can't say no in life or set limits if you think that deep down, you don't really care.

From the moment you say, hey, why would I feel like that? Why did I say that and I don't feel good? But no, it doesn't work, I have the right to feel bad. So I set limits. It's a beautiful fight and in life I don't pride in life, but I'm proud of it. Do you remember the moment when you said, OK, I have to consult? Yes, I should have done it well before. When I did my exhaust in 2015-2016, it wasn't my reflex because asking for help wasn't an option for me.

I didn't learn. I don't like asking for help. Did you know you needed help and you didn't want to ask for it or didn't see it? I didn't see it. I saw more than a hormonal imbalance. I saw that something was wrong. I was too tired. Indeed, my body was completely numb. I didn't sleep. I was at my be my son at 2 o'clock, day and night. I had a baby of small weight, who was very small, so they told me, hey, it's important that he... But I also worked, I gave shows.

So it was a lot. Life continued. Yes, lack of sleep, all that. And I think that's what brought me forward. And what brought me forward was the guilt I felt. So I managed poorly how I felt about the situation. It wasn't the situation that completely put me in a state of... You know, on the ground. So it was at that moment that I should have consulted,

but it was much later. We're talking about a few years later. And it's the most beautiful gift I've ever given myself. What has changed? Well, I'm able to go and look for help. When I see that the period is more rough, now that the kids are sick, it's not going as well,

I feel like, oh, it's not that difficult. So I in the role, I'm not doing well. I feel like I'm going to be in trouble. So I take the phone, I call my friends, Hey, I'm in a tough time, are we going to have a coffee? I need to go out, I need to do it. From the start, I might have had the idea to lock myself in, to do like, hey, take it easy, Saint-Pierre, and let's go, get up and keep going. You don't have to worry about anything.

When you ask your friends for help, do you feel like it deepens the bond? To show yourself vulnerable and to say that you are there for that too. They are happy, my friends are happy when I do it. And I realize that they take it as a gift. That's what's beautiful. And I put myself in the shoes of the one who will help afterwards. It's for sure that when someone writes to me, Hey, what did you say, I might need help.

It's a great gift that the person gives you. She gives you her trust, and that's a little bit what I do now. I tell him, it's more difficult. I would need your look on a situation. And I have extraordinary friends who take my time. Often when talking about it, there's a part that's already... It's already unbearable, clearly. We sometimes take away the gravity of something. I think so too. Often, when we talk about it, there's a part that's already... It's already unsteady, clearly.

We sometimes take away the gravity of something. I think so too. But what you said is important because I want to address women. I know there are men who live that too, but it remains that, for women, wanting to do everything at the same time, trying to do everything well at the same time. I've heard so many, you know you know, who had a child and said, I wouldn't change anything. My child will adapt.

Yes, we want that. But when it doesn't happen for all kinds of reasons, we have to give ourselves the right to see the situation again with what is really there, and not what we would like it to be. Because otherwise we compensate, and we pay the price physically and psychologically too. And we pay the price dearly. Oh yes, so much.

Well, also all the expectations you understand that we have. That is to say that, you know, I remember when I got pregnant and I had to give birth in 2015, I had already lost the first baby. It was very tragic. It didn't go very well. I took it as a failure. I failed. I was ashamed. When I got pregnant,

I had the pressure to succeed in my maternity. But I also had the pressure to succeed in my maternity. But I also had the pressure of being a woman in music. I didn't have many friends from my generation, from my singing cohort. I had women before me, a little bit like Ariane Moffat, moms like my father Arthur. There were moms, but it seemed that I was feeling all alone. And I had everything to prove, that is to say that I wanted to have a child,

but I wanted to quickly return to the show and I wanted to show that it would not change. I was not going to be more, less, you know, that I was going to produce albums, that I was going to be there, that I was going to give shows. For me, it was not a disavowal to my professionalism. I needed to show it. I needed to say, I've always traveled, we're going to travel. We're going to leave with our child, I'm going to take him on tour. I needed to succeed in my parenting,

my pregnancy and my maternity. It was completely crazy. You add layers. my parenting, my pregnancy, my maternity, all of that. It was completely crazy. You add layers. Life changes. Yes, and in the interview, I just had a baby, and after that I released an album, and people were asking me,

where is your baby? And I said, well, with his dad. But my husband would go on tour with a child of the same age, never did anyone ask him, but where is your child? And that made me so angry. Why do I have to prove that a mother can go back to work? Really, I took that burden. And I wanted to show that I was all powerful. But my mother-in-law, she catches you, you to show that I was all powerful. But one day, it catches you. You're not all powerful.

Mom, dad, non-parents, whatever. At some point, you have to accept that you may need help in life. It's not a weakness, but it's a step. Then you embark after resilience, and you get up, you know, with help, it's even better.

Yes, and to understand why we want to perform everything like that. That's a very feminine explanation, that, if you're feminine. Well, I meet a lot of women, I give conferences, and mainly it's women, we also have, you know, now I have a space, a better place, called the Marie-Claude, it's's women. We also have, now I have a space in Musale called the Marie-Claude. It's essentially women. It's a place where we are, we meet a whole gang of women. Now we are thousands and they have done causes, we talk, we have workshops.

I tried to... It's beautiful. I came up with a note to support each other. You understand, to have a safe place of trust where we can rely on each other. And when we do Open Your some things, for example, if I ask questions for women, let's say, sometimes 150, sometimes 200, we can connect and everything depends on the evening.

And also answer a question quickly, sometimes with a smile, but to feel safe enough to be vulnerable, and we don't have that much space for that. Because I think that when we accept to be vulnerable, and we don't have that much space for that. Because I think that when we accept to be vulnerable, often we'll say, well, you didn't do that, but you didn't think about it before. You know, a sentence that culpabilizes us, and also sentences that stop us from speaking.

Because I'm going to stop, watch, I'm already in the process, I feel judged, so what you're doing, stop talking. And what we do is really, we open ourselves to the other's listening. And no taboo, no judgment. And that game was made for that. Now we're selling the game. The first rule is to listen to the benevolence. Listen, it doesn't mean you interrupt the person.

And me too. It's that you listen. Yes, sometimes you can add, but you don't go. You let the other continue in his flow. I think that for women, my experience, it's been a year and a half since we have the Marie-Claude. There are many who are not alone in life, but are alone in their heads. You understand, she will not be able to express that surplus, otherwise they will have a weak air. They are afraid that people will doubt them.

And then, it's no, we can, we have the right. We have the right, and then, well, we want to... Ok, we're going to invite a psychologist next time, she will come and answer, so we have this between us, and it's good, I'll tell you. It's beautiful. I find that it's really good.

And when I meet women, and they come, you know, like you, they come to talk to me after the conferences. And they don't come to tell me, hey, I'm doing great, because these women don't come to talk to me. You understand? When it's going to be great, we don't see them afterwards, we take a picture. But the one that remains, it's so touching, all these testimonies. And just the fact of talking about it and listening to them. You understand? Because we are people of trust for them. We just took a weight off them. So I find it so beautiful when I exchange them.

It makes a difference in people's lives. And in yours too, I'm convinced. Oh my God, so much! But so much! And that's why I'm also... When I do projects and I defend myself sometimes because I find... Even when I'm on TV sometimes I don't agree with the subject. Because we meet these people, we are lucky, they recognize us, we see them, they come to us. We know who we're talking to, and we know we don't want to say anything. And we know what they need. So you come in communion, but for others, it's like an invisible world, teams.

But we're visible. They're real. They're real. When you write, you write for them. When you think about your show, you think of these people. Absolutely. They live in us. I think that's it.

It's extraordinary. When you talk about full awareness of that, I think that's what we don't do enough. We work, we work, we work, but we don't stop to say, OK, what have I just lived? That's all I wanted to happen. We have enough to be proud of. It's precious.

Yes, more and more I need to stop everything and appreciate it even more. Maybe because I feel that my job is so moving, it's so in a funny place, also, culture. Yes. So it looks that everything becomes so... Everything can start smoking in not so long. I think that even in all my naivety in the beginning, I've always had this desire to cherish,

to collect those moments. And that's a part of me that's important and that I cherish a lot, is that I'm a collector. I will always be a collector. I was when I was little, and I am now. Ah, you collect memories.

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19 plus and physically located in Ontario gambling problem call 1-866-531-2600 Or visit connectsontario.ca Please play responsibly My parents have had a lot of time on their hands lately. At first, it was nice. Hey mom, can you drive me to soccer practice? Sure can. We're having slow cooked ribs for dinner. It was awesome. And then it became a lot.

Some friends are coming over to watch a movie. Ooh, what are we watching? I'll make some popcorn. Thanks to Voila, they can order all our fresh favorites from Sobeez, Farmboy, and Longos online, which is super reliable. And now my parents are reliable. A little too reliable. Voila. Your groceries delivered. Just like that. Yellow or green? Oh yes. You base them the same way.

This time, you're going to give me four. And we're going to do the same. You're going to choose one, and I'm going to choose one. OK. So far, it's going really well. Very deep, I like that. Ah, that's beautiful. So one of the three. And the last one.

Thank you. So what type of lover are you? Where is your quiet spot? What is the biggest challenge you've had to overcome? What is your relationship to death? Oh, that's a good question. We're changing the level. It's getting more personal. Hmm.

Okay, wait a little bit. Take your time. It's your game. Hmm. Uh... Okay. OK. Let's say that my quiet report, because I love Valière who wrote the song too, my death report, I think that would be it. My relationship with death... Well, answer two. I think that's it. Perfect. Go with that. Okay. My quiet relationship...

I live a great grief by being a Montréalese for a little over a decade. For me, it's a... It's a real joy to make my life in the city, to raise children in the city. I didn't think it would happen. As much as when I lived in the countryside, in the lower part of the river, all I dreamed of was to in Sacré-Monde.

Very early on. I needed immense... You missed the city. I needed to discover other people. I needed to discover other cultures. I needed to, you know, I don't know, to taste life elsewhere. I dreamed about it, and it was all I wanted. And when I left, I loved being destabilized by everything I experienced afterwards, leaving home at 16 or 17, because we were going back to the river, there was no more Tigepe in Cabano. So I left, but now my quiet place has returned.

So I feel like I need this part of me that I left in the bottom of the river, that I still carry, but that I'm afraid of losing. I'm afraid that this part of me, the picker, that part that we don't pick anymore here, and the action of collecting is collecting too. I don't have that part anymore. Collecting with my children, naming things, naming flowers, naming animals, knowing that this is a track of hair,

knowing that this is the place where my grandfather would put necklaces, knowing that this house, my mother lived there when she was very little, and told the stories of my river bed, of my roots, of what I am deeply, of where I come from, that's what I miss the most. We go back to the riverbed with the children, they have a very strong bond with my parents, because my whole family is still there. I'm the only one who left. Expatriate! I'm the only one who's an expat. So, my quiet place to be is to go back. To go back to that environment where the skies are big. Where you can swim until it's raining in the lake.

Late in the evening, in the summer, where you can make yourself some fire. Where you can smell the fire, the campfire when it's 5.30 in the afternoon. And then you get ready, you go get some gimbals, you go to the beach, you go to the evening, in the summer, where we make ourselves fires, where it smells like fire, the campfire, when it's 5.30 in the afternoon, and then we get ready, we go get some gimoffs for the evening, and then my father sets the chairs around the fire, the big family dinners, the children running everywhere, that's my quiet place, you know, that's what I am deeply.

And I have the impression that sometimes in this more urban environment, where cities have never welcomed my steps before. I didn't walk in this city. I didn't camp in the woods in this city. So my story is... I don't have a great-grandmother who learned to swim in the lake. So I feel like I'm building a new story about less anchoring than if I did it at home.

There are pros and cons, obviously. I think my children are well in Montreal, and there's that part of nature, of the forest that I try to pass on to them, this love of living, but which is less obvious than me. Because you liked your childhood. I have such an extraordinary memory. I'm proud of where I come from, I'm proud of what I was. I'm proud to have known exactly what rock was spinning, to know what kind of salamander was going to run underneath. I knew exactly when it was time for the bluish, where to pick them up, how to stick the ring.

I pulled out the carbine with my grandfather, I put on the collar on the hare. I'm proud of it. You really have an intimate relationship with nature. Yes, it's visceral. In which you were clearly well. Yes, in which I am well

too. I get together when I go home, because it will always be at home. When I go home, there is a part of me that is complete. I am complete. So it's my quiet meal.

And now I have to learn to be a little more comfortable. I have to be a little more comfortable. I have to be a me is complete. I'm complete. So it's my quiet place. And now I have to learn to be complete here too. So it's up to me to see it elsewhere, this nature, this beauty.

It's up to me to disguise my gaze and to pass it on to my children. Otherwise, talking about it, telling my grandfather, telling... You know, it's these anchors that, for me, complete me. And I'm afraid I won't transmit them enough to my children. That's my little... Because it's part of your personality. Yes. That's why, to convey completely that you're part of it.

I think, yes, clearly. Sometimes I erase that part. Sometimes I erase it because I often because I was embarrassed by it, you know, the girl, the countryside. Now I think it's more... We talked a lot about people close to the forest, nature. I think it's more... We talked a lot about it, people from the forest, nature. But the look of the others aging too, it's annoying.

Probably. But I've been through that girl before. But now I try to bring her back to my daily life. We're going to play on the ground, we're going to plant flowers. It's okay, you're dirty, it's okay. Oh mom, I'm dirty. But it's okay, we're dirty, it's okay. Oh mom, I'm dirty, I'm not. But it's okay, you know, we're dirty, it's okay, it's beautiful, it's dirt.

Without dirt, touch the freshness of the dirt. Yes, name the trees, you know. You have to know their names, you have to know the name of the butterflies, you have to know. Because naming nature, as Anaïs Barbeau-Lavalette said, is taking care of it too, you know. Knowing how to name things, well, it's knowing them, and knowing them by their name, it's that we have the taste to take care of them afterwards. And when you go back to Cabanou, does your boyfriend see you differently? Does he see someone more relaxed? It depends. It depends. Because I idealize so much that when I arrive, sometimes I can be like,

OK, I'm going to spend all my time in the woods. And finally, it doesn't happen like that. Because I'm not going to be like that. I'm going to be like, OK, I'm going to spend all my time in the woods. I'm going to be like, OK, I'm going to be like, I arrive, sometimes I can be like, OK, I'm going to spend all my time in the woods. And finally, it doesn't happen like that. Because we've been on the road for 7 hours, the kids are not able to do it anymore, it's a mess. And then life goes on and on.

It's 7 little kids, so it's a mess. And it's not what I thought anymore. So I arrive, I'm like, are we going to the woods? Well, no, we're going to the grill, we're going to work. And we're like, I'm like, are we going to the woods? Well no, we're going to work. We're going to go, but we're going to go later. So it doesn't happen like in the novel. So I come back, I was a little like, ok. Not disappointed, but I idealized so much for six months.

And then it happens there, and everyone is sick or the mess is the punch. And that's not what I imagined. So that's the kind of great romantic novel Romanesque, which I'm disappointed in. So my cat is disappointed in me, and I'm like, come on, get over it, come on, let's handle this. It's okay, you don't have to go around all the waitings. You can have a coffee with everyone. There's that too, it comes with the fatigue of,

I want to see everyone, I want to give everyone time, I want to go see my waitress, I want to go see my mom, my aunt, my aunt Michelle, I want to go see... But I can't because at the end of the five days, I'm on my knees, I couldn't do much. And you know, it's been all along, we couldn't understand each other. So that part, sometimes my husband says to me, OK, can you stop having six and a half, when you're here?

Can you manage your mom years and a half here? Can you live with your mom in the house? Like, my kids, I'm bored. I'm like, I'm going to pick flowers. You want to focus on everything. Yes, I don't know. In the second question, I'll ask you, what is your relationship with death? Because you were the one who had to choose. I took ask you. What is your relationship with death? Because you were the one who had to choose. I took your place. No, but it's quite correct.

I didn't tell you. Anyway, since you were looking at it, I would have chosen it. What is your relationship with death? When I was younger, I remember the exact moment when I understood that death existed. And it was my great-grandmother, Flavie, who had just died. And I remember being in the lawn sitting there, and realizing that there was an end.

And I decided to run very, very fast, for a very, very long time, to escape this imminent end. I ran, ran, ran, ran, ran. My mother said, What are you doing? I don't want death to catch me. I hid under the gallery for a day. I don't want death to catch me, Mom. I want to run faster than death.

She said, Mom, she's everywhere. She's like birth evokes death. It's going to happen. It's something else. My mother tried to verbalize all to happen. It's something else. My mother tries to verbalize all of this, but it's a burden. When my children ask me,

I feel the anguish rising. Now, I try to be really at peace with it. I think I have... My death, I try to be at peace. It's the death of others who terrorize me. You know, the loss of my children, my husband, my parents, my... You know, my family. For me, it's... It's certainly something difficult to conceive.

And I've had the chance to, you know, to have people close to me, with me, apart from my grandparents. So I have a very mixed relationship with death. I had the opportunity, a few times, to accompany people in death through music. And that, for me, was like a great revelation. So well that I questioned myself, maybe if one day I did something else,

in a wave of... Maybe I would like to do music therapy to accompany beginnings and endings of life. There is something very, very great to embrace death so close, death in a very soft way, to humanize it as much as possible. It's so beautiful, by the way. I saw someone with my mother who was doing music therapy.

She was walking around with her piano, rolling. And then she asked, What do you want to hear? And there you have the sick person in her bed, all the people around you. But these are great moments of communion. It's like a preparation, an opening to another world.

I felt it like a door that opened, but we weren't there yet. And my mother perceived it differently. Sometimes she fell asleep. Your arm was all around the bed, and sometimes my mother would start to snore. But at the same time, when she snored, we were happy because she said, OK, she's well-rested. The music was so soothing because she didn't snore anymore, she woke up all the time.

And that's how it is. The music was so soothing, knowing that even her arm, she can't hear us snore anymore. But she is fine. And that person was there all the time. and when we wanted, we called her. She would sing the songs or the music that the person wanted to hear. I found that it was good. Music connects us with greater than ourselves. We don't need words to make it there.

We need a feeling. And hearing the same music at the same time was funny because you could see how we didn't all have the same relationship with death. We didn't all feel it in the same way. You mean people around you? People around us, we didn't feel it. Some people were just getting out because... It was too much.

It's too much. You have others who embrace that. You live it so much, but it's a need. It comes to get the emotion that lives in you. And if you're too full of pain, well, it's good to cry too. And the music triggers that. And I find that music in these moments, we stop thinking about the looks of others.

You know, it invades us so much that we can't be in a train, I don't know, to take a body bath or... And yes, we are vulnerable because yes, we're going to lose someone. And it takes away all that. It's like we're saying, we're coming back a little bit to full consciousness. That's what I'm living in that moment, and it erases all the rest. And it creates a screen, you know. It's like, it's a bubble.

We're in the same moment. We listen to the same thing at the same time. We interpret it differently, but there's something that... We're all in the same place. Yeah listen to the same thing at the same time. We interpret it differently, but there is something that is... We are all in the same place. It envelopes. Yes, and then you realize, OK, this person, we will talk to him later. You see a little emotional state of everyone in relation to that. And I find that extraordinary.

Especially you, you have able to do that. You play music, you sing. I mean, not everyone can do that. And to arrive at these moments, it's a connection with life, a moment of life. Yes, it's life, actually. It's like a life moment.

It's also a moment of humanity. that's happening, of humanity too. I think it's beautiful to be able to live together in the space of a moment, to be together at the threshold of a step to be taken. There's something so intimate too. It's bigger than yourself. If it hadn't been for music, I probably wouldn't have lived that. I lived with my grandfather, or we sang slowly until he died. But strangers, people I've never met but I'll accompany through music,

that's like... there's something immense. So you introduce yourself next to them? Well, sometimes I record something. Because I think that there is a part of me that I can't share. Because the family is there, it's too important. I can't be there. So there were times when I made a little video, and we just talked a little,

and then I was making the music, and the person went away. There was a time when, then I would do the music, and the person would go. There was a time when I remember all my life, I had met this gentleman, I had written a text about it, it was called Les Amoureux S'Cafandre, and it's a couple who met in a long-term care home, in a CHSLD, people with a degenerative disease, you know. And they fell in love and lived an extraordinary love

idyll, even though they thought it would never happen. And Michel left before him. So Michel had a disease that lasted for years, you know. And Jacques decided to go and join them. But there were tickets to go see my show. But he couldn't move. And they told me, he would like to go see your show, but there is no suitable transport.

I was like, hey, it's not true that he won't come to see my show. I'm going to go see him, we're going to make music. So I left with my piano in the CHSLD. And he said, I'm too embarrassed to have the show right in front of me, so I want to make everyone enjoy it. So I settled in the big room. And there were lots of ladies, lots of gentlemen, some were sleeping, some were dancing.

I did a lot of?tunes for an hour and a half, I don't know. And then I went to spend a little time with him. It was like the brightest being I've ever met in my life. I've been in bed for so long, I don't remember exactly what his illness was, but it was like he couldn't move, he was trapped in his body. A handsome man with blue eyes, as I've rarely seen. And after that meeting, I took the bus and went back to Montreal.

And on the road, I wrote Les Amoureux S'Cafandre, the song. Incredible. I hurried to record it with a friend who had a studio so that he could hear it on Wednesday. It was Sunday. He flew on Wednesday and took medical help in Montreal. So I arrived on Sunday, I record the tune, I send it, and he left on the song I wrote for him and his lover.

And he had the joint. That, for me, is one of the beautiful encounters I've had in my life, that I still carry so deeply in me, these lovers, what to do, and this privilege that I had to accompany them in a huge stage of life. It's a gift that made me feel like there was no good blood. So for me, death, I try to humanize it, I try to make it softer, and not to take too much of mine and that of my loved ones.

I try to be as zen as possible. Wonderful what you just said. Really, my book is beautiful. I feel like I was watching the scene. I still have the scene very clearly in my memories. It's Ficelle who liked it. So imagine I played Ficelle, and I think he asked me three times,

OK, another time! And I was playing the same tune downstairs, and people loved it. It's all right. So I played the same tune down there as people liked it. It's okay. So I played the official on my little electric piano in the middle of the room. Oh my God, what a beautiful job. Let's see that we live that. It's like water, it flows everywhere.

It goes everywhere. It goes into the person. It's like we're person, you know, it's like we don't invade them, but there's something that owns them from the other. You know, the music is beautiful. It's a gift, you know, you give it to them, but the other one who receives it, he does what he wants in some way. It's an exchange.

It's so beautiful, the limpidity of what it brings. But in the homes of the caretakers, I would be curious to see the benefits that musicotherapy brings. It's like a moment of life where we need, I find, in any case, a catalyst for emotions. Something that brings back the emotions, that brings them back in the right place. And music really remains, you know, in the emotions, bring them back in a good place. And the music stays, really, you know, in the...

It's documented, you know, people who are affected by Alzheimer's, the music stays until the very end, you know. So people have lost the faculty of language, but they will sing a complete song, you know. That's extraordinary. So you imagine the emotion, and all that is still there. You have to suck them up, you have to provoke these emotions. But I'm sure that the musical aid to die, the person who decides, has to quickly think about which music, on which music I'm going to leave.

Oh, I hope so much that people reflect on that. I've often heard that. I don't know, you know, in statistics, what would it be, but often it's going to be a part of this music, you know. When we knew that when the first notes, the injections were going to start. It's like it's part of the decorum that we decide on ourselves. Because we do it more and more for the births. I know my playlist of births.

We would like to have one too. Would you have a death tune? I don't think about that. I can't. It seems that I don't have that... I would rather tend to choose the tune that would make you feel good, Gang. I'm not going to choose my tune... Oh, you mean... I think it would be L.G. Maria by Caccini.

Who doesn't have a lot of lyrics. Who is more in a sound that comes from the beautiful round chest sound, like a vibration. I think I would go back to my love of the Gregorian chant. I started to talk about music like that. It's not for the ecclesiastical side, but really for the side. I would still refer to this kind of interiority, this spirituality. It's stronger than something religious. It's really like...

And I started singing like that, by singing Latin songs from church. And when I'm nervous, when I'm going through difficult moments, that's what I do. Before going on stage, I sing a Latin song. A Gregorian song. And I think that's what I would do if I was really sick and I was going to die. I would listen to a Latin song. It brings it back. Yeah. It reminds you of it.

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Niveau rouge, une grille. Quelle belle conversation. Alors, tu en as. Alors, j'en belle conversation. Alors, tu en choisis trois. J'en choisis trois. Puis tu vas juste répondre à une question. Ah, c'est ça, puis c'est toi qui choisis. Exact. Non, c'est toi qui vas la choisir. J'en choisis plus maintenant.

J'écoute pas bien les consignes. Eh non, je n'ai même pas le temps de les dire. Miron, elle écoute rien. Mais non. Quelle est ta plus grande source d'insécurité? Est-ce que tu t'es déjà rendue au bout de tes limites physique ou psychologique? What is your biggest insecurity source? Have you already reached your physical or psychological limits? When did you have to stand up? My insecurity source, I think I could answer that.

Yes, go ahead. I have a lot of them. I think that I... Hum... I'm afraid of... I've always been afraid of... of complaining. I was afraid of not meeting people's expectations.

Of not being... of not meeting expectations. That's one of my greatest insecurities on which I work very hard. It's one of my greatest insecurities that I work very hard on. I've always wanted to be perfect, and it makes me feel very insecure because it's impossible. So physically,

I'm not someone who will easily get bored. I work very hard on that. I think that could be it. In general, it's to be displeased, and not to meet everyone's expectations. And what happens if you don't meet everyone's expectations? That's an excellent question. I think I'm the one who disappoints myself, but I rarely disappoint everyone to a certain extent.

I'm the one who's disappointed in the end. How do you know that the other person doesn't? By the apprehension. And that, you see, is like a... It's a very toxic trait that I have towards myself. It's that I make people talk in my head. Sometimes, I look at myself and my little sister, do you hear what you're saying? She tells me that. Now you're saying that to yourself.

So, say it again in your head for real. Now you're thinking that this person is saying that about you. Because, for many kinds of reasons. It's super toxic. You're making someone think that she's going to say that about you. Maybe she's thinking that. I do it less and less. I think it's something that I've...

But it comes from afar. It comes from afar. The kind of quest for perfection. And it's not a trip of ego. I find that in the quest for perfection, there is a great part of ego. But it comes a lot with insecurity. The quest for perfection is insecurity. It's that we comfort ourselves in something that will be perfect in the eyes of others.

So we become unattackable. So we're safe because there's no doubt anymore. But that zone doesn't exist. It's unattainable. And what is perfection? Your perfection is not the perfection of someone else. Exactly. You can say today it was perfect compared to yesterday, but for the other, I don't know. I mean, we don't have the same comparisons. Exactly. We have the same background, the same luggage, the same look we have on things.

So it becomes so intangible and just completely lost energy. And is it with your chum that you're able to say that? When you feel like that, to name with him your discomforts in relation to that. In relation to myself, yes. And I name a lot of what I expect from him. That is to say that I no longer expect to receive the words I want to hear. I say, there, at this moment, I feel like this, here's what you have to answer me.

And then he does it. But then there's no more, I don't wait anymore. Because you know it's not a bad faith of his part. No. It's his way of communicating that is different. We are completely opposed, my husband and I. And that's what makes us together for 13 years. And that I see myself spending my life with him.

You know, it's that if we see things in a completely different way. We are two very different people who join together on many points, of course, but we are really the opposite. It's perfect because it brings me back a little. It brings me back to being more down to earth, more focused. It's a point of anchorage. It's a point of... He is more categorical about certain things.

I told you that people always start at plus 10. Before it was plus 100, now it's at plus 10. And my husband is at plus or minus 10. So we join at zero. So together I'm like, no, do you think about that? You don't have to think about that. So we're really like... We're balancing. You've made your own path, I guess. We're still doing it. We're finding your...

Your family universe of couples. Absolutely. Yes, yes, yes. And for me, it's never over. That's what I find beautiful in a relationship. I think that's what I need too. I think that loving is learning for a long time. That's how I see a relationship.

So what I like is that I don't have the feeling of knowing my child by heart yet, and vice versa. Not because we hide things, because the complexity of someone who is always moving, you know, you change. So I feel like I want to aspire to know each other better, but there will never be an end because I need that desire. I need to have a lack of a desire to keep it alive. In our relationship, it's a bit like that. But I clearly have expectations. So I tell him my insecurities.

And he's okay with it, but I think it can give tools that you just said to people who are always waiting for them and always disappointed that it doesn't come true. You're always disappointed. It's not fun. And I was like, wait, I've never been like that before. It was tough before. I was waiting.

And I was like, I was a little, you know. Does he see me? Does he hear me? Will you tell me that you think I'm beautiful today? You know, or do you understand? And now I say it. No, no, no, that's not what you have to tell me. You have to tell me, wow, you're so beautiful, my love.

And then he's going to tell me. And it's going to have the effect, not to be counted, obviously, but at least he knows that the next time he's going to do it. About practice. Oh, yes. You made him do concrete exercises. I told him. Exactly.

Oh, but I love that. Well, I think it's important. And we turn a little to, you know, the fun, you know, and we joke a little with that because I think it's important. We're a bit of a joke about it because I think it's important not to be too serious all the time. He's always a bit of a joker. In my insecurities, he's going to tell me something funny, a little joker. That way, I'll be like, you're right. But if someone makes a comment, does it come to you deeply? It depends on what. Because in fact, there's nothing someone can tell me that I didn't already say myself in an exponential way.

Difficult and violent. There's nothing. So people's comments can be useful to me. You're harder on yourself than anyone else. Than anyone else. I don't remember anything you think people could say to me. I said it a hundred times worse. So it doesn't bother me that much if someone says something bad. What will bother me is if my parents, if my family, if my husband, if my children, if my manager, if my team reads or notices a negative comment about me,

for me, that's difficult. I couldn't assume that my parents read something bad about me, on my channel. I couldn't. That's what breaks me. So that's not my relationship. You can't hurt me, but don't hurt my family. So if you hurt my family because they think I'm affected,

that's what hurts me. I understand. And is today your inner language softened with the therapy, with all the work you do? A lot. And I see them come in times when I'm harder on myself. I name them and I see them and I'm like, OK. You're thinking that right now because here's why. I get that difficult towards myself. I name them and I see them. I'm like, OK, you're thinking that right now

because here's why. I take that out of me. I stop appropriating everything. But it must change something in you. It changes everything. At the level of energy too. It changes everything. I have a lot more energy because I spend less on my anger.

What a lost energy. I build nothing when we're out. And there are tougher moments. I'm talking about myself because I can't... People with other lives can tell me, it's easy to say that when you have children in health, and when you have a chum. But at the same time, everyone is suffering, everyone is suffering.

Listen, the inner discourses have no connection with the external. The inner discourses, we can't guess what the person thinks. Sometimes we can see like an anger, we can see that there are people that we would say are never well, that it's as if happiness was unattainable, it's as if the inner joint was closed. Because there is a discourse, but we will not necessarily be able to see it from the outside, but it's because there is a veiling discourse inside. And it's there that the person has to help somewhere, because it's difficult. Sonia Lupien, who is a stress specialist, I often say it on podcasts, but this sentence is remarkable. She said, stress is the mammoth that is outside.

Stress is a mammoth in front of you. And then, well, you know, are you going to freeze, are you going to flee, or are you going to go deep? We don't know as long as we haven't lived it, how we're going to do it, but stress will make us react. Anxiety is a mammoth inside of itself. So, nobody sees it. So it's hard to guess, to understand anxiety, what will be an anxiety trigger, because the mammoth is inside.

So if the person doesn't manifest it, doesn't say it, then you have to go see in the little one, in the gestures, and find out if the person, is the little hamster inside, you know, he left, but the little hamster, we don't see him driving. You understand? So, you know, for people, etc., that's why I asked for help. It's like you're opening the door to that. I mean, look, here's what's going on inside.

I, it... I have a lot of dark ideas, a lot of complex ideas. I don't know if you know Serge Marquis, who wrote, not think, think through, I have a blank memory, who wrote about the hamster. Okay. It's going to come back to me, the name, yet I've said it so many times, because Serge Marquis is a doctor in community medicine. And he's really interested in anxiety.

And it's really incredible everything he wrote. He's really part of the brand and we often receive him because he comes to help everyone. But this inner discourse has a link with the ego. Yes, but of course. You understand that it's an ego that is poorly fed. It's an ego that is misled. It's an ego that is brought on a path that is not necessarily the path that should follow. And it's a fight between its inner discourse and the ego.

And you should read, think about it, think about it, Le Hamster. It's a gateway into the universe of Serge Marquis, who gives conferences all over the world. I'm going to go see it. It's really interesting because what you're saying, there are a lot of people, but there are few people who call him like you. Who dares to say it, do you understand? Yes. This inner discourse that will be so much the source of... Well, it starts from there. For me, if I have a good inner discourse,, it seems that everything else will...

I will love myself, I will love others better, I will love my work better, I will write better, I will... You understand? Everything is based on that. You're a saboteur. I'm a saboteur. Oh, well, yes. But that's what the Pensioner, the Pensioner, the hamster, is a saboteur. Yes. Exactly. Because you know how you can have access, but it comes to sabotage the perception of what you have.

And there's a part, and I also take up the imagery of my psychologist who says, this girl who speaks in my head, this voice, when she tells me less beautiful things, she asked me what she looked like, and what her voice looked like. It was a very... You know, a voice that talks a lot, that takes its place. And she told me,

you know, this voice, this girl, you need it sometimes. That is to say, when I'm frantic, when I start a new project, when I pitch myself into something, when something happens and I need to be that, that's the voice that will drive the enigmide. Yes, she speaks to you violently in your head at the moment,

but there are times when she's useful because she'll make sure you'll get into something and you won't... So you don't have to be the one to tell her. No, it's also necessary in other circumstances. You have to manage our voices. Manage our voice, calibrate them. Exactly, and to see them that way, and to see them, to visualize them, it helps me too.

Ah, I know, it's that voice that speaks in the morning. I don't really need you, I just need the other one, softer, because it's going well, I don't need you, so I'm waiting for it. But seeing them and naming them, it looks weird like that, but I need it. It works.

It's like if it comes out of me. It works. It works. I love it. I like to hear about it. But I've really done a lot of shows on this kind of inner discourse that they don't see. Because there are some who live with their whole lives like that. There are some who isolate themselves because of that.

Because it's hard to get into a relationship. I can imagine... Because how authentic you are with the other when you already have an inner fight. Who are you talking to? Who is the other addressing to? Do you understand? It's not that easy for the other either. No, clearly. To adapt. Even you inside, you find that difficult. Well yes.

I imagine it simplified your life, what you're doing. In fact, I'm much more zen, much more relaxed, much more able to love even stronger. That's really me and the others. You have more space. Yes, I give myself more space. OK, Martin, give myself more space. sent APR for 36 months with $27.55 down. Wow! That's like $99 a week! Yeah, it's a big deal. The Ford, it's a big deal event.

Visit your Toronto area Ford store or Ford.ca today. At the heroes and companies level, you're going to give me four on the top. And you're going to answer just one question of that level. Four? Well, I'll give you four. You have four? That's it? I'll give you four. Ah, non, c'est correct. On garde ça là. Je garde ça. Parfait. Alors, quelle place accordes-tu à l'intimité émotionnelle? Comment évoluer ta vie intime au fil du temps? Quel est ton rapport avec la

nudité? Est-ce que la sexualité est un sujet tabou dans ta famille? Donc, seulement one question at this level. That's all very good questions. It seems that I'm interested in the relationship with nudity. Nudity and sensuality. Yes, yes. Yes, it interests me because I wonder a lot about it. I've always been someone very, very, very pudic.

I've always had a reserve is very, very, very pudgy. I've always had a reserve, you know, very young. That means that I've always wanted to please, but I've always been afraid to please too. So when it happened, from an external point of view, man or woman, whatever, but after that, if it turned out, I wasn't feeling well anymore. So it didn't necessarily go through nudity, but sensuality. You want to please, but you don't want to feel the reaction? I was afraid of the look.

A more sexual look? Yes, when I was younger, I wanted that. And when it happened, I was like, oh, finally, I don't know what to do. And I let it go. I was like, I was going somewhere else. I had what I wanted, in the sense that I wanted to be seen, desired, and then, oh, it's your turn, it's okay, it works. So I got that relationship. It worked. So I got that relationship.

With nudity, my impudence is also a bit... I don't know, I've always been afraid of embodying sensuality. I'm not someone who is able to be sexy, I guess. You don't assume it. I don't assume that. I don't assume that or... Well, socially, I'm very good in my heart. It's funny, I always perceived you as someone sensual. That's funny! Completely.

Because you have a slowness in your music. When you set yourself up, not a slowness, but you do it your way. You have your own rhythm. And I don't think you're playing it to please me. When I see you, do you understand? In your music too, when you listen to it, you install yourself. I call it installing an ambiance. For me, there's something sensual about it.

We install an ambiance. You have your own clothing style. We recognize you. It's funny, I see all of that in sensuality. Ah, that's great, but it's good that you're telling me that. Because we've been so affable, we've often said, you're a little childish, a little sweet, frowning and delicate. It's more that than people.

I feel sensual and feminine. That's how I would describe you. I'm glad you're telling me that. I absolutely think your music is sensual. It seems like you're not afraid to go into this kind of slowness that brings us to be a little bit thirsty. I don't know how to say that, but you know, you go into areas, and I, as a woman, when I listen to you, I feel even more woman.

There's a rhythm, but your music, in addition, there are often moments like aerial, we have the impression that we have no roots, that we are breaking away. And there, I find that when we break away, when we want to fly away, there's something else, we get our body back. Sensuality, for me, that's all. What takes away my sensuality is when I feel attached, and I have a mental charge, and we look like I'm more of a warrior. Whereas I find that you have an enveloping universe. For me, it comes with that.

What you're saying is beautiful. It makes me feel good. Because it seems like I don't have the feeling that it's the first word that we stick to my name. Because, and also how I perceive myself, that is to say that I am... I am humiliated by women who are sexy without knowing it. And you know, there's that too. It's not sexy for pleasure. They embody a sensuality, not for the eyes of the other, but for themselves. They are beautiful, they are free, they cut an apple and they find a way to be sexy. These women are... I find it so beautiful. These free, sensual girls who live all this. For me, it inspires me.

I always tell myself, I'm not that kind of girl. I feel like I'm more of a candid, naive kind of girl. But you don't feel like... You said earlier you were on stage alone. Yes. I don't realize it. But that's a sensual gesture. You're right.

You know what you say, the woman who cuts her apple and puts it in the book, but me, to say that I'm doing this alone in front of my audience, I come to get what they have to give me, I give them, you know, we're communicating, and you let it go. For me, that's really the top of the... It's funny, the look. It's not being afraid of the other. Yes. Letting the other come to you.

For me, that's so sensual. It may be a false sense, but I've always seen it like that. For me, sensual people, they're not afraid of others. Whether it's men or women, they're not... They're at ease in their bodies, they're at ease with them. And the bubble is smaller, you know, it's... I think it's in a... I think it's really echoing, and I find myself in what you're saying,

but I think it's in the desire to... in the seduction, in this game, in this... But seduction, do you mean, for example, seducing an audience? No, that's it. Nettrenou, she said that her song, I made you love my son, it was this kind of seduction that she has in exchange with the audience.

Because when you talk one to one, it's something else. Yeah, you're right. You're so right. You see, it's not a concept that I really leaned on because what you're telling me is... it seems like I see another side of sensuality. I hadn't seen it like that. And it feels good because it makes me consider that finally, I, who thought I really didn't look like that,

maybe in the eyes of someone else, in yours, maybe that can mean that. For me, it's almost a trait of character to be sensual. You understand? It's not a choice. I'm not saying today I'm going to be sensual. You understand? It's not a choice. I'm not saying today I'm going to be sensual. Oh no! You're not deliberate. That's why I find it sensitive.

Sensual comes from the meaning of being sensitive, of feeling, of leaving the place to the other. Because there's a movement in the... In any case, you're doing a thesis on sensuality. It's beautiful. It's so beautiful, you know. I think that I... Sensual in the human relationship, as you bring it, you know, I think that I've always had that, probably.

I'm in it. I think it's more... My relationship with boys, with girls... Very desire. Yes, I think I was disappointed for a very long time by boys when I was younger. Did you feel rejected by the boys? No, no, that's it. No, because I've always been like a...

I've just been with the boys in a gang of guys. I was one of the boys, you know. I was really friendly with the guys, you know, and I fell in love quickly, often. I'm a lover, so I've always loved to be in love, stories that don't make sense, falling in love with a guy from the other side of the world, and we write each other. I'm a romantic, I've always been like that, an intense one. But I think that, not knowing how to set clear limits, I've often disappointed in the Ingrid before, who wanted to exceed limits that no one would go beyond now.

My relationship with sensuality, and I wrote it in Reine, I say we shine at our risks and dangers, women. It's that if you decide to shine, then sometimes we get picked up. And that, I've always been afraid of. And it shouldn't exist, what I just said. But often it still exists. And I think I was... There's a judgment of others. I was afraid to expose sensuality so that it's a license to abuse or to exceed limits.

So it's this sensuality, this sexy side that I often found to be to be afraid to protect myself as a woman in this society. After that, my human relationship with others, you're right, I need others, I like being close to others. I let others enter my universe. There's an exchange. I think, yes, it's sensual. But then there's my universe, my intimacy with my husband. I feel completely free.

I can be the girl completely... I can be myself. But there's the social part that makes the woman in me need to protect herself. When I was younger, it didn't really show physically. Which is very sad. And now, I don't care anymore. I give myself the right to do what I want. I feel good in my body and I feel beautiful.

And I have the taste to say, hey, you know, I'm going to put on what I want and no one will make me look back at 40 years old, you know? But to feel beautiful, it's an incredible state at the same time. And I don't talk about our look, but about his look, about his body. What a beautiful gift! There's a dress we never wore in the day. Oh my God, I'm so capable of wearing it today. It feels good. I ask myself a lot of questions. Sometimes I meet people, especially when I meet groups.

How am I going to feel good that I'm not going to think about how I dress? I'm just going to think about being. It's so... And you know, you feel beautiful, wow, there's... Invincible. Everything is fine, but yes, it appears in your step. It appears in your... That you are equal.

Yes. That people feel everything right away. So much. It feels good to feel like that. But you have to give yourself the right, you know. But you have to give yourself the right, too, that you don't feel good on days either. You know, we don't have to be at the checkout of all these days, but you have to give yourself the right to do that. But you also have to give yourself the right to feel bad about certain days. We don't have to be at the checkout of all those days,

but the day you feel good, go for it. Yes, and celebrate yourself. And when you feel good, I think we become leaders for others. When you go in front of a woman who feels good, and there's a sensual but sexy side to it too, she dares to do that. And then, finally, sometimes it's like, why not me? I think we're becoming an influence.

Last year, I did a campaign for lingerie Emma. I was with among others, it's Emma Dunn, what's her name? But she had Saskia Tuo, Kim Richardson, who was with us, Loulou Yous, Tayo, who is a model, we were very different women, and we did a campaign in underwear. I'm a pudgy next door. Yes, that's it. But the testimonies that we had, people in grid, women, there are so many who braided,

but so many, even friends very close to me, in a soup, they said, you know what you did, and they started to cry. I was like, but why? I don't remember. I never dared to put a bikini on. I never... because I didn't know what the others would think. And then it opened up to me. I had opened up curtains, and I saw things that I had never thought of among many people I knew. Not to mention the thousands of other testimonies of women who wrote to us. So there is something in the example that is liberating for others.

So much! When we feel that we have to be one way, I think we must not do it according to the look of others. Did you open a door in yourself? Completely. Yes, there's something that's assumed. I think it was missing. Because I'm someone who's very assumed in life, but very pudic too. And I think that it has freed the pudic side of saying, we don't care. You understand, there's something, I don't wear anything to take off, but there, I could put something on and it wouldn't bother me. You see, even before I didn't go to the spa, now I started going to the spa. You know, there's something that's released and it makes me see things that I didn't see, you know? Or I think I'm more fully myself.

We can't camouflage things in us. You know, life is a little bit like that. It's opening up, removing layers. it's the quest for a life. And for me, it's removing a layer. It's so beautiful. But you're sensual, I confirm that. Thank you. But in any case, you've done a lot of work on yourself, clearly.

Yes, and I still have a lot. It's extraordinary. Last question, the opt from Optoraiso. If you look at your life through the eyes of the little Ingrid, what do you think? I think she would be proud. It still happens to me to do... Let's say I get out of my car and I was leaving. I don't know. An interview, a show. And I was like,

Oh my God, do you see the little St. Pierre? The little St. Pierre from Cabano. She was in the car, driving to her show. And sometimes I was like, Oh my God. I have a little... I think I would be proud. A little vertigo. A little vertigo, a little oh bravo. And I say to myself, bravo Saint-Pierre, that was beautiful.

And I talk to myself, I like that. You call yourself Saint-Pierre, because my mother calls me Saint-Pierre. There's something that breaks in the in-grid that becomes a little too, I don't know, too. Saint-Pierre is something that is so related to me in the straight side and more... So that's it. It's beautiful, St. Pierre. And I hear my mother come and tell me that too. Yeah, I think she would be proud. She would be proud of the mom I am,

that I try to be. And I think it's important to tell her that. It was a good day. Bravo! You did a good job with your son. I try to tell myself. Sometimes I'm tired and I know it's been a long week. We didn't sleep because everyone was sick. I'm going to do a show and I'm like,

hey, you're going to go on stage and you're going to be the girl you are right now with the luggage you've had, with the nights of sleep you've had. You're going to make something real and we're going to share this moment. You're not to be the girl you are right now, with the luggage you got, with the nights of sleep you had, and you're going to make something real. And we're going to share this moment. You're camouflaging nothing. You're showing it to the world. You're voting for yourself on that day. Yeah.

And I'm doing it, and when I'm charging, I'm like... You're doing it. Bravo. And you see the way I'm talking to you? Well, it's the voice. It's the ingrid that takes this place. Okay. Who calls me St. Pierre. And she's a bit of a frame.

She frames me, she manages me, she brings me... She appreciates you? Yes. She tells you, we have to appreciate each other. That's right, I have to learn that voice so that she's soft towards me too. Yes. What a beautiful meeting, Ingrid. What a beautiful meeting.

Really, thank you for sharing that generosity. It's good, this level of conversation. So much. More often, we need it. It's good to have these real discussions. Thank you. Anyway, keep going if you're inspiring, sensual. Yeah! I'm in it! No, but you're incredible. You're too good.

I know, as I said, I was particularly looking forward to this meeting. Me too, I was looking forward to it. Looking forward to entering your universe. And thank you for... That's the only thing we could have talked about during the hours. But so much, I'm sure everyone is happy. You know, here it's almost like a therapy. Yes, yes, and you're great in the questions.

You bring us so much to precise and perfect places. I find that you take the doors and you let us go in. Yes think you take the doors and let us go in. Yes, you choose the door you want. Yes, but you bring us the same. It's not for everyone. And you didn't use your joker. Not at all. I'm not joking.

I'm pretty much always online. So thank you very much, Ygritte Saint-Pierre. Thank you. Thank you all for being there. I hope you enjoyed it as much as I did. And we'll see you in the next podcast. Bye bye everyone. This episode was presented by Karine Jonquas, the reference in skin care in Quebec,

and by the Marie-Club, a space dedicated to the best-being. The table games Open Your Game, Original Edition and Couples Edition are available everywhere in the store and on Randolph.ca.