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Found 13 results

  1. Here is a thread for Canadian Press in 2021 !! previous threads are Mika in Canadian Press 2020 Mika in Canadian Press 2019 Mika in Canadian Press 2017 Mika in Canadian Press - 2016 Mika in Canadian Press - 2015 Mika in US & Canadian Press - 2013/2014
  2. ¡ Feliz año nuevo ! Mika in Spanish press 2020 Mika in Spanish Press - 2018/2019
  3. Here comes 2020 !! 2020 would be a great year for Mexican Mika Fans !! Mika In Mexico Press -2019 Mika In Mexico Press -2016 / 2017 / 2018
  4. Bonne année 2021 ! Previous Threads MIKA in French Press - 2019 MIKA in French-press - 2018 MIKA in French Press - 2017 MIKA in French Press - 2016 MIKA in French Press - 2015 MIKA in French Press - 2014 Mika in french press - 2009 / 2010 Miika-in-French-press-2020 January 1. la-Grande-Soirée-Versailles-31-december-2020-France-2/ 2. Ouest France 4204056 10. Mika with Lou Doillon on RTL 1 12. Mika Receives Lebanon National Order of Merit 24. Pride 4206038 27. TF1 La Playlist des années 2000 4207213 February 3. l'Opéra Royal de Versailles CultureBox 4. Mika interview with Le Parisien 4. Le Monde ( magazine published 7 Feb ) 4207322 5. Musique Matin 4206999 5. Le Mondo de Elodie 4207009 5. France 5 / Passage des Arts 4207159 5. l'Opéra Royal de Versailles France 5 TF1 La Playlist des années 2000 4207213 March MIKA Gives Colors Back to Paris! New Art Project
  5. There seems to be a Mika interview in some special Belgian edition of Paris Match... does anyone know more about this? Or is it something old? The picture is old anyway. https://www.instagram.com/p/CXQi0JUrgtE/?utm_medium=copy_link
  6. Mika in US press 2019 Mika in US Press 2017 / 2018 Mika in US press 2016 Mika in US Press 2015 Mika in US & Canadian Press - 2013/2014 2020 will be a great year !!
  7. 2021! Old threads: Italian press 2020 Italian press 2019 Italian press 2018 Italian press 2017 Italian press 2016 Italian press 2010-2015
  8. Mika and the judges of X Factor, Ludovico Tersigni on Radio RTL102.5 Twitter #LudovicoTersigni, @MarroneEmma, @mikasounds , @Machete_Mnlt e #ManuelAgnelli ospiti in #TheFlight Domani, giovedì 16 settembre Dalle 16 alle 17 In Radiovisione e in streaming su https://play.rtl.it/live/1/radiovisione/…
  9. Mika was on Il Tempo delle Donne tonight and talked a bit about strength, virility and his last album (he introduced Blue, Platform Ballerinas and I went to hell last night). I didn't hear some bits because the stream kept interrupting, hope there'll be a replay.
  10. I'm so sorry, can't read French... Could anyone post the transcript this article ? Thank you. Vanity Fair Août 2021 PDF file ( 4 pages / 798 KB ) Vanity_Fair_France_08-2021_compressed.pdf Page 12 Page 70 + 71 Page 72 Page 73 edit: English version by Mika on Instagram: August 4, 2020 I am at Villa Aurelia in Rome, which hosts events organized by the American Academy. Everyone has been there, from Getty to Hemingway. In a dressing room, I am being filmed for an interview and suddenly I see my phone lighting up. Many messages, photos and videos pop up like an avalanche. At first, I can’t believe it. I think it’s a new app simulating an explosion in the port of Beirut - we are so used to images being manipulated - but it’s real. All of a sudden, while I am in a temple of glamour, childhood traumas related to war, to the impermanence of comfort and stability of everyday life, resound in me. I understand then that we are shaped by our childhood perceptions. My reaction is very intense, very mute: an incredible sadness, more than fear, crashes over me. The injustice of these images is hitting me hard: why this explosion, in this city which is already suffering, politically, economically and socially, and where the youth is being sacrificed? I instinctively know that it is not from neighboring countries or a bomb. I guess that this drama is linked to what is eating away at Lebanon: corruption. Lebanon is where I was born. I have never lived there, but it has always been a part of my life, as it is for many in the Lebanese diaspora. A few weeks ago, there was even a knock on my door in Montreal. It was a Lebanese lawyer who came to drop off bags of food cooked by his mother! My origins are plural. My father is American. The son of a diplomat from Savannah, Georgia, who worked for the US government, he was born in Jerusalem and grew up all over the place, including in Beirut. My maternal grandfather came from a large family in Damascus. After fighting in the Arab Revolt in the early 20th century, he arrived disgusted on Ellis Island in 1919. He started his life over in New York, first as a delivery man of fabric, then he moved up the ladder and set up factories in China. The day came when his sister decided to marry him off at all costs. He went to Lebanon where she had chosen a woman for him from a good family. During the cocktail party organized for their engagement, he saw a family swimming on the beach. He fell in love with one of the girls, canceled his wedding and asked for her hand in marriage. My grandmother was 16. He was 60. She left Beirut for the United States, speaking only Arabic and a little bit of French. On the other side of the Atlantic, she soon gave birth to my mother and four little sisters who grew up between an uprooted woman and a man who never forgot that he was Syrian. Everyone spoke Arabic and cooked Arab food. My own childhood was shaped by the specter of war, including the one in Kuwait, where my father was held hostage and returned a different man. My mother, who recently passed away, passed on to me the warmth of communicating, the art of responding with emotional urgency. It is a temperament and a temperature! This may have surprised some journalists who have interviewed me over the years... I grew up with very strong Middle Eastern figures - the absolute icon, Oum Kalthoum; the Rahbani brothers. Fairuz, who built a bridge between the West and the Arab world... My guilty pleasure is Nancy Ajram, and I love the rock band Mashrou’Leila. I like Gibran, Mahmoud Darwich, Amin Maalouf, whom I read a lot of when I was younger. Leo Africanus. What also connects me to my native land are the 6,000-year-old olive trees that line the roads of Lebanon. These representatives of the resistance should be revered as gods and goddesses. On August 4, 2016, I gave my last concert in Lebanon, in Baalbek. It was fantastic, the audience threw pillows everywhere! Two years before, we had had to stop playing there three times. The first time was for the prayer that was broadcast very loudly. The second time was because they had thrown so many cushions that the stage was covered in them. They were even confiscated but it was impossible to start playing again. So, I put on some music, probably some remixed Fairuz songs, and went back to my dressing room. Among my fondest memories of live performances, there is also Martyrs’ Square, in 2009, after the defeat of Hezbollah. There was a huge crowd. Young girls in veils and others in bras. If I wrote this column in Le Monde [“Lebanon, my country, is dying, and its children are held hostage”, published in May 2021], it is because after the visual shock of the August 2020 explosion and the excitement of my charity concert [I Love Beirut, in September 2020], the following months saw the situation in Lebanon worsen without the international community really caring. Yes. The explosion was like an electrical shock. This disaster vibrated far and wide. However, in a world as immediate as ours, the attention span is quite short. We consume the image or information like a product with a very short expiry date. As artists, we are not necessarily entitled to express a political point of view, but that should not prevent us from expressing our emotions beyond the 280-character limit on Twitter. Sometimes I feel stupid for using only words, but they are still a valuable form of expression. Without getting into political rhetoric, which is not my field as I consider myself a simple observer of my country, from afar, it is corruption that has eaten away at Lebanon. Some talk about the coexistence of religions. Except that it has always existed. Beirut has long been home to synagogues, mosques, Melchite, Maronite and Catholic churches, and together, they used to form true cultural wealth. In recent years, the eco-political crisis has set in, social tension has increased and parties have sought to exploit this vulnerability, to break the bond that unites us. It is not for nothing that Hezbollah has opened shops where, to buy products imported from Iraq and Iran at reasonable prices, one must join the party. Locally, my friends are trying to rebuild neighborhoods. Lebanese architect Hala Wardé wants to give new life to places where heritage has been destroyed. But how can reconstruction be managed and the necessary funds found when banks are no longer operating? Wages are divided by five, the price of toothpaste is soaring, as is the price of bread, coffee, milk or a taxi ride! There, a young person who has studied like crazy to graduate has to leave if he wants to do something with his knowledge. Is Lebanon doomed to the flight of its talents? In this tiny country, a fertile valley wedged between Israel and Syria, gateway to Europe, the crucial issue of our future is at stake: how to live together. As our resources dwindle, we are increasingly divided. Nothing about our current attitude favors a collective existence. This is what Hashim Sarkis, the curator of this year’s Venice Biennale, is asking with “How will we live together?” I was overwhelmed by the Lebanese Pavilion designed by Hala Wardé on which my brother Fortuné also worked. A Roof for Silence. Sixteen Lebanese olive trees that are a thousand years old are presented, filmed by Alain Fleischer, accompanied by a musical creation by the sound artists Soundwalk Collective. Around these trees that have seen it all, there are also the poetic paintings of Etel Adnan, Paul Virilio’s “Antiforms”... The Lebanese have certainly always shown great pride and resilience. But in the face of so much anger, frustration and waste, this pride and resilience are eroding. The key is undoubtedly with the youth, who want to reinvent their society. We need to give them tools, to invest in those minds that are thinking about the plurality of their country in thirty years. A year after the explosion, I feel a lot of frustration, a painful latency. Yes. I’m not angry, I’m frustrated with the rampant corruption. I can’t resign myself to accept the “there’s nothing we can do about it, it’s just the way it is”. One of the problems in Lebanon today is that religions have started to engage in politics. The religions no longer leave room for spirituality. Like a miniature planet, before in Lebanon, all communities used to live together in a joyful hullabaloo. Lebanon was an example of living together and of inter-religious dialogue. But now, people’s beliefs are too often misused to build walls instead of breaking them down. Believing should bring us together. Believing is aspiring to universality. All generations need spirituality, whatever it is, in order to consider life and death. If I close my eyes, I can see myself on this tiny beach in Sour, near Tyre. We are eating small barracudas fried in olive oil with lemon and salt. They taste very good. There is a lighthouse, and some of my mother’s family have turned the house next to it into a guest house. Behind, there is a huge Roman site and, further away, the Israeli border where teenagers are encouraged to throw stones at night. In the basement of this house, which is often flooded when the sea is high, there are Phoenician ruins covered in sand. There is no peace, but there is a lot of beauty. How can the two co-exist? ” Vanity Fair France, August 2021 French transcript:
  11. Corriere della Sera Style - Maggio 2021 ☛ PDF file ( 10 pages / 694 KB ) Corriere della Sera Style - Maggio 2021_Mika_Beirut.pdf Page 1 MIKA Beirut non deve morire Page 14 54 Libano. «Che cosa ne fai dei tuoi figli?» di Mika - foto di Gianmarco Maraviglia Page 16 HANNO INOLTRE COLLABORATO A QUESTO NUMERO: Marcello Arena, Silvano Belloni, Alberto Bernasconi, Pier Nicola Bruno, Giorgio Codazzi, Luciano Consolini, Enrico Maria Corno, Ornella D’Alessio, Marta D’Avenia, Enrico Dal Buono, Gianmarco Maraviglia, Andrea Marinelli, Chiara Meattelli, Mika, Cristina Piotti, Sara Porro, Carlos Solito, Diego Tamone, Toni Thorimbert Page 19 CONTRIBUTORS Mika Nel 2007 con Grace Kelly è diventato una pop star mondiale. Una notorietà che mette al servizio anche dell’impegno civile: l’esplosione a Beirut del 4 agosto 2020 l’ha spinto a concepire, produrre e realizzare I Love Beirut, un evento in streaming con il quale è riuscito a raccogliere un milione di euro per la Croce Rossa Libanese. Mika è stato anche insignito della Palma d’Argento dell’Ordine Nazionale Libanese al Merito. pag 54 Page 45 -- KEYWORD -- Coraggio MIKA «Libano, che cosa ne fai dei tuoi figli?». Un appello per Beirut Page 54, 55 IL J’ACCUSE DI MIKA «Libano, che cosa ne fai dei tuoi figli?» DI MIKA FOTO DI GIANMARCO MARAVIGLIA -- Dopo nove mesi dallo scoppio nel porto della capitale la pop star mondiale scrive per «Style» un vero atto di accusa contro la situazione politica del Paese in cui è nato. E lancia un appello ai libanesi e alla comunità internazionale: Beirut non deve morire e occorre impegnarsi insieme contro i predatori di questa terra straordinaria per trasformare l’attesa in una speranza -- Beirut, la vista del porto dopo l’eplosione del 4 agosto 2020 provocata dal deposito di 2.750 tonnellate di nitrato di ammonio. Il servizio fotografico è stato realizzato tra gennaio e febbraio 2021. Page 56 LIBANO che cosa ne fai dei tuoi figli? Una donna di spalle su una terrazza affacciata sul porto di Beirut. A testa bassa, distoglie lo sguardo dalle rovine che vede all’orizzonte. Dopo nove mesi dalla micidiale esplosione che ha seminato caos e desolazione nella mia città natale, questa foto di Gianmarco Maraviglia si comporta come un’allegoria del Libano. Questa donna distoglie lo sguardo per non vergognarsi. Come tanti altri, come a volte anch’io sono tentato di fare. Provo vergogna per questo Stato che porta alla rovina un paradiso, vergogna per i suoi capi. Provo vergogna in nome di queste donne, di questi bambini, di questi vecchi, di questi profughi traditi e abbandonati. All’indomani del 4 agosto 2020, il premier dimissionario (Hassan Diab, ndr) ha detto forte e chiaro: «I responsabili saranno tenuti a rendere conto». Invece, nove mesi dopo è lui che continua a gestire ancora gli affari quotidiani mentre il giudice istruttore incaricato delle indagini è stato rimosso. Questa parodia della giustizia è come una seconda esplosione, una seconda morte per le vittime e le loro famiglie. Il mio Paese sta morendo e i suoi figli si ritrovano tenuti in ostaggio, paralizzati dalla sfortuna, storditi dai disastri: il porto, il coronavirus e la crisi economica. Più di 200 morti e migliaia di feriti dopo l’«apocalisse», più di seimila morti a causa del Covid-19 nell’ultimo anno, un suicidio ogni due giorni e mezzo, una media che è aumentata a causa della disfatta economica. Dietro questi numeri ci sono donne, uomini con la loro storia, la loro forza e la loro debolezza. QUESTI SONO i miei fratelli che lottano solo per avere un posto dove vivere, mangiare, essere accuditi. La vista del porto dalla terrazza di un palazzo danneggiato dall’esplosione. Accanto: le rovine del Sursok Palace, un famoso hotel di Beirut costruito nel 1860; sotto, una volontaria della ong «Arcenciel» che distribuisce generi di prima necessità ai bisognosi. Page 58 La carestia incombe. Anche l’iconica focaccia al timo ha visto il suo prezzo moltiplicato per cinque mentre le etichette dei prezzi nei pochi negozi rimasti aperti cambiano più volte al giorno. Un impiegato statale che qualche mese fa guadagnava 1.450 euro oggi ne porta a casa solo 145 in più. Di fronte a questa realtà, le manifestazioni popolari dell’autunno 2019 appaiono distanti: quanto sono lontane... Certo, alcuni manifestanti coraggiosi continuano in certi giorni a bloccare le strade che portano a Beirut o a marciare innalzando cartelli di protesta. Non hanno più niente da perdere. Gli è stato portato via tutto, anche le loro lacrime, le loro risate, la loro dignità. Io sono lontano da loro e li ammiro. Ma un popolo in ginocchio non si rialza. E invece, per prima cosa deve levarsi in piedi, vedere la luce alla fine della sua oscura vita quotidiana per evitare che accada il peggio. IL MIO PAESE sta morendo e la comunità internazionale chiude un occhio. Emmanuel Macron nella sua visita a Beirut ha citato il poeta Arthur Rimbaud: «Non abbiamo il diritto di restare seduti», un proposito difficile da difendere in un Paese che non è suo contro l’inerzia di una classe dirigente corrotta troppo impegnata a contare le sue mazzette di biglietti verdi. Anche quando rimarranno solo le ceneri nel Paese dei cedri, loro saranno lì ancora a battersi solo per aumentare il loro bottino. Quando ero bambino mia madre continuava a dirmi che nonostante tutti gli sconvolgimenti avvenuti nella sua storia, per affrontare le ripetute agonie il Libano ha sempre fatto tutto quello che occorreva fare per apparire frivolo. Oggi ho paura che la mia terra e le mie radici siano andate via con lei. Lo ammetto, a volte dubito di questa profezia. Perché penso: e se dietro la paura e la rabbia, il coraggio e la resilienza non fossero più una cura miracolosa? E se «Beirut la magnifica» non riuscisse a vincere i suoi nemici che la divorano? Non riesco a rassegnarmi. Con questo testo vorrei trasformarmi in un modesto megafono per tutti coloro che non parlano più, per tutti coloro che non riusciamo più ad ascoltare. Invito gli abitanti del Libano, i politici del Paese e tutti coloro che lo amano, i libanesi che abitano nella diaspora, la comunità internazionale e le organizzazioni umanitarie ad agire al loro posto. Non lasciamo che un Paese muoia. Non lasciamo che i predatori vincano. È urgente cambiare il sistema politico, scrivere e firmare un nuovo contratto sociale. Assumiamocene la responsabilità noi che siamo i figli del Libano. I suoi figli cresciuti. Sopra, graffiti nella Piazza dei Martiri, già Al Burj o Piazza dei cannoni; sotto, il quartiere di Ashrafiye dove vive una buona parte della comunità cristiana di Beirut.
  12. It seems Mika will be on the Italian version of "The secret song", the one he has already been in in France last year - I don't know if this website is reliable, but they quote La Repubblica as a source, and that is a serious newspaper (I can't find it on their site tho): https://www.tutto.tv/2021/02/18/la-canzone-segreta-programma-ospiti/ ... they write: Tra questi, spunta intanto anche il nome di Mika. Così come rivelato dalle pagine di “Repubblica”, il cantante di trentotto anni, di recente in uscita con il nuovo live album, sarà protagonista di una delle puntate realizzate qui in Italia con la co – produzione di Blu Yazmine. Among these, the name of Mika also appears. As revealed by the pages of "Repubblica", the thirty-eight year old singer, recently released with his new live album, will be the protagonist of one of the episodes made here in Italy with the co - production of Blu Yazmine. Ha, maybe we shouldn't trust them, they got his age wrong! Can anyone find a reliable source for it?
  13. Mika en concert à l’Opéra royal de Versailles : «Il ne faut surtout pas oublier 2020…» - Le Parisien Is there somebody here who is able to read this article ? Don't know if the info is true but the person who shared the link on twitter says that his mother has recently passed away Emmanuel Marolle sur Twitter : "La disparition récente de sa mère, ses premiers cours de classique, sa tournée annulée, son concert magique à l’Opéra de Versailles diffusé vendredi sur @France5tv. Les confidences de #Mika. Interview émotion de @ConradssonP https://t.co/SitokjIokr via @le_Parisien @mikasounds" / Twitter
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