Ep 67 - Navigating “Favorite” with Christine and Tracy Adams

The word favorite doesn't really mean favorite, in France. Instead, it evokes a centuries-long tradition of sex, power, and gender roles in the French courts, as sisters and academics Christine and Tracy Adams are here to share.

https://www.psupress.org/books/titles/978-0-271-08597-5.html


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Host: Emily Monaco. @Emily_in_France; Website: http://www.tomatokumato.com and http://www.emilymmonaco.com
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About Us
From one Emily in Paris to another... just speaking French isn't enough to understand the intricacies of the locals, but it's definitely a good place to start. Famously defended by armed "immortals" of the Académie Française (no, we're not making this up) the French language is filled with clues that show interested outsiders what, exactly, makes the French tick.

Each episode, listen in as Emily Monaco and an expert take a deep dive into a word that helps us gain a keener understanding of the French.

Episode Transcript

(00:00):
You are listening to Navigating the Frenchon Paris Underground Radio. For more great
content and a bonus episode of Navigatingthe French, please join us on Patreon.
Hello and welcome to Navigating the French, the podcast where each episode we
take a look at a French wordand try and see what it tells us

(00:21):
about French culture. I'm your host, Emily Monico. Today I'm joined by
sisters and academics Christine and Tracy Adams. They're here to discuss a common false
friend with roots linked to sex andpower in the French courts, and that
offers a glimpse at the way inwhich the French perceive of gender differences to
this day. Favoit so welcome toTracy and Christine. Thank you both so

(00:50):
much for joining me on the podcasttoday. Would it be possible for you
to give our listeners a little bitof info about who you are and what
you do. Tracy, go ahead, Okay. I'm a professor of European
languages at the University of Auckland.I started as a literature specialist early modern
and medieval French, and then sortof got tired of literature and was just

(01:12):
always much more interested in the peoplewho wrote it and the things that the
people that they were writing about thanthe actual literature. And so now I
really specialize in queens and mistresses andregions of late medieval France and early modern
France. So I started as ahistorian. I am a historian primarily eighteenth

(01:32):
nineteenth century France, although I sortof dipped back into the seventeenth century as
well. I teach at Saint Mary'sCollege of Maryland, and since it's a
small school, I cover a widerange of European history classes basically from the
medieval to the present, which actually, in a way is nice because it
gives you sort of a broader perspectiveon things. I started as a family
historian and have in recent years shiftedmore specifically to gender and women and the

(01:57):
intersection of gender and politics, whichmakes the study of mistresses particularly important.
At the moment, I'm working ona new project looking at a group of
women that are usually called the mabeuswho come to the fore during the directory,
during the reign or the French Revolution, but still very interested in mistresses
more generally amazing, and I haveto ask, because I have two sisters

(02:21):
to your sisters, and you've workedtogether before, and your sort of centers
of interest overlap a little bit.What's it like to work in areas that
kind of overlap like that, andwhat was it like to work together?
Fabulous? It's really it's great,you know. Yeah, it's really good
because you can bounce ideas off eachother when you get together for other reasons.

(02:44):
And we had been working on wehad thought about the fact that we'd
like to work on a project together, probably you know, ten fifteen years
ago, and we started by workingfirst on beauty and sort of the use
of beauty as social capital, andwe did a conference back in two thirteen
that dealt with that topic, andfrom that we decided that we were really

(03:04):
interested, particularly in women who wereable to parley their physical attractives but also
their intelligence into more important political positions, and that sort of led us in
the direction of working on the RoyalMistresses. And just in a very practical
way. We work well together becausewe both get things done when we say
we will, so yes, Soit's it's really we really work very well

(03:27):
together. That's amazing. Well,we're here, all of us to discuss
a word that I'm really excited totalk about because I always get super nerdy
about false friends, false cognitives inEnglish and in French, and favorites is
one that I think a lot oflearners of French at the outset they want
to use as a replacement for favorite. That's rarely the word that one would

(03:50):
use. Often we're going to usepreferree, So preferree it's a cognitive preferred,
but it does tend to mean favoritein your experience. Have you ever
seeing a case in which favorite isactually the appropriate translation for the English term
favorite. I'll take this one becauseI've been a French teacher, and you're
absolutely right that when you teach yourclass how to say favorite in French,

(04:14):
you teach them referre and it soundsmore French than than favri or fava the
feminine version. But in fact it'sa word sort of like I'll just take
another one out of the air.The word another word that you would teach
your students not really to use,because you tell them the French don't really
use that. They do something likePreO pipe and yet the words exist in

(04:36):
French. So the word favori meansexactly the same thing in French as it
does in English. I was askingsome French people the other day when they
say favorite, so the feminine version, what do they think of Do they
think of the mistress of the king? And they said no, As a
matter of fact, they're as unlikelyto think first of all of that as

(04:57):
we are to think of the favoriteas the favorite of a king or a
queen. So it's true that preferersounds more French. They're probably more likely
to use that word, but theydo actually use the word favor in the
same way that we do. Okay, I was just going to say that
the one place that I have seenused is in sports. It seems that

(05:19):
the person most likely to win.Yeah, yeah, absolutely, yeah,
it comes out in in that context, and so so you do see it
used in that way. But otherwise, yeah, exactly as Tracy said,
Okay, yeah, that's a goodI hadn't thought about that one, but
absolutely now that you're saying it,it's definitely. You know, on the
rare occasion that I end up ina bar where some kind of sports well

(05:39):
is happening, I have heard more. I think that a context where we
do hear the word favorites, andspecifically this feminine form being used quite a
bit, is in reference to somethingthat both of you are pretty big experts
on, and this is this specificrole within the European courts. We saw
it in the film The Favorite,albeit with a heavy dose of fiction.

(06:01):
But in the context of the Frenchcourt, is the word favorite an equivalent
pure translation of the word mistress?And if so, great, but if
not, why not? I'm notsure how we should divide this up because
you've asked a really complex question.Okay, we're going to need to talk
about favre and when that idea comesto be important in structuring the political life

(06:27):
as a French court. The wordfavriit itself doesn't really show up as a
synonym of the mistress of the kinguntil the seventeenth century, So Chris will
talk about that, But I wonderif I should talk a little bit about
the word itself in the sixteenth century, which is when it actually starts to
be used. And then I'll leaveit to you, Chris, to talk
about the embodiment of the farit asthe mistress. Does that sound okay?

(06:51):
Okay? So two things. Thefirst thing is that the word favrie favrit
is a person who is favored bythe king or by the queen. The
word is used indiscriminately for men orfor women, but it isn't really used
until after the middle of the sixteenthcentury. And before that point you're much

(07:11):
more likely to see the word mignon, which is Ninian and English, and
it's used in English in the sameway. So the mino are the people
who are especially favored by the king, who tend not to be people of
the highest nobility. On the contrary, there are people who are made by
the king, and so there's alwaysa lot of conflict between the mignon and
the highest nobility. And I thinkthat that's probably pretty intuitive. I think

(07:34):
that we feel that the favorites orthe mignon are people who don't really deserve
all the glory, all of theriches that they have, So that's one
thing. So the word migno ormigno are much more commonly used before the
middle of the sixteenth century, eventhough the word fabri or favre has been
in the French language since the twelfthcentury of borrowing straight from Latin, and

(07:57):
then it passes into English, soyou get the same word meaning essentially the
same thing in English. Same thing. Also in Italian the word favore and
favarita become common at about the sametime. Where I've seen the word favarta
as opposed to favriit earlier than inFrench or in English is in Italian.
And you see Italian ambassadors writing about, for example, Anne Bolin as the

(08:20):
King's fabarita. And you see theDuches de Valentinois so Dianta Poitier referred to
by Italian ambassadors as the favarita.But I've never seen either Anne Bolin or
Dianda Poitier referred to as la favorite. That word comes in later. It's
used as the king's mistress towards theend of the sixteenth century and then going

(08:41):
into the seventeenth century, and justone other things. So, so that's
the first thing. And then thesecond thing that I think is really important
if you're going to be talking aboutthe favorric is the idea of favre so
partiality or gifts from God. Say, it's essentially the same word as in
gas grace. Favor means essentially thesame thing, and they are riches that

(09:03):
can be bestowed on you indiscriminately byby the king. So he has a
perfect right to give his favor toanyone he wants. But you see a
real shift happening in the late sixteenthcentury. And here on all of the
knowledge I can convey here comes froman extremely important book called The Father du
Rois by Nicola hu And what hetalks about is this transformation and the idea

(09:28):
of favor under King Henry the Third. And so, to just make it
very quick, what happens essentially isthat prior to Henry the Third, the
ideal is for the king to distributehis favor in an equitable way to all
of the nobility, so that theentire court will live like a family in
great harmony under the benevolent Father.With Henry the Third, you see a

(09:50):
sort of transformation in the idea offavor, so that it becomes clear that
favor is something that belongs entirely tothe king and he can distribute it to
who whenever he wants, without regardfor say, the high nobility, and
that's going to cause a lot ofconflict then through the next several hundred years.
So I think those are important thingsto think about when you're going to

(10:11):
start talking about la favarite and Iwill leave it to Chris to talk about
that figure. Right. And bythe time you get to Louis the fourteenth,
which is sort of where I mywork sort of picked up, the
term lavvite very specifically does refer tothe king's preferred mistress at that particular time.
So in letters between Madame de Sevignive, for example, and her her

(10:35):
correspondence or busy Ravitan, they referto her as la fereite or the matres,
not a tito. I mean,they use the term favorite specifically to
mean the king's chosen mistress at thattime, and that continues into the eighteenth
century that that really becomes, Ithink the term that is most frequently used
by court watchers to refer to whoeverhappens to be the king's preferred mistress at

(11:00):
that time. And in the courtof Louis the fourteenth, for example,
you see discussion of women sort offighting it out to become the king's favorite.
And so certainly by the time weget to the late seventeenth century,
that term seems to be very specificallyassociated with the mistress in that particular way.

(11:20):
So some transformation in that happens clearlyin the late sixteenth and early seventeenth
century where it does really make thatshift. Yeah, the earliest I've ever
seen Favri referring to the mistress ofthe king is in retrospect about Diander Poitier
in the Memoirs of Gaspard de southCavan. He refers to Diander Poitiers.

(11:43):
He's writing after the facts in thefifteen seventies, and he refers to her
as la fabri to du law.That's the earliest I've ever seen it.
Montagna does refer to the what doeshe say exactly? He refers to la
pieuf favrite des dame the sacour inreference to the king. And he's making
this this sort of nasty little comment. It's in his essay do peg on

(12:05):
Tisma, and he's writing about bizarrehabits people all over the world, and
he says, one of the strangestones in our own is that cont cache
la. So when the king spits, the favorite of his ladies at the
court stick out their hand to catchthe spit. So it's not really the
same thing, but you can kindof see towards the end of the sixteenth

(12:28):
century kind of moving in that direction. Fabrie is really even not used for
male favorites until Henry the third.At that point you really start to see
that that we're used a lot.And prior to that you see favre a
lot, But yeah, fabat isreally a later and actually another place that
you see it a lot is isin Pontong and he's writing about the early

(12:50):
sixteenth century, but he's writing inthe very very late sixteenth early seventeenth century.
And does this always when we saymiss and I know we're talking about
people like Anebolin or people like theend of p We know that these people
had amorous sexual relationships with the monarch? Is it always a sexual relationship that

(13:13):
we're implying when we say the wordmedquss. Actually I'll throw this in and
then Chris can take it away fromthere. But something important I think about
the word medcus is that it doesnot mean an extraconjugal relationship, a long
term extraconjugal relationship until at least thebeginning of the seventeenth century, and before
that, medcuss means sweetheart, orit often means the woman that you are

(13:37):
engaged to and you're going to marry. For example, Henry the fourth refers
to Marie de Medicis as his medcress. He says, you're a medcus and
you are soon going to exchange thattitle for another. Mah fam it might
be not my wife. But healso refers to Gabriel Destrey as his medcress
Ma Matreus. But there isn't thenecessity of a long term extra relationship implied

(14:01):
in that world. It just meanssweetheart, okay, and yeah, so
so Chris, why did you goahead then in the seventeenth century, Yeah,
I mean, it certainly does seemto be the implication when you are
talking about a king and refer tohis favarite. It seems to me that
by the seventeenth century, that atleast under Louis the fourteenth, that that
would certainly be the implication when youare talking about this. Now. One

(14:24):
of the things that Trace and I'vediscussed is that in some ways, with
the sort of the royal mistresses thatemerge in the seventeenth and eighteenth century,
that while a sexual relationship is partof that, it's not the only part,
or even the most important part.That Madame de Pompador, for example,
remains the king's favorite even after theirsexual relationship has come to an end,

(14:45):
but certainly that existed beforehand, andso it's hard to get inside the
head of seventeenth and eighteenth century people. But certainly the ways that I have
seen it used in those context youare talking about a sexual relationship. I
don't recall seeing the male term inthe case of Favorie to talk about male

(15:07):
companions in the case of Louis,but I wasn't really looking for them either,
so I can't vouch for that.Well. I don't think that he's
known for having them to see Louisthe fourteen, No, he really doesn't.
Yeah. If you're enjoying this episodeof Navigating the French, you may
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(15:28):
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the French. You know, whenwe talk about favorite these women often were

(15:50):
quite powerful in the context of theirrelationship with the king. Is that something
that you find of Favorites in allof the courts of Europe, or is
there some unique to the position ofthe French favoit. So this was really
sort of the focus of our bookin a sense that we did find that
the position of the powerful French royalmistress really was unique in Europe, as

(16:14):
this recognized extraconjugal social position with itsown defining features and most notably the fact
that she does have this important politicalrole at court. Now, of course
kings and other countries have mistresses.Basically, they all have mistresses. But
in France what is different is thatit does become this tradition. I mean,
it becomes this open secret as wecall it, that was made possible

(16:37):
by the theatrical nature of court lifein France. And this is very different,
for example, from court life inAustria or in Spain, where the
emper and king led far more secludedlives and so you didn't have that sort
of theatrical space for the royal mistressto emerge. But in the case of
France, because of the theatrical natureof the court, courtiers could act in
different roles in different spaces at court, and that's what allows for the mistress

(17:00):
to emerge in this position. Andthis is especially the case because in France
the majority of royal mistresses are noblewomen and they have other reasons to be
at court. Everybody knows who theroyal mistress is. You see that very
clearly from correspondence and memoirs that peoplewrite. But everybody behaves as if all
is honorable and public. I mean, in the words of Catun de Medici

(17:22):
when she was talking about her husband'smistresses, for example. But I think
that for a long time historians hadreally been reluctant to recognize the political influence
of mistresses and actually female courtiers moregenerally. Louis the fourteenth had once said
that he would never allow women toinfluence as policies, and of course this
is untrue, but too many historianstook that at face value. I think

(17:47):
also that for a long times historianshad a very narrow understanding of what the
political entailed, and that's dominated ourunderstanding of politics for a way too long.
I mean, it's really wortant tounderstand that at the early modern court,
especially in France, that in theabsence of any strict distinction between formal
and informal power, and because poweroperated within a framework of family and court

(18:11):
networks that valued women as mediators andbrokers. Women really could exercise significant political
power. And you know, insome cases women even hold official positions in
the queen's household, they can acquirea significant social capital. So what we
see in the French court really isdifferent. This public role that women have,

(18:32):
the public nature of court life,and then also the fact that you
have these different spaces in which womencan exercise power does allow for a very
particular configuration to emerge. I thinkI'll just throw one other thing in there,
and that's as Chris said, it'san open secret, and I really
want to insist on that the positionis unofficial and it couldn't exist if it

(18:56):
were official. It's sort of aparadox then, that that she's often referred
to by modern historians as the officialmistress, because she's anything but official.
By that, I mean something veryspecific, and that is, if you
go back to the first really seriouslypowerful mistress of the King of France,
the Duchesse de tomp she is neverreferred to anything except by her title.

(19:18):
So she's always dealing with ambassadors andso they write back to say Henry the
eighth or to the Emperor Charles thefifth, and they always refer to her.
The ambassadors refer to her only asMadame Detmp. They don't refer to
her as the king's mistress, althoughpresumably everyone knew who exactly who she was.
I mean, for example, theDuke of Norfolk, who is one
of the one of Henry the A'sambassadors, writes back to Henry the eighth.

(19:40):
And by the way, I wasspeaking to to Marguerite de Neva and
she she's a wonderfully and the sisterof the king. She's a wonderfully intelligent
woman and so on. And soI asked her how can I get to
the king and get him and persuadehim to do what I want him to
do. And she says, well, you need to go through the Duches
de tomp And Norfolk writes, AndI was shocked that this sort of woman
would be someone I actually need toapproach. And I said that too to

(20:04):
Marguerite de Nevab. But Marguerite saidto me, well, I'm only telling
you to do what I myself do. So everyone knows who the mistress is
and they understand that they have toaccess her to excess the king. But
no one ever comes out and saysit. And I mean, I assume
that that in the halls at courtpeople talked about that and called her all

(20:25):
manner of names, but in officialcorrespondence Deander Poitier, same thing. She's
always referred to as the Vaduches,the Valentinois, never as the King's mistress.
And I mentioned that she actually isreferred to as la fabriit, but
retrospectively, during her own lifetime,she's just referred to as la duches.
And it's really kind of strange thateveryone knows who they are, but there

(20:47):
is no name for that position.And then, as Chris was saying,
when you move into the seventeenth century, then the name the meteste duois actually
becomes fixed. But earlier I thinkno one quite knew what to make of
the position. Yeah, and thefact that you know, as Tracey said,
that ambassadors learned that they need togo through the Duchesst'tampo or these other

(21:10):
women who are the favorites of theking is also related to the fact,
of course that these women are Frenchand the king trusts them. By the
sixteenth century, the wives of kingsare foreigners in all cases. I think
after Francis the first, which meansthat kings didn't entirely trust their wives to
serve in that intermediary position in thesame way, whereas the mistress's French,

(21:32):
and she's dependent on the king forfavor, and if the king succeeds,
she succeeds, and so that putsher into a particular position of trust in
that way. Yeah, and hereI think we can point back to the
existence of the mignon or the favris. It's the same basic idea. The
mignon is somebody who the king hasmade and who is then utterly devoted to
the king. So before all oftheir family members, the mignon is the

(21:56):
king's man. And I think thatthe at exactly the same time you see
the mignon starting to emerge in aserious way that Charles the seventh, you
see the first serious royal mistress,Ane Sorel, emerging, so sort of
out of the same group of people, a small group of really devoted advisors

(22:18):
of King Charles the seventh, andthat carries on. I think that the
mistress is very much implicated in thatidea of the courtier that the king favors
above all others, and probably unjustlyso, because there's always a lot of
resentment towards these towards these figures.One thing that we also talk about in
the book that I think is animportant thing to make note of is that

(22:38):
you know, the position of theroyal mistress as it emerges in France is
due to a confluence of a numberof factors, you know, including the
simultaneous appearance of the mignon, butalso a particular idea of gender in France,
while women are legally inferior to men, that they are politically as capable,
that there is a certain comfort levelon the part of kings in relying

(22:59):
on women as their advisors. Theyhave their mothers as regents in a lot
of cases, and very often mothersare queen the queen mother's favorite as a
regent for a young king because dueto the sort of the invention of Salic
law, she cannot become the rulerherself, and so she is seen as
the ideal person to advise the kingas a young man and often remains his

(23:22):
advisers. So there's the sense thatwomen are politically as capable, but they're
not a threat to the king,and so in this way, kings are
aware of the fact that women canbe particularly valuable as advisors. Do you
get a sense that that sort ofperception of gender reverberates or echoes in any
way in modern France in terms Imean, obviously we've come quite far in

(23:45):
terms of the legality of women beingin power, but insofar as our conception
of gender in France as compared toin other countries where we might have had
a court system and no longer dodo you get the sense that there is
an kind of reverberation of that thatmindset where you would give women so much
power but also recognize them as beingquite different than men. Yeah, this

(24:11):
is something that we've actually written onin other context as well, This idea
of what Mono Zouff refers to asthe French singularity or people called the Gallic
singularity, that the relationship between menand women is different and less conflictual in
France, that it's based on thissort of complementarity in their roles, and
that is something that very much comesout of I think the traditional relationship of

(24:36):
men and women in France has perceivedover the centuries that it's that women fill
a different role, but an equallyimportant role in a sense, and that
that makes them a good advisor tomen in a sense. Yeah, and
it's an idea. Gall Andrey hasbeen deconstructed over the years by American scholars,
English scholars, and more and moreby French scholars as well. But

(24:57):
I think that the idea is stillso just so alive because we hear podcast
after podcast on it right the horrendousways that Americans are promoting the me too
type movement where men and women becomeenemies, and it's very much present,
I think in France as a debatefor not negligible as part of the population.

(25:18):
The idea of punvesassion with women isjust an essential part of French identity,
and being Gallon is an essential partof French identity. And I don't
really have any patipris here because Ithink that if you know the history,
you are more sympathetic towards that ideathan otherwise, because it really did allow

(25:38):
women a lot of power at atime when women didn't have much power.
I mean, I recognize the debatesand I understand how important they are,
but at the same time, whenyou have this history of that as a
way for women to exercise power.You can understand how that got woven into
the French identity, especially in thenineteenth century when when the histories were being

(26:00):
written, when the history of Francewas being written for the first time,
those women were an essential part ofthat history. Yeah, I mean that's
been a really interesting thing to bothof us. Is this sort of this
way that women are worked into theFrench national story by historians in the nineteenth
century, with the professionalization of history. I mean, this is the way
that women become a part of thathistory in the sense. If you're enjoying

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I mean, and that brings meto my final question for you, which
is in your work. You know, you've obviously both together and separately explored

(27:11):
the depth and the breadth the powerof these very powerful women in many cases,
could you each maybe share a bitabout one of your favorite powerful French
favoit from history and why she standsout to you. I would say that
my very favorite favorite is actually AnneBoleyn. I mean, she's just an
amazing character. So she spends herher early years either from seven to fourteen

(27:33):
or from fourteen to twenty one,depending on when she was born. No
one really quite knows what she wasborn in about fifteen hundred or fifteen oh
seven. So she spends her earlyyears at the court of Francois Premier and
Queen Claude and becomes a French womanessentially, and then goes back to England
and becomes the favorite of Henry theeighth. I mean, she functions exactly

(27:55):
as a mistress for about six yearsbefore they finally get married, and she
is able to express her opinions andinfluence Henry y eighth in a way that
nobody else ever did. And I'mworking on Anne Volyn at this moment and
just a really fascinating story. Soshe is my favorite favorite, and I

(28:18):
justify that because she was at theFrench court for so many years. So
for me, it's actually Madame demontespan And you know, probably Madame de
Pompadour is the best known royal mistress, I mean, because she was so
openly as a conduit to Louis thefifteenth favor. But Montu Spon, I
think, is the one who reallysort of took hold of the role and
brought it to its full expression ina sense. Monta Spon was from one

(28:41):
of the oldest and most important noblefamilies in France, and she's known for
being beautiful, but also for herwit and her magnificence. That she was
really intelligent. And one of thethings that historians have noted is that her
reign at court really corresponds with themost glorious and successful period of Louise's reign.
She is his favorite from about sixteensixty seven, maybe until the late

(29:06):
sixteen seventies, and like I said, she really gives full expression to the
position. She brings panache and brillianceto the role. She's a very skilled
political player and courtiers even actually onoccasion, the Queen Marie Theresa we turned
to Monta spend for favors and forpositions at court. So she's a very
important patron and broker, and infact, some courtiers complain about her influence

(29:26):
in diplomatic and military affairs as well. So she's the one who really establishes
the position of the royal mistress,not only as this political player, but
also as an important patron of thearts. She sponsors painters, writers,
architects, and she also becomes afashion trendssetter at a time when the French
are becoming increasingly known as a centerof fashion. The other thing I guess

(29:51):
I find interesting about her too,is that you know, she and Louis
have both a very passionate relationship anda very complicated real relationship. I mean,
they break up, they get backtogether, and so she's just a
really fascinating individual in many ways.Amazing. Well, I mean, thank
you all so much. I knowwe're just scratching the surface here of how

(30:12):
much richness there is to this history. So I'm going to put a link
in the show notes for anyone whowants to read more about these fascinating women.
From these fascinating women to some ofthe work that you've published out there
in the world, and I hopethat everybody enjoys learning even more about these
favorites. Thank you both so muchfor joining me today. I hope you

(30:34):
would continue to uncover some interesting thingsabout these fascinating women through history. Thanks
Emily, miss thank you so muchfor inviting us today. This has been
Navigating the French. You can findmore from me Emily Monico at Emily Underscore
in Underscore France, on Twitter andInstagram. This podcast is produced by Paris

(30:56):
Underground Radio. To listen to otherepisodes of this podcast, should discover more
podcasts like it, please visit ParisUnderground Radio dot com. Thanks for listening
and abiento. This episode of Navigatingthe French was produced by Jennifer Garrity for
Paris Underground Radio. For more greatcontent, join us on Patreon at Patreon
dot com slash Paris Underground Radio