The Attention ! - Messer Raus (2012)
▻https://www.youtube.com/watch?v=sUCBMZm2gbI
Mais oui, c’est de l’allemand.
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Oui, mais c’est une reprise de Ray Charles - Mess Around
▻https://www.youtube.com/watch?v=iNe5npkid-s -
Messer raus! Mess around : ah oui, carrément !
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Ils ne reconnaissent pas le « vol » :
The Attention ! – Have A Drink / Messer Raus
▻https://www.discogs.com/The-Attention-Have-A-Drink-Messer-Raus/release/4420064A) Have A Drink
Written-By – Mario ’King D’ DavidB) Messer Raus
Written-By – Mario ’King D’ David, Martin ’Mazo’ Tomez, A. Nugetre -
Pardon, je corrige, ils reconnaissent bien l’emprunt puisque dans les auteurs il y a « A. Nugetre » qui est en fait l’un des pseudonymes de Ahmet Ertegün, l’auteur de la chanson de Ray Charles...
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#merci @sinehebdo pour la découverte !
J’aime le #boogie_woogie mais dans le genre baston de samedi soir je préfère nos chanson populaires :Licht aus, Messer raus !
▻https://seenthis.net/messages/688371
et surtoutBolle reiste jüngst zu Pfingsten
▻https://seenthis.net/messages/115320 (avec paroles)
▻https://seenthis.net/messages/424127Heureusement qu’on ne censure pas les oeuvres historiques car dans le genre « incitation au meurtre » ce sont de belles réussites ;-)
Pourtant la première place parmi mes meurtriers préférés occupe Lead Belly dont le pseudonyme est vraiment effrayant. Quand il chante Irene, where did you sleep last night on s’estime heureux de ne pas être l’Irène de la chanson.
Lead Belly Sings « Goodnight Irene »
►https://www.youtube.com/watch?v=xn50JSI0W-E▻https://crimescribe.com/2014/08/23/hiddue-leadbelly-ledbetter-bluesman-convict-and-murderer
In 1915, he was on the run after a Texas bar brawl (which had been a pretty ugly affair) when he had another difference of opinion during which his opponent lost through the simple means of being killed. As a black man in 1910’s Texas facing a murder rap he was lucky not to hang, but unlucky enough to draw 99 years in the Texas prison system. His unscheduled career break lasted until 1924 when, having spent his spare time (he had plenty) playing and singing for guards, the prison warden and State Governor Pat Neff, Neff was so impressed that right before his departure from office he granted a pardon and ‘Lead Belly’ was a free man once more.
Not for long, however. It seems that our bellytastic bluesman just couldn’t keep his hands off the bottle (or anybody who annoyed him after he’d emptied one). Career break number two came as a guest of his native Louisiana and a spell at the dreaded Louisiana State Penitentiary, known simply as ‘Angola.’ Like anybody just passing through he opted to collect a lasting souvenir of his stay, albeit in the form of a scar running almost entirely around his neck. This delightful gift came courtesy of a fellow inmate who presumably didn’t like him all that much and chose to express his feelings by trying to remove our hero’s head with a straight razor. The mighty ‘Belly’ somehow survived this somewhat aggressive self-expression. His luckless opponent almost died because, even after being sliced like a side of ham, ‘Lead Belly’ still proceeded to club him almost to death before being dragged off to solitary.
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Avoiding trouble with other inmates probably became easier after his little altercation as other inmates quite wisely avoided him like the plague (winning a fight by surviving near-decapitation and then beating your opponent almost to death tends to have that effect on people).▻https://biography.yourdictionary.com/leadbelly
After a fight in which he claimed that six men tried to steal whiskey from his lunch pail, Leadbelly was convicted of assault with intent to commit murder. Court records, however, show that he was convicted of assaulting a white Salvation Army officer with a knife at a Salvation Army concert after the officer told Leadbelly to stop dancing to the music.
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Israël cherche à expulser l’auteure Susan Abulhawa
Nicolas Gary - 02.11.2018
▻https://www.actualitte.com/article/monde-edition/israel-cherche-a-expulser-l-auteure-susan-abulhawa/91690Susan Abulhawa a 48 ans : elle devrait intervenir au festival de littérature palestinienne qui se tient du 3 au 7 novembre, invitée par le British Council, sponsor de la manifestation. Mais outre son activité d’auteure, elle est également partisane de la campagne BDS, Boycott, Désinvestissement et Sanctions.
(...)Les autorités israéliennes avaient surtout en mémoire qu’elle avait été expulsée d’Israël et qu’elle aurait, pour y revenir, dû demander l’octroi d’un visa. Un point légal que l’écrivaine ignorait totalement, assure son amie. C’est pourtant en mars 2017 que le Parlement a adopté une législation très controversée interdisant littéralement aux membres de BDS de séjourner sur le sol israélien.
Elle devait comparaître devant le juge ce 2 novembre – avec une certaine clémence, toutefois, ayant appris que le festival dépendait en grande partie de sa présence.
Expulsion actée, en attente de l’appelPour autant, le juge a décidé de son expulsion, sans autre forme de procès. Susans Abulhawa a fait appel de la décision, mais personne ne sait quand ce dernier sera entendu. Un avocat du British Council ainsi que l’ambassade des États-Unis se sont rapprochés des organisateurs de la manifestation, mais n’ont pas pu prendre attache avec elle.
Le problème vient également de ce que l’auteure est un best-seller parmi les plus importantes chez les écrivains arabes. Son livre Mornings in Jenin est devenu un succès mondial, traduit en 28 langues.
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#Susan_Abulhawa #Palestine #BDS #Douane #Frontière #Aéroport #expulsions_frontières (d’israel)
Si ce sujet vous intéresse, une liste d’expulsions aux frontières israéliennes ici :
►https://seenthis.net/messages/364741 -
Susan Abulhawa’s statement to Kalimat Palestinian Literature Festival after the Israeli authorities have denied her entry into her country and she was therefore unable to attend the festival.
▻https://www.facebook.com/susan.abulhawa/posts/10156481100262254I would like to express my deep gratitude to the Kalimat Palestinian Literature Festival, Mahmoud Muna in particular, and to the Kenyon Institute of the British Council for inviting me and undertaking the expense for me to participate in this year’s literature festival in Palestine.
As you all know by now, Israeli authorities have denied me entry into my country and I am therefore unable to attend the festival. It pains me greatly not to be with my friends and fellow writers to explore and celebrate our literary traditions with readers and with each other in our homeland. It pains me that we can meet anywhere in the world except in Palestine, the place to which we belong, from whence our stories emerge and where all our turns eventually lead. We cannot meet on soil that has been fertilized for millennia by the bodies of our ancestors and watered by the tears and blood of Palestine’s sons and daughters who daily fight for her.
Since my deportation, I read that Israeli authorities indicated that I was required to “coordinate” my travel with them in advance. This is a lie. In fact, I was told upon arrival at the airport that I had been required to apply for a visa to my US passport, and that this application would not be accepted until 2020, at least five years after the first time they denied me entry. They said it was my responsibility to know this even though I was never given any indication of being banned. Then they said my first deportation in 2015 was because I refused to give them the reason for my visit. This, too, is a lie. Here are the facts:
In 2015, I traveled to Palestine to build playgrounds in several villages and to hold opening ceremonies at playgrounds we had already built in the months previous. Another member of our organization was traveling with me. She happened to be Jewish and they allowed her in. Several Israeli interrogators asked me the same questions in different ways over the course of approximately 7.5 hours. I answered them all, as Palestinians must if we are to stand a chance of going home, even as visitors. But I was not sufficiently deferential, nor was I capable of that in the moment. But I was certainly composed and – the requirement for all violated people – “civil.” Finally, I was accused of not cooperating because I did not know how many cousins I have and what are all their names and the names of their spouses. It was only after being told that I was denied entry that I raised my voice and refused to leave quietly. I did yell, and I stand by everything I yelled. According to Haaretz, Israel said I “behaved angrily, crudely and vulgarly” in 2015 at the Allenby Bridge.
What I said in 2015 to my interrogators, and which was also reported in Haaretz at the time, is that they should be the ones to leave, not me; that I am a daughter of this land and nothing will change that; that my own direct history is steeped in the land and there’s no way they can extricate it; that as much as they invoke Zionist mythological fairy tales, they can never claim such personal familial lineage, much as they wish they could.
I suppose that must sound vulgar to Zionist ears. To be confronted with authenticity of Palestinian indigeneity despite exile, and face their apocryphal, ever-shifting colonial narratives.
My lack of deference in 2015 and choice not to quietly accept the arbitrary decision of an illegitimate gatekeeper to my country apparently got appended to my name and, upon my arrival this time on November 1st, signaled for my immediate deportation.
The true vulgarity is that several million Europeans and other foreigners live in Palestine now while the indigenous population lives either in exile or under the cruel boots of Israeli occupation; the true vulgarity is in the rows of snipers surrounding Gaza, taking careful aim and shooting human beings with no real way to defend themselves, who dare to protest their collective imprisonment and imposed misery; the true vulgarity is in seeing our youth bleed on the ground, waste in Israeli jails, starve for an education, travel, learning, or some opportunity to fully be in the world; The true vulgarity is the way they have taken and continue to take everything from us, how they have carved out our hearts, stolen our everything, occupied our history, and tamp our voices and our art.
In total, Israel detained me for approximately 36 hours. We were not allowed any electronics, pens or pencils in the jail cells, but I found a way to take both – because we Palestinians are resourceful, smart, and we find our way to freedom and dignity by any means we can. I have photos and video from inside that terrible detention center, which I took with a second phone hidden on my body, and I left for them a few messages on the walls by the dirty bed I had to lay on. I suppose they will find it vulgar to read: “Free Palestine,” “Israel is an Apartheid State,” or “susan abulhawa was here and smuggled this pencil into her prison cell”.
But the most memorable part of this ordeal were the books. I had two books in my carry-on when I arrived at the jail and I was allowed to keep them. I alternated reading from each, sleeping, thinking.
The first book was a highly researched text by historian Nur Masalha, “Palestine: A Four Thousand Year History.” I was scheduled to interview Nur on stage about his epic audit of Palestinian millennia-old history, told not from the politically motivated narratives, but from archeological and other forensic narratives. It is a people’s history, spanning the untidy and multilayered identities of Palestine’s indigenous populations from the Bronze Age until today. In an Israeli detention cell, with five other women – all of them Eastern European, and each of them in her own private pain, the chapters of Nur Masalha’s book took me through Palestine’s pluralistic, multicultural and multi-religious past, distorted and essentialized by modern inventions of an ancient past.
The bitter irony of our condition was not lost on me. I, a daughter of the land, of a family rooted at least 900 years in the land, and who spent much of her childhood in Jerusalem, was being deported from her homeland by the sons and daughters of recent arrivals, who came to Palestine a mere decades ago with European-born ethos of racial Darwinism, invoking biblical fairy tales and divinely ordained entitlement..
It occurred to me, too, that all Palestinians – regardless of our conditions, ideologies, or the places of our imprisonment or exile – are forever bound together in a common history that begins with us and travels to the ancient past to one place on earth, like the many leaves and branches of a tree that lead to one trunk. And we are also bound together by the collective pain of watching people from all over the world colonize not only the physical space of our existence, but the spiritual, familial, and cultural arenas of our existence. I think we also find power in this unending, unhealed wound. We write our stories from it. Sing our songs and dabke there, too. We make art from these aches. We pick up rifles and pens, cameras and paint brushes in this space, throw stones, fly kites and flash victory and power fists there.
The other book I read was Colson Whitehead’s acclaimed, spellbinding novel, “The Underground Railroad.” It is the story of Cora, a girl born into slavery to Mabel, the first escaped slave from the Randal Plantation. In this fictional account, Cora escapes the plantation with her friend Ceasar their determined slave catcher, Ridgeway on their trail in the Underground Railroad – a real-life metaphor made into an actual railroad in the novel. The generational trauma of inconceivable bondage is all the more devastating in this novel because it is told matter-of-factly from the vantage of the enslaved. Another people’s collective unhealed wound laid bare, an excruciatingly powerful common past, a place of their power too, a source of their stories and their songs.
I am back in my house now, with my daughter and our beloved dogs and cats, but my heart doesn’t ever leave Palestine. So, I am there, and we will continue to meet each other in the landscapes of our literature, art, cuisine and all the riches of our shared culture.
After writing this statement, I learned that the press conference is being held at Dar el Tifl. I lived the best years of my childhood there, despite my separation from family and the sometimes difficult conditions we faced living under Israeli occupation. Dar el Tifl is the legacy of one of the most admirable women I have ever known – Sitt Hind el Husseini. She saved me in more ways than I suppose she knew, or that I understood at the time. She saved a lot of us girls. She gave gathered us from all the broken bits of Palestine. She gave us food and shelter, educated and believed in us, and in turn made us believe we were worthy. There is no more appropriate place than Dar el Tift to read this statement.
I want to leave you with one more thought I had in that jail cell, and it is this: Israel is spiritually, emotionally, and culturally small despite the large guns they point at us – or perhaps precisely because of them. It is to their own detriment that they cannot accept our presence in our homeland, because our humanity remains intact and our art is beautiful and life-affirming, and we aren’t going anywhere but home.
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Déclaration de Susan Abulhawa à l’intention du festival de littérature palestinienne Kalimat
5 novembre | Susan Abulhawa |Traduction SF pour l’AURDIP
►https://www.aurdip.org/declaration-de-susan-abulhawa-a-l.html▻https://usacbi.org/2018/11/susan-abulhawas-statement-to-the-kalimat-palestinian-literature-festival
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Revoliutsiia! Demonstratsiia! Soviet Art Put to the Test | The Art Institute of Chicago
▻http://www.artic.edu/exhibition/revolutsiia-demonstratsiia-soviet-art-put-testThrough January 15, 2018
The October Revolution of 1917 changed the course of world history; it also turned Russia into a showcase filled with models. Every object and sphere of activity had to demonstrate how society could be remade according to revolutionary principles. It would take intensive experimentation and discussion to determine the shape of this unprecedented society. To be realized in any concrete way, communism had to be modeled and put on display.
Soviet Art Put to the Test accordingly fills Regenstein Hall with ten model displays from the early Soviet era. Each of these sections, detailed below, holds rare works of art and features expert, life-size reconstructions of early Soviet display objects or spaces, commissioned especially for this exhibition.
• Battleground: Posters from the Civil War years (1918–21) surround a “Lenin Wall” with three dozen works devoted to the first Soviet leader.
• School: Rare works from Soviet art schools convey breakthroughs in abstraction. Many loans come from the storied Costakis art collection in Thessaloniki, Greece.
• Theater: Model sets, props, and drawings bring to life classic Constructivist stagings that merged viewers and performers in a mass spectacle.
• Press: A 14-foot multimedia kiosk built from a design by artist Gustav Klutsis and a suite of his original drawings anchor an extensive display of rare magazines and unique poster maquettes.
• Factory: A 30-foot-long Workers’ Club designed by Aleksandr Rodchenko can be entered to see period books and magazines.
• Exhibition: A reconstructed 1926 exhibition room by El Lissitzky features paintings by artists included in the original exhibition, among them Piet Mondrian, Francis Picabia, and Lissitzky himself.
• Festival: A period model for Stalin’s Palace of the Soviets joins photographs of mass sports events and commemorative gatherings.
• Cinema: A rotating program of Soviet cartoons and documentaries is shown in a space that evokes an agitprop train.
• Storefront: Large picture windows showcase textiles, Constructivist advertisements, and Suprematist porcelain.
• Home: Personal images of leading Soviet artists, porcelain figurines, and a painting by Socialist Realist Aleksandr Deineka populate a model interior also outfitted with furniture conceived for small or collective apartments.
These ten displays—containing nearly 550 works—come together in the largest exhibition of Soviet art to take place in the United States in 25 years. Visitors have the opportunity to explore the trajectory of early Soviet art in all its forms and consider what it tells us about socially minded art now.-
@reka, un peu moins d’une semaine pour aller à Chicago…
:-Davec évidemment…
mais aussi
Natal’ia Dan’ko. Policewoman, 1920s.
Collection of Vladimir Tsarenkov. -
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C’est drôle il me semble avoir vu passer une recension de cet expo quelque part... Mais où ?
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you’re right (as always…)
here, ▻https://seenthis.net/messages/641440, by … you… -
Merveilleux ! Je suis content qu’on partage cette passion ! Si on était riche et pas trop occupés on prendrait le premier avion pour Chicago, mais on rembourserait ce qu’il faut pour le CO2 :)
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A poetic vision of Paris’s crumbling suburban high-rises - The Washington Post
▻https://www.washingtonpost.com/news/in-sight/wp/2015/10/01/a-poetic-vision-of-paris-crumbling-suburban-high-risesThe colossal grands ensembles, or high-rise public housing projects, in Paris and its surrounding banlieues, or suburbs, were built after World War II to accommodate an increasing population of rural migrants and immigrants. Today, the deteriorating buildings are largely considered failed experiments — catalysts for the alienation of their populations and a slew of accompanying social issues. Some are being renovated and reimagined but more still are slated for demolition.
▻https://img.washingtonpost.com/wp-apps/imrs.php?src=https://img.washingtonpost.com/news/in-sight/wp-content/uploads/sites/35/2015/09/Laurent-Kronental-Washington-Post-6.jpg&w=1484 -
Mais où va la science !?! #science #marchandise
Get a Rosetta T-Shirt - Rosetta Mission Shop
▻http://www.rosettashop.euWelcome to the Rosetta Shop!
The Rosetta mission has travelled across the asteroid belt, into deep space, to Comet 67/P Churyumov-Gerasimenko and now, will make its way into wardrobes across the globe.
The Rosetta Shop features clothes inspired by Europe’s comet chaser, available in a wide range of sizes.
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Mais où va-t-on??
Russia: Politician’s extraordinary tirade at pregnant journalistThe deputy speaker of Russia’s parliament, Vladimir Zhirinovsky has been urged to resign after verbally insulting a pregnant reporter at a press conference.
The leader of the nationalist Liberal Democratic party lost control when the reporter asked him if Russia plans any reciprocal action against Ukraine.
He responded with an outburst of threats and at one point ordered his subordinate staff to rape the journalist.
One editor at Russia Today television says #Zhirinovsky should face criminal charges for incitement.
“Many people have already become used to his extraordinary behaviour but when he allowed himself to openly call for violence within the walls of State Duma all journalists of our agency and colleagues from other media organisations were outraged,” said Dmitry Gornostayev.
Zhirinovsky’s widely known for his anti-Western rhetoric. The ethics committee of Russia’s parliament has indicated that it will press for his suspension.
▻http://www.euronews.com/2014/04/19/russia-parliament-s-deputy-speaker-zhirinovsky-s-extraordinary-tirade-at-
