Voyages dans le temps et l’espace (28)
Essayer de faire partager des émotions ressenties lors des (ré)écoutes. Des voyages dans le temps et l’espace. Déambulations…
Une invitation à écouter et à partager…
▻https://entreleslignesentrelesmots.wordpress.com/2024/02/14/voyages-dans-le-temps-et-lespace-28
#Suceso_Portales_Casamar (1904-1999)
▻https://www.partage-noir.fr/suceso-portales-casamar-1904-1999
/ #Suceso Portales Casamar #Espagne, Révolution espagnole (1936-1939), Mujeres Libres , #CIRA_Marseille
#Révolution_espagnole_1936-1939 #Mujeres_Libres
Why I Like Roosevelt
▻https://www.antiwarsongs.org/canzone.php?id=67700&lang=it
Testo da :
The Mudcat Cafè 2013 WHY I LIKE ROOSEVELT (Willie Eason) From: Jim Dixon - As recorded...
▻https://www.youtube.com/watch?v=oc5ndw0VBAY&t=24s
Why’d you like Roosevelt* (1)? Wasn’t no kin.
Why’d you like Roosevelt? Wasn’t no kin.
Why’d you like Roosevelt? Wasn’t no kin.
Lord God almighty! Was a poor man’s friend.
Year of nineteen forty-five,
A good president laid down and died.
I knew how all of the poor people felt.
They received the message: “We lost Roosevelt.”
In his life there were all indications
That [at] Warm Springs, Georgia, he received salvation.
Listen, friend, but don’t you rush:
Elizabeth Shoumatoff (2), she grabbed a brush,
Dipped it in water, and began to paint,
Looked at the president and began to think.
She never painted a picture for him at night.
She knew that the president didn’t look right.
The time of day it was twelve o’clock.
Tell me that Elizabeth had to stop.
Good God almighty! She started too late.
That’s why they call this that unfinished portrait.
A little bit later, about one thirty,
He had a cerebral hemorrhage and the world looked muddy.
They called Atlanta, Washington, too.
Like zigzag lightning the call went through.
They called long distant to notify his wife.
Doctor Bruin (3) said he died at three thirty-five.
Great God almighty! Wasn’t no bells to tone.
Less than thirty minutes the world was in mourn,
And I cried about Roosevelt.
I cried about Roosevelt.
I cried about Roosevelt
Well, Roosevelt’s administration Congress assembled.
First time in history part of the Negro general
General Benjamin O. Davis (4) I’m trying to relate,
First Negro general of the United States.
And after Dorie Miller (5) had shown his skill,
They kept a-sending him to sea until he got killed.
Roosevelt said, “I’ll back the attack,”
’Pointed a Negro captain over white and black.
This qualified man was Humo Zack (?)*.
Racial prejudice he tried to rule out,
Invited Negro leaders into the White House.
He advocated the fair practice of labor
To let the poor man know he was our emancipator.
Made Madame Bethune (6) a lady of the land.
He made part of his will to Mister Prettyman.
He endorsed inventions of Doctor Washington Carver.
This is why that I said he was our earthly father,
’Cause he took my feet out of the miry clay.
Haven’t had to look back at the WPA (7).
That is why I like Roosevelt,
Why I like Roosevelt,
Why I like Roosevelt.
Well, Hoover(8)’s administration Congress assembled.
All of the poor folk began to tremble.
The rich would ride in the automobile.
Depression made poor people rob and steal.
Well, look next door to...[unintelligible]...
… getting anything for their hard labor.
Great God almighty! They were moonshine stillin’,
Brought about a crime wave, robbin’ and killin’.
After Hoover had made the poor man moan,
Roosevelt stepped in, gave us a comfortable home.
It was sad about Roosevelt,
Sad about Roosevelt,
Mmm, sad about Roosevelt.
Well, I’ve told you the hist’ry of Roosevelt’s life.
Now he’s done with his grief and strife.
Great God almighty! But he left a sweet wife,
Had been so worried since she was a girl,
After Roosevelt’s death what would become of the world?
She notified her son across the sea:
"Don’t get worried about poor me,
But keep on fighting for victory.
Your father is dead, boy; you’re all a-grown.
Would worry ’bout your father but the world’s in mourn.
It was sad about Roosevelt,
Sad about Roosevelt,
Mmm, sad about Roosevelt.
Well, God almighty knew just what was best.
He knew that the president he needed a rest.
His battle done fought, victory done won,
Our problems have just begun.
Your burden get heavy and you don’t know what to do,
Call on Jesus; he’s a president too.
It’s sad about Roosevelt,
Mmm, sad about Roosevelt,
Mmm, sad about Roosevelt.
Lord God almighty! Was a poor man’s friend.
Unspoken
▻https://www.antiwarsongs.org/canzone.php?id=67698&lang=it
Unspoken features on Greg Harper’s album ’In It Together’ released in 2019.
Veterans from many wars,...
Unspoken
▻https://www.youtube.com/watch?v=6RUFHE3FQ60
I’ve never really spoken ‘bout it at all
I kept it to myself through it all
But then there wasn’t really all that much to say
And I wouldn’t want to hurt you anyway
No more the flying flags, the marching bands
No white feather proffered from a fairer hand
And after all there wasn’t that much to say
And I wouldn’t want to hurt you anyway
No more the pear drop drifts of choking cloud
No more the goodnight kiss in a dead man’s ground
It’s all forgotten now
Generations come, generations go
I kept it all inside didn’t let it show
And after all there wasn’t that much to say
And I wouldn’t want to hurt you anyway
I wouldn’t want to hurt you anyway
For King & for Country
▻https://www.antiwarsongs.org/canzone.php?id=67697&lang=it
For King & For Country features on Greg Harper’s album ’Bricks & Dust’ released in 2015.
For King & for Country
▻https://www.youtube.com/watch?v=bb4TJ0OnU0A&t=78s
Seemed a good idea when I signed on the line
We’d be home by Christmas have a really good time
Well wouldn’t you give it a try?
‘Stead of workin’ underground you’d be safe and dry
For king and for country up went the shout
Now we cower in trenches riddled with doubt
Try to exist in the muck and the mire
While our pals lay silent, there on the wire
So I’m diggin’ for my country
Diggin’ to survive
Diggin’ for the king three cheers
I’m diggin’ for my life
Now we’re forty feet down quite as mice
Frozen by fear blood feels like ice
Shells raining down high overhead
Every tremor and scream rewakens the dead
So I’m diggin’ for my country
Diggin’ to survive
Diggin’ for the king three cheers
I’m diggin’ for my life
Seemed a good idea when I signed on the line
We’d be home by Christmas have a really good time
#guerre #chanson #musique #musique_et_politique #Greg_Harper
Hier pour aujourd’hui, les années 2000 (11)
La musique et les disques survivent heureusement aux « contraintes » des surfaces spécialisées ou non, plus ou moins disquaires, mais plus attentives aux coûts financiers, à la vitesse de rotation et au niveau de leurs stocks qu’aux rythmes de diffusion de la musique. Sans oublier la mise en avant des productions des majors au détriment des multiples éditeurs qui nous permettent d’écouter des musiques et non de la programmation « profitable ».
Quelques disques enregistrés dans les années 2000, au hasard de ré-écoutes récentes.
▻https://entreleslignesentrelesmots.wordpress.com/2024/02/11/hier-pour-aujourdhui-les-annees-2000-11
Greece is planning a €40m automated surveillance system at borders with North Macedonia and Albania
The European Commission wants Greece to build an automated wall to prevent some people from leaving the country. Locals are not enthusiastic, but their opinion counts for little.
Many people holding Syrian, Afghan, Somalian, Bangladeshi or Pakistani passports seeking asylum in the European Union move out of Greece when they have the feeling that their administrative situation will not improve there. The route to other EU countries through the Balkans starts in northern Greece, onward to either North Macedonia or Albania. Greek police, it is said, are quite relaxed about people leaving the country.
“We have many people who pass our area who want to go to Europe,” says Konstantinos Sionidis, the mayor of Paionia, a working-class municipality of 30,000 at Greece’s northern border. “It’s not a pleasant situation for us,” he adds.
But leaving via Paionia is getting more difficult. In May 2023, Frontex guards started patrolling at North Macedonia’s border. Near the highway, one young woman from Sierra Leone said she and her friend tried to leave four times in the past month. Once, they got as far as the Serbian border. The other times, they were arrested immediately in North Macedonia at night, coming out of the forest, by Frontex officers asking “Do you want to go to Germany?” (No.) “They don’t want us here [in Greece],” she says. “Let us go!”
However, the European Commission has plans to make it harder for people to travel through North Macedonia (and other parts of the Western Balkan route). According to a national programming document for the 2021 - 2027 EU “border management” funding for Greek authorities, €47m are budgeted to build an “automated border surveillance system” at Greece’s borders with North Macedonia and Albania. The new system shall explicitly be modeled on the one already deployed at the land border with Türkiye, along the Evros river.
The virtual border wall
Evros is described as a surveillance “testing ground.” (▻https://www.dw.com/en/is-greece-failing-to-deploy-eu-funded-surveillance-system-at-turkish-border-as-intended/a-63055306) In the early 2000s, police used thermal cameras and binoculars to spot people attempting to cross the border. As Greece and other Member-States increased their efforts to keep people out of the EU, more funding came in for drones, heartbeat detectors, more border guards – and for an “automated border surveillance system.”
In 2021, the Greek government unveiled dozens of surveillance towers, equipped with cameras, radars and heat sensors. Officials claimed these would be able to alert regional police stations when detecting people approaching the border. At the time, media outlets raved about this 24-hour “electronic shield” (▻https://www.kathimerini.gr/society/561551092/ilektroniki-aspida-ston-evro-se-leitoyrgia-kameres-kai-rantar) that would “seal” (▻https://www.staratalogia.gr/2021/10/blog-post_79.html#google_vignette) Evros with cameras that can see “up to 15 km” into Türkiye (▻https://meaculpa.gr/stithikan-oi-pylones-ston-evro-oi-kamer).
Greece is not the first country to buy into the vision of automated, omnipotent border surveillance. The German Democratic Republic installed automated rifles near the border with West-Germany, for instance. But the origin of the current trend towards automated borders lies in the United States. In the 1970s, sensors originally built for deployment in Vietnam were installed at the Mexican border. Since then, “the relationship between surveillance and law enforcement has been one between salespeople and officers who are not experts,” says Dave Maas, an investigator at the Electronic Frontier Foundation. “Somebody buys surveillance towers, leaves office and three administrations later, people are like: ‘Hey, this did not deliver as promised’, and then the new person is like: ‘Well I wasn’t the one who paid for it, so here is my next idea’.”
At the US-Mexico border, the towers are “like a scarecrow,” says Geoff Boyce, who used to direct the Earlham College Border Studies Program in Arizona. His research showed that, in cases where migrants could see the towers, they took longer, more dangerous routes to avoid detection. “People are dying outside the visual range of the towers.”
No data is available that would hint that the Greek system is different. While the Greek government shares little information about the system in Evros, former minister for citizen protection Takis Theodorikakos mentioned it earlier this year in a parliamentary session. He claimed that the border surveillance system in Evros had been used to produce the official statistics for people deterred at the Evros border in 2022 (▻https://www.astynomia.gr/2023/01/03/03-01-2022-koino-deltio-typou-ypourgeiou-prostasias-tou-politi-kai-ellinik). But thermal cameras, for example, cannot show an exact number of people, or even differentiate people from animals.
In Evros, the automated border surveillance system was also intended to be used for search-and-rescue missions. Last year, a group of asylum-seekers were stranded on an islet on the Evros river for nearly a month. Deutsche Welle reported that a nearby pylon with heat sensors and cameras should have been able to immediately locate the group. Since then, authorities have continued to be accused of delaying rescue missions.
“At the border, it is sometimes possible to see people stranded with your own eyes,” says Lena Karamanidou, who has been researching border violence in Evros for decades. “And [they] are saying the cameras that can see up to 15 kilometers into Türkiye can’t see them.”
Keeping people in
In contrast to the system in Evros, the aim of the newly planned automated border surveillance systems appears to be to stop people from leaving Greece. Current policing practices there are very different from those at Evros.
At Greece’s border with North Macedonia, “we’ve heard reports that the police were actively encouraging people to leave the country,” says Manon Louis of the watchdog organization Border Violence Monitoring Network. “In testimonies collected by BVMN, people have reported that the Greek police dropped them off at the Macedonian border.”
“It’s an open secret,” says Alexander Gkatsis from Open Cultural Center, a nonprofit in the center of Paionia, “everybody in this area knows.”
Thirty years ago, lots of people came from Albania to Paionia, when there were more jobs in clothing factories and agriculture, many of which are now done by machines. These days, the region is struggling with unemployment and low wages. In 2015, it drew international media attention for hosting the infamous Idomeni camp. Sionidis, the Paionia mayor, says he didn’t know anything about plans for an automated border system until we asked him.
“The migration policy is decided by the minister of migration in Athens,” says Sionidis. He was also not consulted on Frontex coming to Paionia a few years ago. But he readily admits that his municipality is but one small pawn in a Europe-wide negotiation. “[Brussels and Athens] have to make one decision for the whole European border,” says Sionidis, “If we don’t have the electronic wall here, then we won’t have it at Evros.”
▻https://algorithmwatch.org/en/greece-is-planning-a-e40m-automated-surveillance-system-at-borders-w
#Albanie #Macédoine_du_Nord #frontières #migrations #réfugiés #barrières #fermeture_des_frontières #Grèce #frontières_terrestres #surveillance #contrôles_frontaliers #technologie #complexe_militaro-industriel #Paionia #militarisation_des_frontières #Frontex #border_management #automated_border_surveillance_system #Evros #efficacité #inefficacité #caméra_thermiques #sortie #murs_anti-sortie (comme aux temps de la #guerre_froide)
Women, Life and Liberty
▻https://www.antiwarsongs.org/canzone.php?id=67696&lang=it
Choose! women life and liberty Or man-made catastrophe (For Narges Mohammadi)
Narges Mohammadi was...
Choose! women life and liberty
Or man-made catastrophe
(For #Narges_Mohammadi)
Old male Imams make life a hell
When Iranian women they try to tell
Exactly how they ought to dress
But this is one unholy mess
The Taliban treat women as slaves
Their attitudes belong in caves
They’re driven by a Freudian fear
Of Afghan women that is clear
In Africa power comes with a gun
Military elites have all the fun
Women they get picks and hoes
While sick children starve in droves
Across the Pacific rising seas
Bring small nations to their knees
It isn’t they their homes pollute
But what can flooded women do?
In the land of the free, the USA
Massacres happen every day
One thing you can always figure
There’ll be testosterone on the trigger
What woman there is truly free
Without control of her own body?
Unwanted zygotes must be borne
Say Christian fanatics so forlorn
England’s nurses are poorly paid
Schools there crack and crumble away
Police cultures are at fault
Failing victims of assault
Australia spends on subs much more
Than to house the aged and poor
Domestic violence thrives unchecked
Beer and footie have more respect
Through all the crises the wealthy live
Industrial waste is all they give
In fact their profits only thrive
But many women can’t survive
The world’s rich men two ends foresee
The earth slowly dies in heat
Amid the whimper of climate pangs
Or in the roar of nuclear bangs
#Shereen_Abu_Akleh and #Mahsa_Amini
These young women died needlessly
Greta and Marina deserve our support
The truth to tell of pollution and war
The future belongs to women so brave
Men our chance did only waste
For future life and liberty Shun all man-made catastrophe
▻https://soundcloud.com/the-sheep-teacher/women-life-and-liberty
Let It Rain
▻https://www.antiwarsongs.org/canzone.php?id=67695&lang=it
[2023]
النص والموسيقى / Lyrics and music / מילים ולחן / Testo e musica / Paroles et musique / Sanat...
Let It Rain
Born under siege, a place where you can’t leave
Smoke’s in the air, so it makes it hard to breathe
I need my family, protect them from the disease
I went to chase my dreams, hoping that they rescue me
Made it out the maze, God’s been blessing me
First time in LA [1], got Gaza next to me
It’s in my heart, it’s in my veins
I’ve been smiling at the pain
The bombs lit up the night sky and turn them into day
It’s hard to come up with the right rhymes, I don’t know what to say
I start to cry when I write mine, it happens every day
A lot of death in my lifetime, all I do is pray
This is my story from the sideline, this life is not a game
I want to call my momma, I hope she charged her phone
Hope my brother’s not alone
Hope that one day they’ll be grown
This is genocide, but this time it is televised
Don’t believe all that you see, cause they’re be telling lies
I count my blessings, not the problems
From the bottom, where the robbers acting violent
Killing toddlers, bombing us with helicopters
They seeing me on a TV and they calling me the monster?
That only makes me stronger This is me against the world
So I’m doing it for the world
This is me against the world
So I’m doing it for the world
I was in the studio, chopping up samples
Electricity’s off, we sleep with the candles
Sleeping in our sandals and leave the doors open
Cause the bombs fall there’s no time to grab the handles
Writing names on our hands just to identify
With somebody’s faces off, it makes them hard to recognize
Been through so many wars, I forgot to mention
I can calculate the distance of the airplane engine
You think you’re from the trenches? Nah, these the trenches
Kids close their eyes and block their ears, they block their senses
This war is senseless, they treat us like animals
I’ll never understand why they built the fences I just wanna see my dream of peace to come true
Refugee in my land, nowhere to run to
I keep the hope when there was no sunshine
They cut the water off, so God let it rain sometime
Chorus
This is me against the world
So I’m doing it for the world
This is me against the world
So I’m doing it for the world
#rap #Gaza #musique #chanson #musique_et_politique #génocide #Palestine #Israël #siège #bombardement #pluie #eau #mur
Capel-Le-Ferne
▻https://www.antiwarsongs.org/canzone.php?id=67693&lang=it
"At the beginning of July 2010 I visited the Battle Of Britain memorial site, on the cliffs, at Capel-le-Ferne,...
Capel-Le-Ferne
#Capel-Le-Ferne #guerre #seconde_guerre_mondiale #chanson #musique #musique_et_politique #WWII #Greg_Harper
–---
I remember that summer, a long time ago
The waiting and the weather, wondering if they’d show
Flying high over white cliffs, over fields and sand
Looking down and protecting this green pleasant land
Now they ask, ’was it exciting, well you must’ve been so proud
A swooping and a soaring way up in the clouds
Mister how many did you get, how many did you kill?’
But me I think of lost friends, I’m thinking of them still
But if you ask me I’ll tell you
It felt just like dancing
Dancing on air
A dance for survival
A dance of despair
Life on the edge
Living life to the full
For death or glory
Oh glory, so cruel
So I stand on the white cliffs, at Capel-le-Ferne
There’s a band and a fly past, how the years have flown
As I stand in the crowd there, I feel so alone
Well the Few they get fewer, and soon we’ll be gone
But if you ask me I’ll tell you
It felt just like dancing
Dancing on air
A dance for survival
A dance of despair
Life on the edge
Living life to the full
For death or glory
Oh glory, so cruel
Oh glory, so cruel
–—
Capel-le-Ferne
Capel-le-Ferne est un village situé près de Folkestone, dans le Kent. Il a une population d’environ 2 400 habitants. Perché au sommet des Falaises blanches de Douvres, son attraction la plus importante est le Mémorial de la bataille d’Angleterre, érigé à l’initiative de Geoffrey Page, un pilote honoré de la RAF, qui est ouvert le 9 juillet 19931. Le mémorial est construit sur une partie d’une ancienne batterie côtière de la Seconde Guerre mondiale2.
https://upload.wikimedia.org/wikipedia/commons/thumb/1/18/Capel-le-Ferne_-_Battle_of_britain_memorial_01.JPG/640px-Capel-le-Ferne_-_Battle_of_britain_memorial_01.JPG 
https://upload.wikimedia.org/wikipedia/commons/thumb/a/a6/Capel-le-Ferne_-_Battle_of_britain_memorial_02.JPG/640px-Capel-le-Ferne_-_Battle_of_britain_memorial_02.JPG #mémoire #mémoriel #UK #Angleterre
Mort de Damo Suzuki, chanteur mythique et mystique de Can
▻https://www.liberation.fr/culture/musique/mort-de-damo-suzuki-chanteur-mythique-et-mystique-de-can-20240210_OJ3DUN6
L’étrange destin de ce Japonais ambitionnant adolescent de « faire des bandes dessinées » s’est tramé une après-midi de mai 1970 sur un trottoir de Munich. Lâché par son chanteur américain Malcolm Mooney, par ailleurs sculpteur, qui file une sévère dépression, les membres du groupe #Can se traînent de bistrot en bistrot en maudissant leur sort avec pour horizon quatre concerts à assurer dans une boîte de la ville, le Blow Up. Czukay ramasse alors littéralement sur le trottoir un jeune musicien des rues qui avait entrepris de les coller depuis des heures et l’invite à chanter avec eux.
Can est alors déjà un groupe important, monté par deux élèves (Czukay et Irmin Schmidt, claviériste) du compositeur allemand Karlheinz Stockhausen et qui a déjà laissé un classique derrière lui, Monster Movie, le tout premier jalon avec Phallus Dei d’Amon Düül d’une musique rock authentiquement allemande, où la violence et les libertés que s’accordent les musiciens apparaissent comme décuplés. Czukay racontait ainsi la soirée qui suivit : « Au début, Damo chanta de façon dramatique, mais assez paisible. Il était extrêmement concentré. Et puis d’un seul coup, il bondit comme un samouraï, agrippa le micro et se mit à hurler en direction du public. Cela énerva tellement les gens qu’ils commencèrent à se taper dessus, il y eut une bagarre générale et presque tout le monde s’est enfui. A la fin, il ne restait que quelques fans inconditionnels et enthousiastes, trente Allemands, trente Américains, pour qui on joua la suite. Ce fut magnifique, l’un de nos meilleurs concerts. » La musique du groupe venait de changer du tout au tout.
Damo Suzuki est un voyageur, un peu artiste dans l’âme, un peu autre chose. Il a quitté le Japon pour l’Europe très tôt et dort sous les ponts, une expérience qu’il conseillera dans la quasi-totalité des interviews sur lesquelles on a mis la main et dont il gardera un souvenir émerveillé. Difficile de savoir s’il portait cette vision en lui ou si la rencontre avec le groupe allemand l’a cristallisée : Suzuki va alors se vivre comme une sorte de média, traduisant pour ceux qui peuplent ce bas monde des visions mystiques qui irriguent son cerveau depuis des univers parallèles. La musique du groupe agit alors sur lui comme une drogue, une amphétamine psychique qui lui permet d’aller chercher ce qu’il doit ramener.
Le musicien et critique anglais Julian Cope verra dans sa voix et sa présence « une mélancolie », « une insistante sensualité » qui manquait aux autres. Communément considéré comme le chef-d’œuvre du groupe et véritable Sacre du Printemps de la musique psychédélique d’où qu’elle vienne, Tago Mago marque aussi le début de la fin pour l’association entre Suzuki et Can. La puissance abrasive et volontairement terne (il faut jouer monotone car la vie des gens est monotone) du groupe et les douces lumières allumées puis éteintes par leur chanteur ne pouvaient pas non plus s’accorder éternellement. « Il y a des moments où je me perds et me tourne vers l’autre monde, expliquait Suzuki en 2001. Parfois, je suis un chaman. J’ai l’impression que les voix que j’utilise ne sont pas les miennes. Connaissez-vous le théologien et scientifique suédois [du XVIIIe siècle] Emanuel Swedenborg ? Il a voyagé dans le monde après sa mort, s’est rendu au paradis mais aussi en enfer et a rédigé des rapports. Il y a été plusieurs fois. Moi, je suis très concentré comme un chaman, au moment de son contact avec la mort et après. »
Volant assurément trop haut pour Can, Suzuki partit en 1973 après Future Days sur lequel il joue « à l’eau et aux sacs de sable ». Le groupe ne s’en remit pas et lui non plus. Suzuki n’a jamais quitté l’Allemagne, travaillant comme employé d’hôtel, exportateur de voitures anciennes ou même terrassier. Un premier cancer le rattrapera en 1983, ce qui coïncide avec son retour en musique au sein d’un groupe taillé sur mesure, Damo Suzuki’s Network. Si le plaisir de jouer s’entend toujours, l’intensité et les aspérités qui ont gouverné sa première carrière l’ont complètement déserté, ce qui permet rétrospectivement de mesurer le dévouement et l’esprit de corps dont les musiciens de Can avaient su faire preuve pour « porter » Suzuki vers sa vérité à lui.
Paper home, 1971
▻https://www.youtube.com/watch?v=LPjF4ZHuIko
▻https://www.youtube.com/watch?v=TsszpM-jAII
s
▻https://www.youtube.com/watch?v=wQxMB4Wk_y8
▻https://www.youtube.com/watch?v=hbslKldRCIw
où sont les hobos célestes ?
Energy: A Documentary About Damo Suzuki
▻https://vimeo.com/ondemand/energythefilm/779923808
CAN : trois de ses musiciens sont déjà dans la boîte...
▻https://www.telerama.fr/musique/damo-suzuki-la-mythique-voix-mystique-de-can-s-est-tu-7019247.php
▻https://www.telerama.fr/musique/mort-de-holger-czukay,-bassiste-du-groupe-can,n5191261.php
▻https://www.telerama.fr/musique/jaki-liebezeit-batteur-krautrock-supreme-est-mort,153033.php
Mais pas Malcolm Mooney, trop lunaire pour se faire pécho par la camarde :
▻https://en.wikipedia.org/wiki/Malcolm_Mooney
▻https://malcolmmooney.bandcamp.com/community
►https://www.malcolmmooney.com
Le « krautrock » n’a pas eu sa peau.
Premier album de Can « featuring » le sieur Mooney :
▻https://www.youtube.com/watch?v=ZeiycXs5NMs
(Doo Wah Are You Doo Right)
Can - Free concert (Sporthalle Cologne 1972)
Can live | Rockpalast | 1970
▻https://www.youtube.com/watch?v=7zhdNviS0Vs
Merci @colporteur de nous rappeler que « l’essence » du rock, c’est sa capacité à foutre un joyeux bordel. :-))
#zbeul
À l’occasion de cette collecte, j’écoute Can plus que jamais et découvre ces concerts. Celui de 1970 est incroyable. Quels musiciens !
Hommage au groupe Can, un autre psychédélisme venu d’Allemagne
▻https://www.radiofrance.fr/franceinter/podcasts/very-good-trip/hommage-au-groupe-can-un-autre-psychedelisme-venu-d-allemagne-2478780
edit par-delà le désagrément causé par quelques longueurs, je les situe mieux. Ancêtres immédiats de Talking Heads, Television, ...
De Paper home à après Damo Suzuki
▻https://www.youtube.com/watch?v=9LveD2BFV-4
Glanées dans les lost tapes (sorties en 2012), « Millionenspiel » et « Dead Pigeon Suite ».
▻https://youtube.com/watch?v=njvywQ_tCAI
Extra Kraut: A Guide to Can
▻https://daily.bandcamp.com/lists/can-album-guide
When the German band Can (or CAN) formed in 1968, first under the name Inner Space, keyboardist Irmin Schmidt and bassist Holger Czukay—both students of the exalted avant-garde composer Karlheinz Stockhausen—were drawn to the energy and roiling possibilities of rock music which, in the late ‘60s, was full of experimentation and edging into new musical territory. They were joined by Jaki Liebezeit, the leading free jazz drummer in Germany who was looking for something new, and young guitarist Michael Karoli, a music student of Czukay’s. All were exceptional instrumentalists. They added American sculptor and poet Malcolm Mooney as vocalist, and it was Mooney who suggested the name change: Can was born.
Can’s entire discography is on Bandcamp, here is a guide to the band’s different eras and most important recordings.
▻https://akuphone.bandcamp.com/album/arkaoda
As a traveler-without-age, Damo Suzuki has been touring all over space-time. Presenting the light of “instant composing” to new generations, he refers to his makeshift collaborators as sound-carriers. Exactly fifty years after the release of the profoundly iconic Ege Bamyası, we can hear his voice on yet another fantastic album, as in “derived from fantasy.” Manifested from the meeting with Spiritczualic Enhancement Center — an eight-piece group of self-proclaimed disciples from the CAN University have gathered at Arkaoda (Turkish for “backroom”).
Stage « Tournez dans un film de cinéma muet » 2024
Pour les enfants, adolescents et adultes confondus, « Le Bateau Ivre » (organisme de formation depuis 1998) propose deux sessions du Stage de Mime « Tournez dans un film de cinéma muet » à Paris (75009) pendant 4 jours de 14 à 17h en avril 2024. ▻https://www.silencecommunity.com/events/event/view/48629/stage-%C2%AB%C2%A0tournez-dans-un-film-de-cinema-muet%C2%A0%C2%BB-
#Paris #ÎleDeFrance #stage #formation #tournage #enfants #adolescents #adultes #cinéma #mime #pantomime #mimique #ArtisteMime #muet #CinémaMuet #film #CourtMétrage #laussat #pillavoine #avril #lbi2324
Restitution au Ghana d’objets royaux en or volés : quel est le deal ?
▻https://www.justiceinfo.net/fr/128288-or-asante-pille-ghana-revient-pays-quel-deal.html
L’or d’Asante, pillé au Ghana, revient au pays – quel est le deal ?
9 février 2024 Par Rachel Ama Asaa Engmann (pour The Conversation France)
150 ans après, 39 pièces faisant partie des costumes royaux du peuple Asante doivent être restituées à son souverain, l’Asantehene, qui siège à Kumasi, au Ghana, entre février et avril 2024. Rachel Ama Asaa Engmann, archéologue et spécialiste du patrimoine ghanéen, s’entretient avec Ivor Agyeman-Duah, conseiller technique de l’Asantehene pour ce projet majeur de restitution culturelle, au sujet du retour de ces objets et de ses implications.
Au XVIIIe siècle, l’empire Asante était le plus grand et le plus puissant de la région et contrôlait une zone riche en or. De nombreux objets royaux en or ont été pillés par les troupes britanniques lors de la troisième guerre anglo-asante de 1874. La première collection de 7 objets est attendue du Fowler Museum de l’Université de Californie à Los Angeles. La deuxième collection de 32 objets proviendra du British Museum et du Victoria & Albert Museum au Royaume-Uni. Ces objets sont prêtés au peuple Asante pour une durée de six ans.
RACHEL AMA ASAA ENGMANN : Que représentent ces objets et comment ont-ils été pillés ?
IVOR AGYEMAN-DUAH : Il s’agit d’objets royaux qui ont été pillés en 1874 dans le palais de Kumasi après la mise à sac de la ville par les troupes militaires coloniales britanniques. Une autre expédition punitive a eu lieu en 1896, qui a donné lieu à d’autres pillages. Parmi ces objets figuraient des épées et des coupes d’apparat, dont certaines étaient très importantes pour exprimer la mesure de la royauté dans le palais. Par exemple, l’épée Mponponsuo, créée il y a 300 ans, remonte au légendaire Okomfo (chef spirituel) lié à la fondation de l’empire, Okomfo Anokye. C’est avec cette épée que l’Asantehene prêtait le serment d’allégeance à son peuple. Les chefs utilisaient la même épée pour lui prêter serment.
Certains objets ont été vendus aux enchères sur le marché libre de Londres ; des collectionneurs d’art les ont achetés et ont finalement fait don de certains d’entre eux à des musées (d’autres ont été conservés dans des collections privées). Le British Museum et le Victoria & Albert Museum en ont également acheté.
Cependant, tous les objets que vous voyez au British Museum n’ont pas été pillés. Par exemple, il y a eu des échanges culturels entre l’Asantehene Osei Bonsu et Thomas Edward Bowdich, un émissaire de l’African Company of Merchants qui s’est rendu à Kumasi en 1817 pour négocier des échanges commerciaux. Certains cadeaux ont été offerts à Bowdich, qui les a ensuite déposés au British Museum. Ces objets sont au nombre de 14.
Comment l’accord a-t-il été conclu ?
La question est à l’étude depuis un demi-siècle. Ce n’est pas seulement une préoccupation de l’actuel Asantehene. Les trois derniers occupants du trône s’en sont préoccupés. Mais cette année est cruciale car elle marque les 150 ans de la guerre de Sagrenti. Elle marque également les 100 ans du retour de l’Asantehene Agyeman Prempeh après son exil aux Seychelles et les 25 ans de l’ascension de l’Asantehene actuel, Oseu Tutu II, sur le trône.
Ainsi, lors de son séjour à Londres en mai 2023, après avoir eu des entretiens officiels avec les directeurs de ces musées, il a rouvert les discussions et les négociations. Il m’a demandé, ainsi qu’à Malcolm McLeod, ancien conservateur et chercheur au British Museum et vice-principal de l’université de Glasgow, de l’aider à prendre les décisions techniques qui s’imposaient. Nous avons travaillé ensemble sur ce dossier pendant les neuf derniers mois.
Pourquoi s’agit-il d’un prêt de six ans ?
Le droit moral à la propriété existe. Mais il y a aussi les lois sur l’antiquité au Royaume-Uni. Le Victoria & Albert et le British Museum sont des musées nationaux. Ils sont régis par des lois très strictes qui n’autorisent pas le retrait permanent d’une œuvre d’art ou d’un autre objet de la collection d’un musée pour le vendre ou s’en débarrasser d’une autre manière.
Cela a toujours été un facteur contraignant au cours des 50 dernières années. Mais il y avait aussi un moyen de conserver ces objets pour une durée maximale de six ans. Tous les objets ne sont pas exposés au British Museum. Beaucoup n’ont jamais été exposés et sont stockés dans un entrepôt. Compte tenu des circonstances et de la trilogie d’anniversaires, nous sommes parvenus à cet accord. Les discussions se poursuivront toutefois entre nous et ces musées pour trouver un accord durable.
Bien entendu, l’expérience du Ghana sera importante pour les demandes de restitution émanant d’autres pays d’Afrique.
Qu’est-ce que cela signifie pour le peuple Asante et pour le Ghana ?
Le fait qu’au cours des deux derniers mois, nous ayons pu parvenir à une forme d’accord témoigne de l’intérêt que suscitent les accords multiculturels.
Tout cet ensemble d’objets datant de 150 ans (ou plus) intéressera de nombreuses personnes. Ces pièces nous aident à faire le lien entre le passé et le présent. Elles sont significatives de la façon dont notre peuple était, en termes de créativité et de technologie, de la façon dont il était capable d’utiliser l’or et d’autres propriétés artistiques. Ils sont aussi une source d’inspiration pour ceux qui travaillent aujourd’hui dans le domaine de la production d’or.
Le musée du palais de Manhiya rouvrira ses portes en avril. L’exposition de ces objets va augmenter la fréquentation du musée. Il accueille déjà environ 80 000 visiteurs par an et nous estimons que ce chiffre pourrait passer à 200 000 par an avec le retour de ces objets. Cela générera des revenus et nous permettra d’agrandir et de développer nos propres musées.
#restitutions #pillages #musées #Ghana #Grande-Bretagne #colonisation
Periferia
▻https://www.antiwarsongs.org/canzone.php?id=67688&lang=it
[1972] Testo e musica / Lyrics and music / Paroles et musique / Sanat ja sävel : Gianni Siviero
Album:...
▻https://www.youtube.com/watch?v=GnmyyZqrU8w&t=5s
Quando discende la notte
sui tetti sperduti di periferia
tra qualche prato tenace
due fossi e una strada di periferia
Ti puoi permettere di passeggiare
di respirare quel filo d’aria
che vien dal povero prato sfinito
dalla sua lotta contro l’asfalto
ed ascoltare se ancor ci riesci
i vecchi grilli dimenticati
e puoi scordarti che a cento passi
ci son le luci e corrono i tram.
Quando discende la notte
sui tetti sperduti qui in periferia
ti puoi illudere ancora
di avere una strada ed un prato per te.
Quando discende la notte
sui tetti sperduti di periferia
tra qualche prato tenace
due fossi e una strada di periferia
Ti puoi permettere di passeggiare
di respirare quel filo d’aria
che vien dal povero prato sfinito
dalla sua lotta contro l’asfalto
ed ascoltare se ancor ci riesci
i vecchi grilli dimenticati
e puoi scordarti che a cento passi
ci son le luci e corrono i tram.
Quando discende la notte
sui tetti sperduti qui in periferia
ti puoi illudere ancora
di avere una strada ed un prato per te.
Time for Heroes
▻https://www.antiwarsongs.org/canzone.php?id=67687&lang=it
Album: Up the Bracket (2002) Scritta da Carl Barât & Pete Doherty. Album prodotto da Mick Jones...
Il 1 Maggio del 2000 (ed anche l’anno successivo) la capitale inglese venne invasa da una partecipatissima protesta popolare anticapitalista che sfociò in una giornata di rivolte e di feroce repressione poliziesca.
Protagonisti delle proteste sono i #WOMBLES (#White_Overalls_Movement_Building_Libertarian_Effective_Struggles) gruppo anarchico e anticapitalista che si distingueva per il loro abbigliamento bianco, simile alle Tute Bianche italiane.
Nonostante gli scontri violenti, alcuni manifestanti (i “ragazzi eleganti” della rivolta) mantennero sempre un aspetto impeccabile.
Pete Doherty ha raccontato di essere passato in quell’occasione accanto a una guardia in assetto antisommossa con tanto di scudo di plastica. Pete usò lo scudo come specchio per sistemarsi la pettinatura, gesto che non fu molto apprezzato dall’agente, il quale pensò che lo stesse prendendo per i fondelli e gli assestò una manganellata.
La canzone, un vero e proprio classico del garage rock, con aperture melodiche nella miglior tradizione del pop inglese, è anche un’efficace denuncia del classismo della società britannica (moriremo nella stessa classe sociale in cui siamo nati) e della subordinazione della cultura inglese all’imperialismo statunitense (simboleggiato dall’uomo inglese con un cappello da baseball, tipico sport USA).
–—
Did you see the stylish kids in the riot?
Shoveled up like muck
Set the night on fire
Wombles bleed
Truncheons and shields
You know I cherish you, my love
But there’s a rumour spreadin’ nasty disease around town
You’re caught around the houses with your trousers down
A headrush hid in the bush
You know I cherish you, my love
Oh, how I cherish you, my love
Tell me, what can you want, now you’ve got it all?
The scene is obscene
Time will strip it away
A year and a day
Oh, Bill Bones
Bill Bones knows what I mean
He knows it’s eating, it’s chewing me up
It’s not right for young lungs to be coughing up blood
Then it’s all
It’s all in my hands
And it’s all up the walls
So the stale chips are up and the hope stakes are down
It’s all these ignorant faces that bring this town down
And I sighed and sunken with pride
Well, I passed myself down on my knees
Yes, I passed myself down on my knees
Now tell me what can you want now you’ve got it all?
The scene is obscene
Time will strip it away
A year and a day
And Bill Bones
Bill Bones knows what I mean
It was a few or more distressing sights than that
Of an Englishman in a baseball cap
And we’ll die in the class we were born
Well, that’s a class of our own, my love
A class of our own, my love
Did you see the stylish kids in the riot?
Shoveled up like muck
Set the night on fire
Wombles bleed
Truncheons and shields
You know I cherish you, my love
Yeah, I cherish you, my love
#musique #chanson #musique_et_politique #violences_policières #histoire #Angleterre #UK #1er_mai #musique_et_politique #manifestation #résistance
#Manfred_Mann « Ha ! Ha ! Said the » (live officiel) | Archive INA / vers 1969
#Joe_Biden #politique #US #monde #amérique #dégénéré #société #diplomatie #débile #art #musique #seenthis #vangauguin
▻https://www.youtube.com/watch?v=n7nVRGtUJEs&ab_channel=InaChansons
L’uomo nel lampo
▻https://www.antiwarsongs.org/canzone.php?id=67686&lang=it
(2024)
con Stefano Massini
Racconta Stefano Massini:
“L’uomo nel lampo” è un dialogo in...
▻https://www.youtube.com/watch?v=GFoTT0cpzx4
Racconta Stefano Massini:
“L’uomo nel lampo” è un dialogo in musica. C’è un padre morto giovanissimo in un incidente sul lavoro, uno di quelli che funestano le nostre cronache, senza far notizia al punto tale che neppure destano più scandalo perché il lavoro è diventato un far west e i diritti sono un lusso. L’assuefazione alle cosiddette morti bianche è ormai un dato di fatto, e con questo brano di teatro-canzone tentiamo di sollevare il velo della narcosi. La canzone è un piccolo ritratto di vita, drammatica perchè cristallizza un dialogo impossibile: da quella fotografia appesa in salotto, il padre non smette mai di parlare al figlio, che nel frattempo cresce nella leggenda di quel papà “morto dentro un lampo”. È un nuovo capitolo della collaborazione che da anni mi lega a Paolo Jannacci, e che dal 2020 ci ha visti nei teatri di tutta Italia con le repliche di “Storie” del Piccolo Teatro di Milano. Questa collaborazione mi rende ancora più fiero dal momento che si inscrive nella scia di un impegno civile, quello sulle morti cosiddette “bianche”, che tante volte ho denunciato anche per ragioni familiari.
Aggiunge Paolo Jannacci:
“Riuscire a tutelare e tutelarsi nel mondo del lavoro ci sottrae dalla meschinità che spesso ci domina. “L’uomo nel lampo” è un piccolo contributo in chiave poetica, per non dimenticare chi è morto sul lavoro e per mantenersi sempre in guardia, perché ne va della nostra vita. L’Italia è una Repubblica democratica fondata sul lavoro, ma spesso ce ne dimentichiamo. Altro non posso dire perché sono solo un saltimbanco… Ma si sa: i saltimbanchi, da sempre, raccontano amare verità”.
–---
Ehi, ehi Michè,
Sono io Michè, questa voce lontana
Dicono, sai la vita è strana
Ma più che strana è proprio bastarda
Ed io lo so perché mi riguarda
Da quando il mio filo si è rotto
Sono una foto appesa in salotto
E in quella foto oltretutto...
Ma dai Michè son così brutto:
Occhi chiusi, viso scuro...
Che se mi avessero detto giuro
«Questa foto resterà di te»
Accidenti Michè, mi sarei messo in posa
1,2,3, flash, perfetto
Sono io, sì,
sono l’uomo di cui ti hanno detto
Che un lampo mi portò via
E di me non resta, che una fotografia
C’era una volta un uomo che vide come un lampo
sorrise e alzò le mani come per abbracciarlo
L’uomo nel lampo che non è più tornato
Lo videro in quel lampo e lì si è addormentato
Proprio quel lampo che portò via mio padre
e che da quel momento è musica nel vento
Sai Michè,
non è che sono solo in questo posto
C’è più folla che a Rimini ad agosto
Tutti come me finiti fuori pista
Tutti fuori dalla lista
Tutti con il marchio addosso di questo paradosso
Che il lavoro porta sotto terra
e l’operaio muore come in guerra
Ma io Michè, io che ridevo anche dei guai
io, che la battuta non mi mancava mai,
Quando mi dicono: «la fabbrica è una miniera»
Rispondo «No, piuttosto è una galera»
Perché loro si fanno l’ora d’aria
e pure noi, nel senso che saltiamo in aria
E nelle fiamme di sei metri e via..
Passi da uomo a fotografia.
C’era una volta un uomo che vide come un lampo
sorrise e alzò le mani come per fermarlo
L’uomo nel lampo che non è più tornato
Lo videro in quel lampo
Questo lampo non ha odore ne colore
Il lampo uccide ma senza far rumore
Poi ti guardi ad uno specchio
E lì vorresti perdonare
E vabbè, basta dai...
Da questa foto mi guardo intorno
E non ho smesso un solo giorno
in silenzio fotografato e muto di dirti:
«Ciao Michè, sono il padre che non hai conosciuto»
#accidents_de_travail #travail #mourir_au_travail #musique #chanson #musique_et_politique #Stefano_Massini #Paolo_Jannacci #morts_blanches
Nei campi
▻https://www.antiwarsongs.org/canzone.php?id=67684&lang=it
Il 26 aprile del 2019, Francesco Pais ha pubblicato il libro "Frammenti di Storia di Francesco...
▻https://www.youtube.com/watch?v=5g4arkqC8gM
Destinazione lager!
Partono vagoni notte e giorno
il biglietto è solo andata e non c’è ritorno
nei tuoi bellissimi occhi neri
non c’è domani non c’è oggi e non ieri
Dentro il carro merci il tempo si è fermato
è passato tanto tempo e tu non sai quanto hai viaggiato
lacrime e sudore fame sete tosse e scarpe rotte
il tempo non esiste e non distingui più il giorno dalla notte
Alla stazione dove arrivi la neve danza tutto intorno
alla stazione dove arrivi è sempre notte e non è mai giorno
alla stazione dove arrivi la neve gira gira gira come impazzita
e allora pensi che vita è già finita
Destinazione lager!
le ciminiere affondano nel cielo
Destinazione lager!
e nei tuoi occhi grandi passa un velo
solo paura nel tuo viso e nel tuo cuore
non c’è più tempo per parlar d’amore
Destinazione lager!
le ciminiere si infilzano nel cielo
Destinazione lager!
e nei tuoi occhi belli cala un velo
solo sgomento nel tuo cuore e nel tuo viso
non hai più voglia di carezze non hai più voglia di un sorriso
#Francesco_Pais #histoire #musique #guerre #chanson #musique_et_politique #WWII #camps_d'extermination #shoah #seconde_guerre_mondiale #deuxième_guerre_mondiale #nazisme #lager
Guernica 26 aprile 1937
▻https://www.antiwarsongs.org/canzone.php?id=67685&lang=it
Testo e musica: Francesco Pais
Picasso inizia a lavorare a Guernica, foto di Dora Maar
Corre l’anno...
Lingue di fuoco
e un grido disperato
oggi la vita vale poco
in questo giorno di mercato
una luce fioca
illumina un cavallo spaventato
che ha un urlo nella bocca
e una lancia nel costato
una donna nuda si trascina via
lungo la tela bianca grigia e scura
fugge via dalla follia
scappa via dalla paura
un soldato giace a terra
e ha una spada in una mano
simbolo di forza simbolo di guerra
e il suo sguardo è già lontano
e l’altra mano è spalancata
e mentre muore
la spada si è spezzata
e dalla spada nasce un fiore
e la donna nuda si trascina via
lungo la tela bianca grigia e scura
scappa via dalla pazzia
fugge via dalla paura
una fiamma inaridita
illumina la scena
di un bambino senza vita
di una madre nel dolore e nella pena
e il Toro è lì vicino
e osserva indifferente
è la guerra di Caino
e il sangue va come un torrente
la l a la la la la la la la la la la
la la la la la la la la la la la la
la l a la la la la la la la la la la
la la la la la la la la la la la la
▻https://www.youtube.com/watch?v=f2n2-pWoags&t=67s
#Francesco_Pais #Guernica #26_avril_1937 #histoire #musique #guerre #guerre_civile_espagnole #chanson #musique_et_politique #Espagne
Ballake Sissoko And Vincent Segal: NPR Music Tiny Desk Concert
▻https://www.youtube.com/watch?v=QtiTfejYpgs
#musique #kora #violoncelle #Ballake_Sissoko #Vincent_Segal #NPR #Tiny_desk #live
Desktop YouTube Music App ‘Musictube’ Gets ‘Major Overhaul’
▻https://www.omgubuntu.co.uk/2024/02/musictube-2-released-youtube-music-streaming
A new version of #musictube, a Qt-based desktop app that lets you stream music from YouTube, is available for download for Windows, macOS and Linux. Musictube 2 is described as a “major overhaul” offering an improved search algorithm that now supports genres in addition to artists, albums and song titles. The user interface has been refreshed, sporting a “more modern, flatter and generally cleaner” look — a look matching the revamped UI Flavio’s local music player app Minitunes received a few months back. Other changes in Musictube 2 include lighter resource usage by only streaming audio when videos are hidden; […] You’re reading Desktop YouTube Music App ‘Musictube’ Gets ‘Major Overhaul’, a blog post from OMG! Ubuntu. Do not reproduce elsewhere without (...)
Mourir mille fois
▻https://www.antiwarsongs.org/canzone.php?id=67682&lang=it
Ho appena visto il film «Green Border», opera della regista polacca Agnieszka Holland, boicottata in...
▻https://www.youtube.com/watch?v=WZmAgXu5efE
Je plie quand tu plies, je pleure quand tu pleures
Je prie quand tu pries alors, ton deuil, c’est mon deuil
Je vibre quand tu vis, un cœur pour un cœur
Puisque je brille quand tu brilles, alors je meurs quand tu meurs
Dis-moi pourquoi je m’essouffle et je m’entête
Pourquoi je tousse, pourquoi c’est moi qui m’étouffe quand c’est toi qu’on enterre
Pourquoi la vie ne dit pas ce qu’elle coûte ?
Pourquoi on a beau tuer le temps, mais c’est le temps qui nous enterre tous ?
Pendant qu’la terre tourne sans dérision
La mort s’en fout de vos doutes entre la science et la religion
Je crois au paradis sans preuve, trop de larmes
Et les sceptiques me taquinent et veulent mon Instagram de l’au-delà
J’ai des rêves en dollars, c’est percutant
Mais je ne cherche pas à gagner des thunes, moi, je cherche à gagner du temps
Mon tourment n’est pas un effet d’mode
J’avais la vingtaine, j’écrivais des chansons du genre « Youssoupha est mort »
Énorme, personne ne sait ce que mon cœur regrette
Personne ne connait mes rancœurs secrètes
Je crée mes propres modes, j’ai pas d’modèle
Et, pour me sentir immortel, je vais aux enterrements des croque-morts
Entre la scène et la mosquée, je traîne beaucoup d’remords
Je mène une double vie, est-ce que j’aurai une double mort ?
Et les gens ne croient que ce qu’ils voient
Moi, j’ai perdu tellement de proches, j’ai l’impression de mourir mille fois
Mourir mille fois
Mourir mille fois
Mourir mille fois
Laisse-moi croire qu’un « Au revoir » ne nous sépare jamais
Mourir mille fois
Mourir mille fois
Mourir mille fois
Et on repart sans que le temps nous répare
Alors je parle de nos proches, du temps qui les emporte
Du temps qui laisse des marques, et puis des masques que l’ont porte
Nos bravoures et nos larmes, nos amours et nos drames
Le poids de nos parcours, le poids de nos vingt-et-un grammes
Nos trous noirs et nos flashs, nos coups bas et nos crashs
Et tout ce qu’on dit tout bas, et tous les combats que l’on cache
Car, peu importe de vivre tout, de vivre droit
De vivre fou, de vivre froid, puisqu’on va mourir mille fois
Et, même en mille phrases, j’te jure, les mots me manquent
Et, même en mille phrases, toujours la mort qui me hante
Chacun son propre vide, quand on enterre un être cher
On enterre aussi une partie de sa propre vie
Un deuil est un deuil, j’essaie pas de faire la dif’
Quand on est jeune, on ne meurt pas, on perd la vie
Loin des vices à la mode, je marche seul
Même si je sais que, marcher seul, c’est un peu s’entraîner à la mort
Alors j’ai vraiment l’air anéanti, quand on m’a dit
Que les derniers seront les premiers, disons qu’j’ai ralenti
Repenti mais jamais trop faible
Je vous laisse croire en vos psys, laissez-moi croire en mon prophète
J’ai trop d’frères qui m’relèvent à chaque fois que j’me penche
Mais trop d’frères qui me crèvent et qui me plantent
Je repense à 2Pac et Biggie, le rap game te souhaite la mort
Et, à ta mort, il fait des t-shirts à ton effigie
J’me réfugie jamais dans la rancœur
Papa, j’te porte dans ma tête, et Malik te porte dans son cœur
Mes souvenirs sont vides à ton enterrement
Je ne pleurais pas mon père, moi, je pleurais le grand-père de mon fils
Les sacrifices nous rendent avisés
On ne sait pas vraiment de quoi on est fait tant que l’on n’est pas brisé
Mais on se relève toujours, tu l’vois
Même si perdre tant de proches donne l’impression de mourir mille fois
Mourir mille fois
Mourir mille fois
Mourir mille fois
Laisse-moi croire qu’un « Au revoir » ne nous sépare jamais
Mourir mille fois
Mourir mille fois
Mourir mille fois
Et on repart sans que le temps nous répare
Mourir mille fois
Mourir mille fois
Mourir mille fois
Mourir mille fois
Mourir mille fois
Mourir mille fois
Just Waitin’
▻https://www.antiwarsongs.org/canzone.php?id=67681&lang=it
Album: Bricks And Dust (2015)
Just Waitin’ is a short, but potent, anti-war song. Only 8 lines...
Just Waitin’
The battlefield is hungry
For another sacrifice
A mother’s heart is burning
With a fear as cold as ice
A soldier’s heart is pounding
His mind on overdrive
There’s an open grave just waitin’
For a life to fall inside
▻https://www.youtube.com/watch?v=uIOc8m1gsmI
Je t’attends à Charonne
▻https://www.antiwarsongs.org/canzone.php?id=67680&lang=it
(1967)
La répression au métro Charonne de la manifestation du 8 février 1962 est un cas de violence...
Je t’attends à Charonne
La répression au métro #Charonne de la manifestation du est un cas de violence policière qui a lieu autour et dans la station de #métro Charonne à Paris, à l’encontre de personnes manifestant contre l’#Organisation_armée_secrète (#OAS) et la #guerre_d'Algérie, faisant finalement neuf morts.
Étant donné le contexte des plus tendus et l’#état_d'urgence décrété en avril 1961 après le putsch d’Alger, la #manifestation, organisée par le Parti communiste français et d’autres organisations de gauche, avait en effet été interdite, et le préfet de police de Paris, Maurice Papon, avait donné l’ordre de la réprimer, avec l’accord du ministre de l’Intérieur, Roger Frey, et du président de la République, Charles de Gaulle.
Parmi les manifestants qui essaient de se réfugier dans la bouche de la station de métro, huit personnes trouvent la mort, étouffées ou à cause de fractures du crâne, ainsi qu’une neuvième à l’hôpital, des suites de ses blessures.
–—
L’automne va mourir
Et l’on entend déjà
Le printemps refleurir
Aux branches des lilas
C’est une éternité
Quand on est amoureux
Tu verras mille étés
Éclabousser ses yeux
C’est aujourd’hui l’hiver
Et c’est encore printemps
La nature est au vert
Lorsque l’on a vingt ans
Marie, ô Marie, je t’aime
Tu es mon premier baptême
Marie, que l’amour me pardonne
On m’appelle à Charonne
On l’appelle à Charonne
Et moi je reste là
Ni Dieu ni la Madone
N’ont plus d’amour que moi
Ça me brûle le cœur
D’une douleur si tendre
Que c’est encore bonheur
Pour moi que de t’attendre
Je t’attends, je t’attends
Comme l’oiseau qui mourut
D’attendre le printemps
Où il l’avait connue
Marie, ô Marie, je t’aime
Tu es mon premier baptême
Marie, que l’amour me pardonne
J’ai si peur à Charonne
Il a peur à Charonne
Mon Dieu, prends-lui la main
Pour venir de Charonne
Il est long le chemin
Quelle est cette rumeur
Venue du fond des temps ?
J’ai si froid, j’ai si peur
Daniel, oh ! Reviens-t’en
Y a notre vie à nous
Qui dort dedans mon ventre
Les fleurs s’ mettent à genoux
Les fleurs te disent « Rentre »
Marie, ô Marie, je t’aime
Tu es mon dernier baptême
Marie, que l’amour me pardonne
Je t’attends à Charonne
▻https://www.youtube.com/watch?time_continue=5&v=GQP7I-uzSkM&embeds_referring_euri=https%3A%2F%2Fwww
Bilan du “massacre de Charonne” ce 8 février 1962 à Paris : 9 morts et plus de 250 blessés. En pleine guerre d’Algérie, après 8 ans de violences, des milliers de manifestants, la plupart militants de gauche, avaient bravé l’état d’urgence pour réclamer la paix. Ils manifestent suite à une série d’attentats de l’Organisation armée secrète (OAS), opposée à l’indépendance de l’Algérie. La veille, une de ces explosions avait défiguré une fillette de 4 ans. A 19h30, alors que l’ordre de dispersion a été donné près du métro Charonne, la police, noyautée par l’extrême droite et sous l’autorité du préfet Maurice Papon, s’en prend aux manifestants. Des années plus tard, des manifestants présents se souviennent de ce traumatisme, qui ne sera jamais jugé. ▻https://www.radiofrance.fr/franceculture/le-massacre-de-charonne-en-1962-ils-s-en-souviennent-8444866
Across the Nile
▻https://www.antiwarsongs.org/canzone.php?id=67678&lang=it
Life In A Beautiful Light (2012)
The song “Across the Nile” by Amy Macdonald seems to embrace themes...
Across The Nile
The song “Across the Nile” by Amy Macdonald seems to embrace themes of resilience, hope, and the power of collective strength. The lyrics reflect a significant historical event, possibly referencing the Egyptian revolution in 2011, also known as the “Arab Spring.”
In the verses, the lyrics touch upon the somber circumstances that had previously afflicted the listeners. It suggests that whatever may have caused distress or despair is now behind them, symbolized by the line, “everything that depressed you now is gone.” The reference to “eighteen days while the world looked on” likely alludes to the duration of the revolution, during which people demonstrated strength and perseverance.
The chorus portrays a sense of renewal and positivity. The Nile is a significant historic symbol in Egypt, representing life, abundance, and resilience. The mention of stars shining brighter and peace and love being more evident across the Nile signifies the positive changes the revolution has brought. It implies that the struggle has paved the way for a better future and a stronger sense of unity.
The second verse suggests that after the revolution, there is hope for a “free and fair life.” The narrative encourages perseverance and optimism, emphasizing the importance of maintaining faith in a better tomorrow. The line, “across the world, you’ve shown them all,” acknowledges the global impact of the events in Egypt, inspiring others to believe in the power of hope and strength.
The outro reinforces the idea that hope and strength can overcome any obstacles. It refers to the revolutionaries as those who have demonstrated how even the mightiest can fall. The mention of the stars across the Nile emphasizes the ongoing progress and brightness that has emerged from the struggles faced.
Overall, “Across the Nile” reflects on the transformative power of unity, hope, and determination, inspired by real-world events. It encourages the listener to cherish the moments of triumph and remember that positive change is possible even in the face of adversity.
–-
Wave your flag high above your head
You deserve to smile, celebrate in style
’Cause everything that oppressed you now is gone
And eighteen days while the world looked on
You stood your ground, kept holding strong
Eighteen days while the world looked on
Across the Nile there are stars tonight
And they shine much brighter than before
Across The Nile there’s peace and love tonight
And it shows much stronger than before
Much stronger than before
Free and fair life, they said it would be
Cross our fingers, wait and see
And dream of a better day
And across the world you’ve shown them all
That hope and strength can conquer all
Will we stand together again?
Across the Nile there are stars tonight
And they shine much brighter than before
Across The Nile there’s peace and love tonight
And it shows much stronger than before
Much stronger than before.
Hope and strength can conquer all
You’ve shown the world how the mighty fall, and
Across the Nile there are stars
Much brighter than before
▻https://www.youtube.com/watch?v=6R4RAc5GJhE&t=3s
#Amy_Macdonald #musique #chanson #paix #Egypte #printemps_arabes #révolution