Une fois n’est pas coutume.
Nous abordons pratiquement tout le temps des sujets légers, divertissants, liés au cinéma, monde de la culture, de la télévision, internet, technologies et musique.
Justement, c’est parce que la musique est “omniprésente”
Parce que la violence est 100% absente.
Parce que les forces de l’ordre fraternisent avec les révolutionnaires
Parce que les révolutionnaires sont des mères de familles, des jeunes, des lycéens, des universitaires, des ouvriers, des cadres supérieurs, des chômeurs, des personnes dans le besoin ( ou non ). Parce que les révolutionnaires sont des personnes du 3e et 4e âge aussi.
Pour toutes ces raisons ( et bien d’autres non citées, faute de temps et de place ) que RADIOSATELLITE a souhaité vous présenter en vidéo, en photos : Des aspects de cette révolution… Qui comme par hasard ? n’interesse presque aucun média.
C’est à peine, si les médias l’abordent en 2 ou 3 lignes. Un correspondant par ci ou par là mais personne ne prend la peine d’analyser cette révolution unique et sans précédent !!
Révolution des familles avec DJ à la clé dans certaines villes
Des tentes installées ( en guise de sit in ) mais qui dispensent des leçons de droits et de législation aux révoltés pour expliquer “les droits et les devoirs” de chacun
Parce que les libanais .. Ah oui.. Il s’agit du Liban.. Il fallait le préciser.. en ont marre de toute la clique et la caste politique qui se partage le gateau depuis 1990 au 17 Novembre 2017 ( Date de la révolte).
Parce que tous , sans exception ont eu droit à ce gateau. Les responsables ( rares…trop rares ) honnêtes sont aussi “coupables” indirectement : Ils ont couvert et couvrent encore et toujours leurs “gens” dans leurs camps qui se font des millions à tour de bras.
Sans rentrer dans les détails: Nous ne sommes pas juges et le sujet pour nous est ailleurs.
Le but est de démontrer que cette révolution est “jeune” “moderne” et la population demande qu’à terme, la configuration “confessionnelle” des postes du service public, de l’armée et des divers ministères disparaissent en faveur la compétence et la laicité.
Que les 3 postes : présidence de la république / Président de l’assemblée / premier ministre restent aux “principales” communautés. A priori, les gens s’en tapent.
Cependant, ce qui les interesse… ce sont les postes (par dizaines de milliers ) des catégories A et B voire C dont le recrutement se fait “par quota confessionnel” sur la base des 30 communautés religieuses
Voici des photos et vidéos nous montrant le caractère festif ( depuis le 17 Novembre)
Des patissiers de grandes notoriétés ont distribué , au manifestants, des patisseries orientales ( beklawa etc..)
Idem : Des snaks, restaurants ont distribué des sandwichs divers ( falafet , kafta, kabab etc..)
Des soldats de l’ordre ont fraternisé avec le peuple: Ils vivent les mêmes malheurs et soucis des libanais mais ne peuvent qu’obéir aux ordres : C’est leur boulot qui est en jeu.
Vraiment, c’est une révolution musicale, pacifiste et solidaire qui est en train d’être vécue dans cette contrée de la terre mais qui , malheureusement, n’interesse pas les médias occidentaux: Apparemment, s’il n’y a pas de “malheur” ou “misère” (victimes) ca n’interesse pas les médias internationaux . Pas d’intérêt quant à l’audimat ??
Même Jennifer Lopez , lors de son show à Dubaï, a sorti un drapeau libanais pour démontrer sa solidarité avec un peuple jeune qui fait sa révolte en musique.
Quid des autres artistes??
Faut il toujours montrer nos citoyens européens le côté “obscur”, sur les chaines Infos TV ? le côté destructeur de l’homme?? Pourquoi ne pas insuffler cette positivité de plusieurs communautés solidaires qui ne demandent qu’à vivre en paix et en harmonie sans ” ségrégation religieuse” ???
Sources diverses : Youtube / Facebook
Thomas Wright “Fats” Waller (May 21, 1904 – December 15, 1943) was an American jazz pianist, organist, composer, singer, and comedic entertainer, whose innovations to the Harlem stride style laid the groundwork for modern jazz piano, and whose best-known compositions, “Ain’t Misbehavin'” and “Honeysuckle Rose”, were inducted into the Grammy Hall of Fame in 1984 and 1999.
Thomas Wright Waller was the youngest of 11 children (five survived childhood) born to Adeline Locket Waller and Reverend Edward Martin Waller in New York City.
He started playing the piano when he was six and graduated to the organ of his father’s church four years later.
His mother instructed him as a youth. At the age of 14 he was playing the organ at Harlem’s Lincoln Theater and within 12 months he had composed his first rag. Waller’s first piano solos (“Muscle Shoals Blues” and “Birmingham Blues”) were recorded in October 1922 when he was 18 years old.
He was the prize pupil, and later friend and colleague, of stride pianist James P. Johnson.
Overcoming opposition from his clergyman father, Waller became a professional pianist at 15, working in cabarets and theaters. In 1918 he won a talent contest playing Johnson’s “Carolina Shout”, a song he learned from watching a player piano play it.
Waller ultimately became one of the most popular performers of his era, finding critical and commercial success in his homeland and in Europe. He was also a prolific songwriter and many songs he wrote or co-wrote are still popular, such as “Honeysuckle Rose”, “Ain’t Misbehavin'” and “Squeeze Me”.
Fellow pianist and composer Oscar Levant dubbed Waller “the black Horowitz”. Waller is believed to have composed many novelty tunes in the 1920s and 1930s and sold them for relatively small sums, the attributions of which, on becoming widely known, went only to a later composer and lyricist.
Standards alternatively and sometimes controversially attributed to Waller include “I Can’t Give You Anything but Love, Baby”.
Biographer Barry Singer conjectured that this jazz classic was written by Waller and lyricist Andy Razaf, and provides a description of the sale given by Waller to the NY Post in 1929—for $500, to a white songwriter, ultimately for use in a financially successful show (consistent with Jimmy McHugh’s contributions first to Harry Delmar’s Revels, 1927, and then to Blackbirds, 1928).
He further supports the conjecture, noting that early handwritten manuscripts in the Dana Library Institute of Jazz Studies of “Spreadin’ Rhythm Around” (Jimmy McHugh ©1935) are in Waller’s hand.
Jazz historian P.S. Machlin comments that the Singer conjecture has “considerable [historical] justification”.
Waller’s son Maurice wrote in his 1977 biography of his father that Waller had once complained on hearing the song, and came from upstairs to admonish him never to play it in his hearing because he had had to sell it when he needed money.
Maurice Waller’s biography similarly notes his father’s objections to hearing “On the Sunny Side of the Street” playing on the radio.
Waller recorded “I Can’t Give You…” in 1938, playing the tune but making fun of the lyrics; the recording was with Adelaide Hall who had introduced the song to the world at Les Ambassadeurs Club in New York in 1928.
The anonymous sleeve notes on the 1960 RCA Victor album Handful of Keys state that Waller copyrighted over 400 songs, many of which co-written with his closest collaborator Andy Razaf.
Razaf described his partner as “the soul of melody… a man who made the piano sing… both big in body and in mind… known for his generosity… a bubbling bundle of joy”.
Gene Sedric, a clarinetist who played with Waller on some of his 1930s recordings, is quoted in these same sleeve notes recalling Waller’s recording technique with considerable admiration: “Fats was the most relaxed man I ever saw in a studio, and so he made everybody else relaxed.
After a balance had been taken, we’d just need one take to make a side, unless it was a kind of difficult number.”
Waller played with many performers, from Nathaniel Shilkret and Gene Austin, to Erskine Tate, Fletcher Henderson, McKinney’s Cotton Pickers and Adelaide Hall, but his greatest success came with his own five- or six-piece combo, “Fats Waller and his Rhythm”.
His playing once put him at risk of injury. Waller was kidnapped in Chicago leaving a performance in 1926. Four men bundled him into a car and took him to the Hawthorne Inn, owned by Al Capone.
Waller was ordered inside the building, and found a party in full swing. Gun to his back, he was pushed towards a piano, and told to play. A terrified Waller realized he was the “surprise guest” at Capone’s birthday party, and took comfort that the gangsters did not intend to kill him.
It is rumored that Waller stayed at the Hawthorne Inn for three days and left very drunk, extremely tired, and had earned thousands of dollars in cash from Capone and other party-goers as tips.
In 1926, Waller began his recording association with the Victor Talking Machine Company/RCA Victor, his principal record company for the rest of his life, with the organ solos “St. Louis Blues” and his own composition, “Lenox Avenue Blues”.
Although he recorded with various groups, including Morris’s Hot Babes (1927), Fats Waller’s Buddies (1929) (one of the earliest multiracial groups to record), and McKinney’s Cotton Pickers (1929), his most important contribution to the Harlem stride piano tradition was a series of solo recordings of his own compositions: “Handful of Keys”, “Smashing Thirds”, “Numb Fumblin'”, and “Valentine Stomp” (1929).
After sessions with Ted Lewis (1931), Jack Teagarden (1931) and Billy Banks’ Rhythmakers (1932), he began in May 1934 the voluminous series of recordings with a small band known as Fats Waller and his Rhythm.
This six-piece group usually included Herman Autrey (sometimes replaced by Bill Coleman or John “Bugs” Hamilton), Gene Sedric or Rudy Powell, and Al Casey.
Waller wrote “Squeeze Me” (1919), “Keepin’ Out of Mischief Now”, “Ain’t Misbehavin'” (1929), “Blue Turning Grey Over You”, “I’ve Got a Feeling I’m Falling” (1929), “Honeysuckle Rose” (1929) and “Jitterbug Waltz” (1942). He composed stride piano display pieces such as “Handful of Keys”, “Valentine Stomp” and “Viper’s Drag”.
He enjoyed success touring the United Kingdom and Ireland in the 1930s. He appeared in one of the first BBC television broadcasts.
While in Britain, Waller also recorded a number of songs for EMI on their Compton Theatre organ located in their Abbey Road Studios in St John’s Wood. He appeared in several feature films and short subject films, most notably Stormy Weather in 1943, which was released July 21, just months before his death.
For the hit Broadway show Hot Chocolates, he and Razaf wrote “(What Did I Do to Be So) Black and Blue” (1929), which became a hit for Ethel Waters and Louis Armstrong.
Waller performed Bach organ pieces for small groups on occasion. Waller influenced many pre-bebop jazz pianists; Count Basie and Erroll Garner have both reanimated his hit songs. In addition to his playing, Waller was known for his many quips during his performances.
Between 1926 and the end of 1927, Waller recorded a series of pipe organ solo records. These represent the first time syncopated jazz compositions were performed on a full-sized church organ.
Waller contracted pneumonia and died on a cross-country train trip near Kansas City, Missouri, on December 15, 1943. His final recording session was with an interracial group in Detroit, Michigan, that included white trumpeter Don Hirleman.
Waller was returning to New York City from Los Angeles, after the smash success of Stormy Weather, and after a successful engagement at the Zanzibar Room, during which he had fallen ill.
More than 4,000 people attended his funeral in Harlem, which prompted Dr. Adam Clayton Powell, Jr., who delivered the eulogy, to say that Fats Waller “always played to a packed house.”
Afterwards he was cremated and his ashes were scattered, from an airplane piloted by an unidentified World War black aviator, over Harlem.
One of his surviving relatives is former Georgia Tech Yellow Jacket and current Baltimore Ravens wideout Darren Waller, who is Fats’ paternal great-grandson.
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