Funny video

Cela fait longtemps que je n’ai pas partagĂ© avec vous des infos, des histoires drĂŽles ou autres


Voici une vidĂ©o marrante 🙂


Hi all, it has been a long time, we didn”t meet and share funny news or videos. That’s why, today, we have this great funny show  .


TOP 100

TOP 100 of countries / Listeners  for MARCH 2018

Listeners by country and by connection for RADIO SATELLITE

Reminder: Radio Satellite plays “instrumental” music (#JamesLast, #FaustoPapetti, #EnnioMorricone, #Zamfir….)

Radio Satellite2 : Plays Oldies Pop Rock music and also Some soft jazz programs and blues.  (#Eric_Clapton, #Elton_john, #JohnDenver, #Abba, #BeeGees, #TheCarpenters, #TheEverlyBrothers, #The_Statler_Brothers, #Beatles, #BarryWhite, #TomJones and more…)







TOP 80










Ali Mac Graw

Elizabeth Alice “Ali” MacGraw (born April 1, 1939) is an American actress, model, author, and animal rights activist.

Ali MacGraw

Ali MacGraw


She first gained attention with her role in the 1969 film Goodbye, Columbus, for which she won the Golden Globe Award for Most Promising Newcomer. She reached international fame in 1970’s Love Story, for which she was nominated for an Academy Award for Best Actress and won the Golden Globe Award for Best Actress in a Motion Picture – Drama.

In 1972, MacGraw was voted the top female box office star in the world and was honored with a hands and footprints ceremony at Grauman’s Chinese Theatre after having been in just three films. She went on to star in the popular action films The Getaway (1972) and Convoy (1978) as well as the romantic sports drama Players (1979), the comedy Just Tell Me What You Want (1980), and the historical novel-based television miniseries The Winds of War (1983). In 1991, she published an autobiography, Moving Pictures.

MacGraw was born in Pound Ridge, New York, the daughter of commercial artists Frances (nĂ©e Klein; 1901–1980)  and Richard MacGraw.

She has one brother, Dick, an artist. Her father was adopted. Her maternal grandparents were from Budapest, Hungary, of Jewish heritage.

MacGraw’s mother chose not to disclose her true ethnicity to her father, instead professing ignorance about it. “I think Daddy was bigoted,” MacGraw has said.

Her mother was considered a “pioneer” as an artist, who had taught school in Paris before settling in Greenwich Village.

Her parents married when her mother was 40: “My gorgeous father: a combination of Tyrone Power and a mystery, a brilliant artist and a brain beyond brains.”

He was born in New Jersey with his childhood spent in an orphanage. He ran away to sea when he was 16 and studied art in Munich. MacGraw adds, “Daddy was frightened and really, really angry. He never forgave his real parents for giving him up.”

As an adult, he constantly suppressed the rage he built up against his parents.

She described her father as “violent”.

Beginning in 1960, MacGraw spent six years working at Harper’s Bazaar magazine as a photographic assistant to fashion maven Diana Vreeland.

She worked at Vogue magazine as a fashion model, and as a photographer’s stylist. She has also worked as an interior decorator.

ALI Mac Graw

ALI Mac Graw

MacGraw started her acting career in television commercials, including one for the Polaroid Swinger camera. MacGraw gained critical notice in the 1969 film Goodbye, Columbus, but real stardom came in 1970 when she starred opposite Ryan O’Neal in Love Story, one of the highest-grossing films in U.S. history.

MacGraw was nominated for the Academy Award for Best Actress for that performance. Following Love Story, MacGraw was celebrated on the cover of Time magazine.


In 1972, after appearing in just three films, she had her footprints and autograph engraved at Grauman’s Chinese Theatre. She then starred opposite Steve McQueen in The Getaway (1972), which was one of the year’s top ten films at the box office.

Having taken a five-year break from acting, in 1978 MacGraw re-emerged in another box office hit, Convoy (1978), opposite Kris Kristofferson. She then appeared in the films Players (1979) and Just Tell Me What You Want (1980), directed by Sidney Lumet.

In 1983, MacGraw starred in the highly successful television miniseries The Winds of War.

In 1985, MacGraw joined hit ABC prime-time soap opera Dynasty as Lady Ashley Mitchell, which, she admitted in a 2011 interview, she did for the money.

She appeared in 14 episodes of the show before her character was killed off in the infamous “Moldavian wedding massacre” cliffhanger episode in 1985.

MacGraw made her Broadway theatre debut in New York City in 2006 as a dysfunctional matriarch in the drama Festen (The Celebration).

In 2016, MacGraw reunited with Love Story co-star Ryan O’Neal in a staging of A.R. Gurney’s play Love Letters.

In 1991, People magazine selected MacGraw as one of its “50 Most Beautiful People” in the World.


In 2008 GQ magazine listed her in their “Sexiest 25 Women in Film Ever” edition.

Having become a Hatha Yoga devotee in her early 50s, MacGraw produced a yoga video with the American Yoga Master Erich Schiffmann, Ali MacGraw Yoga Mind and Body.

This video was a bestseller upon release and still popular more than a decade later. The video’s impact was such that in June 2007 Vanity Fair magazine credited MacGraw with being one of the people responsible for the practice’s recent popularity in the United States.

In July 2006, MacGraw filmed a public service announcement for People for the Ethical Treatment of Animals (PETA), urging residents to take their pets with them in the event of wildfires.

In 2008, she wrote the foreword to the book Pawprints of Katrina  by author Cathy Scott and photography by Clay Myers about Best Friends Animal Society and the largest pet rescue in U.S. history.

An animal rights advocate throughout her life, she received the Humane Education Award by Animal Protection of New Mexico for speaking out about animal issues.


MacGraw has acknowledged having had an abortion in her early twenties, at a time when the procedure was illegal.

After college, she married Robin Hoen, a Harvard-educated banker, but they divorced after a year and a half.

Ali and Kris Kristofferson in Convoy

Ali and Kris Kristofferson in Convoy

On October 24, 1969, MacGraw married film producer Robert Evans; their son, Josh Evans, is an actor, director, producer and screenwriter.

They divorced in 1972 after she became involved with Steve McQueen on the set of The Getaway. She married McQueen on August 31, 1973, in Cheyenne, Wyoming, and divorced him in 1978.






MacGraw’s autobiography, Moving Pictures revealed her struggles with alcohol and sex addiction. She was treated for the former at the Betty Ford Center.


When former husband Evans received his star on the Hollywood Walk of Fame in 2002, she accompanied him. Their grandson Jackson was born in December 2010 to Josh and his wife, singer Roxy Saint.


Since 1994 she has lived in Tesuque, New Mexico, after “fleeing Malibu” when a house she was renting burned down.


Ali Mac Graw

Ali Mac Graw



Also :


Sources : Youtube / Pinterest / Wikipedia

No comment…..

Feeding homeless is illegal !!!!!



veteran feeding homeless arrested

FATS DOMINO 02-1928- 10-2017

Antoine “Fats” Domino, Jr. (February 26, 1928 – October 24, 2017) was an American pianist and singer-songwriter of Louisiana Creole descent.

He had 35 records in the U.S. Billboard Top 40, and five of his pre-1955 records sold more than a million copies, being certified gold.  During 1955 to 1960, he had eleven top 10 hits and his record sales were reportedly surpassed only by Elvis Presley. During his career, Domino sold over 65 million records.His musical style was based on traditional rhythm and blues, accompanied by saxophones, bass, piano, electric guitar, and drums.



Video : Source Youtube : Historic Films Stock Footage Archive

Our programs on RS2


Mostly Folk on Radio Satellite2

Mostly folk is a program proposed, produced and presented by ARTIE MARTELLO

Mostly folk can be listened on Radio Satellite2 : (On TUNEin, ITUNES, our apps, on
on etc..

Also and we can say “of course” on MOSTLY FOLK website where all archives are available to all and new releases

Radio Satellite 2 and Mostly Folk are partners and do what we want?

To let you appreciate great music, and enjoy music. Nothing more. For free and just for our all pleasure.

Enjoy music 🙂




Christmas time

NCIS New Orleans

NCIS: New Orleans is an American television series combining elements of the military drama and police procedural genres that premiered on Tuesday, September 23, 2014, following its parent series NCIS. The pilot was written by  Gary Glasberg. ( Gary Glasberg died the 28th September 2016  RIP) 


 The series’ executive producers are Glasberg, Mark Harmon, Jeffrey Lieber, and James Hayman. The series is set and filmed in New Orleans. It is the third member of the NCIS franchise.

On January 12, 2015, NCIS: New Orleans was renewed for a second season, that premiered on September 22, 2015.

 Daryl Mitchell and Shalita Grant, who had been recurring cast members, became series regulars.

On March 25, 2016, CBS renewed the series for a third season, which premiered on September 20, 2016.

 Zoe McLellan, who plays Agent Brody will leave “for creative reasons”, and Vanessa Ferlito will join the cast as Special Agent Tammy Gregorio, a series regular.

NCIS: New Orleans follows a fictional team of Naval Criminal Investigative Service (NCIS) agents stationed out of New Orleans, Louisiana. The NCIS office handles cases from the Mississippi River to the Texas Panhandle.

 Living and working out of his office, Special Agent Dwayne Cassius Pride (Scott Bakula) heads a team of special agents including Christopher LaSalle (Lucas Black), a former sheriff’s deputy recruited by Pride following Katrina; Tammy Gregorio (Vanessa Ferlito), a Washington FBI Agent assigned to Pride’s team at his request;

Meredith Brody (Zoe McLellan), a transfer from the NCIS Great Lakes field office, has worked as a Special Agent Afloat and is keen to leave her past behind as she moves to New Orleans; Sonja Percy (Shalita Grant), a former ATF Special Agent and LaSalle’s partner; and Patton Plame (Daryl Mitchell), a computer specialist.

They are assisted by Dr. Loretta Wade (C. C. H. Pounder), a forensic pathologist and medical examiner, and Sebastian Lund (Rob Kerkovich), a criminalist and forensic investigator assigned to the Jefferson Parish Medical Examiner’s Office.


Cast and characters

Main article: List of NCIS: New Orleans characters

Scott Bakula as Dwayne Cassius Pride, NCIS Supervisory Special Agent.

Lucas Black as Christopher LaSalle, NCIS Special Agent.

Zoe McLellan as Meredith Brody, NCIS Special Agent (seasons 1–2).

Rob Kerkovich as Sebastian Lund, forensic scientist.

CCH Pounder as Loretta Wade, medical examiner.

Shalita Grant as Sonja Percy (season 2–; recurring: season 1), NCIS Special Agent.

Daryl “Chill” Mitchell as Patton Plame (season 2–; recurring: season 1), NCIS computer specialist.

Vanessa Ferlito as Tammy Gregorio (season 3–), FBI Special Agent.









Joseph Ira  Dassin, dit Joe Dassin, nĂ© le 5 novembre 1938 Ă  New York et mort le 20 aoĂ»t 1980 Ă  Papeete (Tahiti), est un chanteur, compositeur et Ă©crivain amĂ©ricano-français. En seize ans de carriĂšr


Comment Ă©couter de la belle musique en 2016



Il fut une Ă©poque oĂč les gens achetaient des albums…
Avant le CD, c’Ă©tait les disques Vinyls dits “Long Play / LP ” ou 33 tous

Donc arriva l’Ă©poque oĂč Polygram (Contraction de Phonogram et Polydor )( 2 marques d’Ă©ditions musicales de la maison mĂšre PHILIPS) lança le CD ( vers 1980 )

Polygram Ă©tant le mariage des allemands ( Polydor ) et Phonogram (Pays bas)
Les japonais n’Ă©taient pas en reste…A partir de leur Ăźle, ils ont lancĂ© auss des tests via SONY MUSIC ( EX CBS Music ) rachetĂ©e aux USA

Donc acheter des albums en CD Ă©taient “encore Ă  la mode” mĂȘme si d’aucuns prĂ©fĂ©raient le LP : Le plaisir d’avoir une couverture / pochette d’album ( belle photo ); les photographes et artistes pouvaient exprimer leurs dĂ©sirs via de grandes belles images.. Chose que le CD a releguĂ© au 2e plan… La couverture Ă©tant “trop petite pour ĂȘtre apprĂ©ciĂ©e artistiquement”


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Par la suite, ce fut progressivement, l’explosion du dĂ©matĂ©rialisĂ© : Le MP3

Nous passĂąmes de l’achat de l’album entier… Souvent pour 12 titres, seuls 4 ou 5 maxi nous interessaient…Les autres, c’Ă©tait Kif kif… Juste parce qu’on aimait l’artiste qu’on achetait l’album

Donc, nous disions : Passage de l’album entier vers l’achat du/ des titres que nous voulions… Super… On disait.. c vrai… quelle Ă©conomie d’argent !!

Ce qui Ă©tait vrai. Oui.

Le petit bĂ©mol, que nous pouvons soulever…Nous,   producteurs de radios, les professionnels de la musique,  du moins, dans le domaine de la diffusion: Concernant cette mĂ©thode : Vis Ă  vis des amateurs, des acheteurs de musique, des auditeurs lambda… Cette mĂ©thode a fait en sorte que les gens aient perdu une certaine culture musicale quant Ă  l’artiste…. Ils connaissaient super bien le titre achetĂ© et que “la radio ” leur a fait dĂ©couvrir….Mais rien…aucune connaissance des autres titres du mĂȘme chanteur… Rien.. Nada…Que dalle…

Du coup… Bien que le rĂŽle des radios fut primordial, les annĂ©es 50 60 70 80 et 90…. Ce rĂŽle fut encore plus vital…Le citoyen auditeur ne pouvait dĂ©couvrir les titres QUE si la radio passe CE titre…

A moins d’acheter tout l’album de l’artiste..Mais..Vous nous direz “Pourquoi acheter l’album entier? Si nous sommes interessĂ©s par 1 ou 2 titres”.. VRAI

Notre rĂ©ponse: Comment sauriez-vous, si ces autres titres…Vous les aimerez? ou non? Si la / les radios ne vous permettent pas l’Ă©coute et l’habitude…

Il faut prĂ©ciser ici : Qu’Ă©couter un extrait de titre est possible Ă©videmment sur les plateformes de ventes.. Mais par expĂ©rience, lorsque l’acheteur de musique “passe Ă  l’action” c’est aprĂšs avoir Ă©coutĂ© ce titre …4… 5 ou 10 fois …Le temps de bien assimiler ce nouveau titre dĂ©couvert…Le temps aussi qu’il entende son entourage, les mĂ©dias…en parler.. Donc c’est un tout…

Rares sont les achats qui se font suite Ă  une seule Ă©coute d’extrait ou sur coup de tĂȘte.

Du coup… L’explosion du numĂ©rique a engendrĂ© aussi l’explosion des RADIOS NUMERIQUES dont nous en faisons partie au sein de RADIO SATELLITE2


Notre diffĂ©rence? Nos atouts? C’est tout BENEF pour vous, chers lecteurs / auditeurs de musique

1) Nous n’avons pas de limite GĂ©ographique: Contrairement aux ancĂȘtres de la radio FM : Nous diffusons de la musique sur toute la planĂšte… Sans aucune limite…LĂ  oĂč internet existe..Nous existons. D’ailleurs, mĂȘme les radios FM ont crĂ©e par la suite,  leurs webradios aussi.

Donc pas d’antennes… Pas de contraintes musicales…

RĂ©sultat ? Nos musiques ( du moins au sein de RADIO SATELLITE2 ) : chansons francophones ( Belges, acadiennes,Suisses…) AmĂ©ricaines, Russes, turques…

Toutes les BELLES musiques sont diffusables pour nous. Peu importe la langue: Une belle orchestration, un super arrangement musical, une belle musique mélodieuse? On achÚte.. On diffuse.

2) Autre avantage? Notre INDEPENDANCE: Nous ne sommes PAS des radios commerciales. Donc pas d’actionnaires, pas de compte Ă  rendre Ă  des actionnaires, pas de publicitĂ©s, pas de jeux SMS oĂč la question est souvent simpliste…Donc rĂ©ponse aussi facile…Le but Ă©tant juste de faire payer l’auditeur X euros via des SMS

Donc pas de tout ceci chez les webradios en général.

La radio étant une passion. Etant professionnels du monde de la radio certes, cependant, nos activités professionnelles ( pour vivre ) sont ailleurs.

La radio que nous vous proposons sert à offrir aux auditeurs un choix riche, haut en couleurs, sans frontiÚres géographiques et sans langue unique ( Nos animations sont faites en Anglais et en Français )

Reste LA question que de nombreuses personnes pose : Comment vous Ă©couter? 🙂

Facile: Si vous ĂȘtes dans votre bureau: face Ă  l’ordi: Notre site:

En cliquant sur le logo bleu , en haut , Ă  droite…Vous ĂȘtes redirigĂ©s sur une autre site . LĂ , cliquez sur le lecteur et voilĂ  la musique. RIEN A INSTALLER

Si vous ĂȘtes comme nous? Mobiles… Ne voulant pas ĂȘtre face Ă  un ordi ( souvent en voiture…Ă  pied… A la montagne.. Dans votre salle de gym/sport…Au lit, faisant une sieste ou juste allongĂ©… En train de faire du rangement..)

Nous vous conseillons vivement d’installer sur votre tĂ©lĂ©phone (APPLE donc IPHONE ou IPAD ) ANDROID ( Samsung et bien d’autres marques) … BLACKBERRY si c’est la marque de votre smartphone/ mobile..

Installez GRATUITEMENT l’application Ă  partir des APPLE STORE / GOOGLE STORE ou GOOGLE PLAY )

Comme vous avez dĂ©jĂ  , sans doute, installĂ© d’autres applications sur votre tĂ©lĂ©phone… Soit par la mĂ©thode de “recherche” ( search) donc saisir
RADIO SATELLITE2 ( le 2 collé )

Soit en cliquant sur ces liens ( via votre mobile…Par votre ordi, cela ne servira qu’Ă  ouvrir le site mais en cliquant dessus via votre connection mobile, vous pourrez installer l’appli selon votre marque utilisĂ©e)


Si vous possédez un IPHONE / IPAD :

Si vous possĂ©dez un ANDROID ( SAMSUNG et certaines autres marques): Voir le store: ce doit ĂȘtre GOOGLE

Si vous possédez un BLACKBERRY

Donc facile.. Simple de nous Ă©couter en final…

N’hĂ©sitez pas surtout que grĂące Ă  Radio Satellite2, vous pourrez dĂ©couvrir des horizons que les radios traditionnelles ne vous permettent pas.

En espĂ©rant vous retrouver parmi nos fidĂšles auditeurs (dĂ©jĂ  plus de 300 000 fidĂšles auditeurs de par le monde, sans compter ceux qui nous Ă©coutent de temps en temps… )

Country music on RS2

Rainer Niederleithner3

Promo and introduction to Country Music Program

Générique / Generic

Click on video to watch ( to listen)

Cliquer sur vidéo pour voir ( et écouter)






RS2 covering ALL countries… Covering YOUR country

Wherever you are… What ever is YOUR country, your city on this planet named ” earth”

You can listen FOR FREE to RS2  on #RadioWays   on this website ( click on the logo )

On our APPS ( #APPLE  #ANDROID  and #BLACKBERRY ) on #ITUNES  on #TUNEin etc…










John Denver …let’s listen

No talks
No comments..Just music
 Enjoy music on RS2             Also about John Denver :  ALSO ABOUT JOHN DENVER Also about John Denver on RS2 :     &nbsp

Source : John Denver …let’s listen




The A-Team is an American action-adventure television series that ran from 1983 to 1987 about a fictitious former United States Army Special Forces unit whose members, after being court-martialed “for a crime they didn’t commit”, escaped from military prison and, while still on the run, worked as soldiers of fortune. A feature film based on the series was released by 20th Century Fox in June 2010.




The A-Team was created by writers and producers Stephen J. Cannell and Frank Lupo at the behest of Brandon Tartikoff, NBC’s Entertainment president. Cannell was fired from ABC in the early 1980s, after failing to produce a hit show for the network, and was hired by NBC;

His first project was The A-Team. Brandon Tartikoff pitched the series to Cannell as a combination of The Dirty Dozen, Mission Impossible, The Magnificent Seven, Mad Max and Hill Street Blues, with “Mr. T driving the car”.

The A-Team was not generally expected to become a hit, although Stephen J. Cannell has said that George Peppard suggested it would be a huge hit “before we ever turned on a camera”.

The show became very popular; the first regular episode, which aired after Super Bowl XVII on January 30, 1983, reached 26.4% of the television audience, placing fourth in the top 10 Nielsen-rated shows.

The A-Team was always portrayed as acting on the side of good and helping the oppressed. Cannell was known for having a particular skill at capitalizing on momentary cultural trends, such as the helicopters, machine guns, cartoonish violence, and joyful militarism of this series, which are now recognizable as trademarks of popular entertainment in the 1980s as seen in the TV shows Magnum, P.I. and Airwolf as well as the films Rambo: First Blood Part II and Top Gun.

The show remains prominent in popular culture for its cartoonish, over-the-top violence (in which people were seldom seriously hurt), formulaic episodes, its characters’ ability to form weaponry and vehicles out of old parts, and its distinctive theme tune.

The show boosted the career of Mr. T, who portrayed the character of B. A. Baracus, around whom the show was initially conceived.  Some of the show’s catchphrases, such as “I love it when a plan comes together”, “Hannibal’s on the jazz”, and “I ain’t gettin’ on no plane!” have also made their way onto T-shirts and other merchandise.

The show’s name comes from the “A-Teams”, the nickname coined for U.S. Special Forces’ Operational Detachments Alpha (ODA) during the Vietnam War, although this connection was never referenced on-screen.

In a 2003 Yahoo! survey of 1,000 television viewers, The A-Team was voted the one “oldie” television show viewers would most like to see revived, beating out such popular television series from the 1980s as The Dukes of Hazzard and Knight Rider.

“In 1972, a crack commando unit was sent to prison by a military court for a crime they didn’t commit. These men promptly escaped from a maximum security stockade to the Los Angeles underground. Today, still wanted by the government, they survive as soldiers of fortune. If you have a problem, if no one else can help, and if you can find them, maybe you can hire… the A-Team.”

The A-Team is a naturally episodic show, with few overarching stories, except the characters’ continuing motivation to clear their names, with few references to events in past episodes and a recognizable and steady episode structure.

In describing the ratings drop that occurred during the show’s fourth season, reviewer Gold Burt points to this structure as being a leading cause for the decreased popularity “because the same basic plot had been used over and over again for the past four seasons with the same predictable outcome”.

Similarly, reporter Adrian Lee called the plots “stunningly simple” in a 2006 article for The Express (UK newspaper), citing such recurring elements “as BA’s fear of flying, and outlandish finales when the team fashioned weapons from household items”.

The show became emblematic of this kind of “fit-for-TV warfare” due to its depiction of high-octane combat scenes, with lethal weapons, wherein the participants (with the notable exception of General Fulbright) are never killed and rarely seriously injured (see also On-screen violence section).

As the television ratings of The A-Team fell dramatically during the fourth season, the format was changed for the show’s final season in 1986–87 in a bid to win back viewers.

After years on the run from the authorities, the A-Team is finally apprehended by the military. General Hunt Stockwell, a mysterious CIA operative played by Robert Vaughn, propositions them to work for him, whereupon he will arrange for their pardons upon successful completion of several suicide missions. In order to do so, the A-Team must first escape from their captivity.

With the help of a new character, Frankie “Dishpan Man” Santana, Stockwell fakes their deaths before a military firing squad. The new status of the A-Team, no longer working for themselves, remained for the duration of the fifth season while Eddie Velez and Robert Vaughn received star billing along with the principal cast.


Mister T

Mr T

Premiere Of Walt Disney Animation Studios' "Bolt" - Arrivals

Mr T

The missions that the team had to perform in season five were somewhat reminiscent of Mission: Impossible, and based more around political espionage than beating local thugs, also usually taking place in foreign countries, including successfully overthrowing an island dictator, the rescue of a scientist from East Germany, and recovering top secret Star Wars defense information from Soviet hands.

These changes proved unsuccessful with viewers, however, and ratings continued to decline. Only 13 episodes aired in the fifth season. In what was supposed to be the final episode, “The Grey Team” (although “Without Reservations” was broadcast on NBC as the last first-run episode in March 1987), Hannibal, after being misled by Stockwell one time too many, tells him that the team will no longer work for him.

At the end, the team discusses what they were going to do if they get their pardon, and it is implied that they would continue doing what they were doing as the A-Team. The character of Howling Mad Murdock can be seen in the final scene wearing a T-shirt that says, “fini”.

During the Vietnam War, the A-Team were members of the 5th Special Forces Group (see Season 1, Episode 10, “West Coast Turnaround”).

In Season 2, Episode 4, “Bad Time on the Border”, Colonel John “Hannibal” Smith, portrayed by George Peppard, indicated that the A-Team were “ex–Green Berets”.

During the Vietnam War, the A-Team’s commanding officer, Colonel Morrison, gave them orders to rob the Bank of Hanoi to help bring the war to an end. They succeeded in their mission, but on their return to base four days after the end of the war, they discovered that Morrison had been killed by the Viet Cong, and that his headquarters had been burned to the ground.

This meant that the proof that the A-Team members were acting under orders had been destroyed. They were arrested, and imprisoned at Fort Bragg, from which they quickly escaped before standing trial.

The origin of the A-Team is directly linked to the Vietnam War, during which the team formed.

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The show’s introduction in the first four seasons mentions this, accompanied by images of soldiers coming out of a helicopter in an area resembling a forest or jungle.

Besides this, The A-Team would occasionally feature an episode in which the team came across an old ally or enemy from those war days.

For example, the first season’s final episode “A Nice Place To Visit” revolved around the team traveling to a small town to honor a fallen comrade and end up avenging his death, and in season two’s “Recipe For Heavy Bread”, a chance encounter leads the team to meet both the POW cook who helped them during the war, and the American officer who sold his unit out.

An article in the New Statesman (UK) published shortly after the premiere of The A-Team in the United Kingdom, also pointed out The A-Team’s connection to the Vietnam War, characterizing it as the representation of the idealization of the Vietnam War, and an example of the war slowly becoming accepted and assimilated into American culture.

One of the team’s primary antagonists, Col. Roderick Decker (Lance LeGault), had his past linked back to the Vietnam War, in which he and Hannibal had come to fisticuffs in “the DOOM Club” (Da Nang Open Officers’ Mess).


At other times, members of the team would refer back to a certain tactic used during the War, which would be relevant to the team’s present predicament. Often, Hannibal would refer to such a tactic, after which the other members of the team would complain about its failure during the War. This was also used to refer to some of Face’s past accomplishments in scamming items for the team, such as in the first season episode “Holiday In The Hills”, in which Murdock fondly remembers Face being able to secure a ’53 Cadillac while in the Vietnam jungle.

The team’s ties to the Vietnam War were referenced again in the fourth season finale, “The Sound of Thunder”, in which the team is introduced to Tia (Tia Carrere), a war orphan and daughter of fourth season antagonist General Fulbright. Returning to Vietnam, Fulbright is shot in the back and gives his last words as he dies.

The 2006 documentary Bring Back The A-Team joked that the scene lasted seven and a half minutes, but his death actually took a little over a minute. His murderer, a Vietnamese colonel, is killed in retaliation. Tia then returns with the team to the United States (see also: casting).

This episode is notable for having one of the show’s few truly serious dramatic moments, with each team member privately reminiscing on their war experiences, intercut with news footage from the war with Barry McGuire’s Eve of Destruction playing in the background.

The show’s ties to the Vietnam War are fully dealt with in the opening arc of the fifth season, dubbed “The Revolution”/”The Court-Martial”, in which the team is finally court-martialed for the robbery of the bank of Hanoi.

The character of Roderick Decker makes a return on the witness stand, and various newly introduced characters from the A-Team’s past also make appearances. The team, after a string of setbacks, decides to plead guilty to the crime and they are sentenced to be executed. They escape this fate and come to work for a General Hunt Stockwell, leading into the remainder of the fifth season.

The A-Team revolves around the four members of a former commando outfit, now mercenaries.


Their leader is Lieutenant Colonel/Colonel John “Hannibal” Smith (George Peppard), whose plans tend to be unorthodox but effective.

Lieutenant Templeton Peck (Dirk Benedict; Tim Dunigan appeared as Templeton Peck in the pilot), usually called “Face” or “Faceman”, is a smooth-talking con man who serves as the team’s appropriator of vehicles and other useful items, as well as the team’s second-in-command.

The team’s pilot is Captain H.M. “Howling Mad” Murdock (Dwight Schultz), who has been declared insane and lives in a Veterans’ Administration mental institution for the show’s first four seasons.

Finally, there is the team’s strong man, mechanic and Sergeant First Class Bosco Albert “B.A.”, or “Bad Attitude”, Baracus (Mr. T).

It is unclear to which U.S. Army unit the four belonged. A patch on Hannibal’s uniform in the season 1 episode “A Nice Place To Visit” indicates they belonged to the 101st Airborne division in Vietnam, but the patch was replaced by the 1st Air Cavalry Division patch in the Season 5 episode “Trial by Fire”. In the Season 1 episode “West Coast Turnaround”, Hannibal stated they were with the 5th Special Forces Group.

Then, in Season 2 episode “Bad Time on the Border”, Hannibal refers to his friends as “ex-Green Berets”. Though the name they have adopted comes from the “A-Teams”, the nickname coined for Special Forces Operational Detachments Alpha, these detachments usually consisted of twelve members; whether the four were considered a “detachment” of their own or had once had eight compatriots who were killed in action was never revealed.

For its first season and the first half of the second season, the team was assisted by reporter Amy Amanda Allen (Melinda Culea).

In the second half of the second season, Allen was replaced by fellow reporter Tawnia Baker (Marla Heasley). The character of Tia (Tia Carrere), a Vietnam war orphan now living in the United States, was meant to join the Team in the fifth season, but she was replaced by Frankie Santana (Eddie Velez), who served as the team’s special effects expert. Velez was added to the opening credits of the fifth season after its second episode.

During their adventures, the A-Team was constantly met by opposition from the Military Police. In the show’s first season, the MPs were led by Colonel Francis Lynch (William Lucking), but he was replaced for the second, third, and earlier fourth season by Colonel Roderick Decker (Lance LeGault) and his aide Captain Crane (Carl Franklin).

Lynch returned for one episode in the show’s third season (“Showdown!”) but was not seen after. Decker was also briefly replaced by a Colonel Briggs (Charles Napier) in the third season for one episode (“Fire!”) when LeGault was unavailable, but returned shortly after. For the latter portion of the show’s fourth season, the team was hunted by General Harlan “Bull” Fulbright (Jack Ging), who would later hire the A-Team to find Tia in the season four finale, during which Fulbright was killed.


The fifth season introduced General Hunt Stockwell (Robert Vaughn) who, while serving as the team’s primary antagonist, was also the team’s boss and joined them on several missions. He was often assisted by Carla (Judith Ledford, sometimes credited as Judy Ledford).

Character traits

John “Hannibal” Smith: Master of Disguise. His most used disguise (although not onscreen) is Mr. Lee, the dry cleaner. This is one of the final parts of the client screening process, as he tells the client where to go in order to make full contact with the A-Team. He dresses most often in a white safari jacket and black leather gloves. He also is constantly seen smoking a cigar. Hannibal carries either a Browning Hi-Power, Colt M1911A1 or a Smith & Wesson Model 39 as a sidearm, most often “Mexican Carried” although he uses a holster when on missions. His catchphrase is “I love it when a plan comes together”. Often said, usually by B.A., to be “on the jazz” when in the fury of completing a mission.

Templeton “Faceman” Peck: Master of the Persuasive Arts. The team’s scrounger, he can get virtually anything he sets his mind to, usually exploiting women with sympathy-appeal and flirtation. However, he is not without integrity, as stated by Murdock in the episode “Family Reunion”: “He would rip the shirt off his back for you, and then scam one for himself.” Faceman is also the A-Team’s accountant. He dresses suavely, often appearing in suits. Faceman carries a Colt Lawman Mk III revolver for protection, and drives a white Corvette with orange trim.

Bosco Albert “B.A.” (Bad Attitude) Baracus: The muscle for the A-Team, Able to perform amazing feats of strength. He is also the team’s mechanic. B.A. affects a dislike for Murdock, calling him a “crazy fool”, but his true feelings of friendship are revealed when he prevents Murdock from drowning in his desire to live like a fish. B.A. also has a deep fear of flying, and the others usually have to trick and/or knock him out in order to get him on a plane.

It is very rare that B.A is awake while flying, and even rarer for him actually to consent to it. However, he then goes into a catatonic state. B.A generally wears overalls and leopard or tiger print shirts in the early seasons, then later wears a green jumpsuit in the later seasons.



He is almost always seen with about 50 pounds of gold necklaces and rings on every finger, and also wears a weightlifting belt. Baracus’s hair is always styled in a mohawk-like cut. He drives a customized black GMC van, which is the team’s usual mode of transport.

H.M “Howling Mad” Murdock: The A-Team’s pilot, he can fly any kind of aircraft with extreme precision. However, due to a helicopter crash in Vietnam, Murdock apparently went insane. He lives in a Veterans’ Hospital in the mental wing. Whenever the rest of the team requires a pilot, they have to break him out of the hospital, generally using Faceman to do so. In Seasons 1-4, Murdock has a different pet, imaginary friend, or persona in each episode. Whenever one of his pets or imaginary friends is killed by an enemy, Murdock snaps and takes revenge (but never kills).

Many times, when B.A is mad at Murdock for being crazy, Hannibal will side with Murdock in a sympathetic way. Once he is discharged from the hospital in Season 5, Murdock has a different job each episode. Essentially, B.A. and Murdock get on each other’s nerves. Murdock usually wears a leather flight jacket, a baseball cap, and basketball sneakers.


Although the part of Face was written by Frank Lupo and Stephen J. Cannell with Dirk Benedict in mind, NBC insisted that the part should be played by another actor, instead.

Therefore, in the pilot, Face was portrayed by Tim Dunigan, who was later replaced by Dirk Benedict, with the comment that Dunigan was “too tall and too young”.

According to Dunigan: “I look even younger on camera than I am. So it was difficult to accept me as a veteran of the Vietnam War, which ended when I was a sophomore in high school.”

Carrere was intended to join the principal cast of the show in its fifth season after appearing in the season four finale, providing a tie to the team’s inception during the war. Unfortunately for this plan, Carrere was under contract to General Hospital, which prevented her from joining The A-Team. Her character was abruptly dropped as a result.

According to Mr. T’s account in Bring Back… The A-Team in 2006, the role of B. A. Baracus was written specifically for him. This is corroborated by Stephen J. Cannell’s own account of the initial concept proposed by Tartikoff.

James Coburn, who co-starred in The Magnificent Seven, was considered for the role of Hannibal in The A-Team, while George Peppard (Hannibal) was the original consideration for the role of Vin (played by Steve McQueen instead) in The Magnificent Seven.

Robert Vaughn, of course, actually appeared in the film.

According to Dirk Benedict, Robert Vaughn was actually added to the cast in season 5 because of his friendship with the notoriously difficult George Peppard. It was hoped that Vaughn would help ease worsening tensions between Peppard and Mr. T.






L’Agence tous risques (The A-Team) est une sĂ©rie tĂ©lĂ©visĂ©e amĂ©ricaine en 98 Ă©pisodes de 45 minutes, crĂ©Ă©e par Frank Lupo et Stephen J. Cannell, diffusĂ©e entre le 23 janvier 19831 et le 8 mars 1987 sur le rĂ©seau NBC.

En France, les saisons 1 Ă  4 ont Ă©tĂ© diffusĂ©es Ă  partir du 1er juillet 1984 sur TF12. Diffusion de la saison 5 inĂ©dite du 5 fĂ©vrier 19963 au 16 fĂ©vrier 19964 sur TF1. Rediffusion intĂ©grale du 6 juillet 20025 au 8 mai 20046 sur M6. Puis en 20037 sur 13e rue, de juin 2010 Ă  aoĂ»t 2013 sur TMC ainsi qu’Ă  partir du 16 dĂ©cembre 2013 jusqu’en juillet 2014 sur HD1 et depuis le 19 fĂ©vrier 2015 sur Paris PremiĂšre.

Le 16 juin 2010, un film du mĂȘme nom est commercialisĂ© par 20th Century Fox8.





Pendant la guerre du ViĂȘt Nam, le chef hiĂ©rarchique de l’Agence tous risque, le gĂ©nĂ©ral Morrison, leur a donnĂ© l’ordre de voler la banque de HanoĂŻ afin de prĂ©cipiter la fin de la guerre. La mission est un succĂšs, mais quatre jours aprĂšs la fin de la guerre, ils retrouvent le gĂ©nĂ©ral assassinĂ© par les Viet Cong, le quartier gĂ©nĂ©ral Ă©tant entiĂšrement brĂ»lĂ©. Par consĂ©quent, aucune preuve indiquant que l’Agence tous risques agissait sur ordre n’existe. Les membres passent alors devant une cour de justice militaire, celle-ci les condamnant Ă  la prison. IncarcĂ©rĂ©s aux États-Unis, ils s’Ă©vadent rapidement et mĂšnent dĂ©sormais une vie de mercenaires au service « de la veuve et de l’orphelin », combattant les injustices locales.


Acteurs principaux

George Peppard  : colonel John « Hannibal » Smith

Dirk Benedict  : lieutenant Peck « FutĂ© » Templeton (VO : « Face ») (Ă  partir de l’Ă©pisode 2)

Dwight Schultz  : capitaine Henry « Looping » Murdock (VO : « Howling Mad »)

Mister T.  : sergent Bosco Albert « Barracuda » Baracus (VO : « B. A. »

Melinda Culea  : Amy Amanda « Triple A » Allen (saisons 1 et 2)

Robert Vaughn  : général Hunt Stockwell (saison 5)

Eddie Velez  : Frankie Santana (saison 5)

Tim Dunigan  : lieutenant Templeton « Futé » Peck (VO : « Face ») (épisode pilote uniquement)



L’Agence tous risques a Ă©tĂ© crĂ©Ă©e par les producteurs amĂ©ricains Stephen J. Cannell et Frank Lupo Ă  la demande du prĂ©sident du rĂ©seau NBC, Brandon Tartikoff.

Stephen J. Cannell a Ă©tĂ© renvoyĂ© de chez ABC au dĂ©but des annĂ©es 1980, aprĂšs avoir Ă©chouĂ© dans sa tentative de produire une Ă©mission Ă  succĂšs pour la chaĂźne. Cannell est engagĂ© Ă  la NBC et son premier projet Ă©tait de crĂ©er L’Agence tous risques.

Brandon Tartikoff considĂšre l’Ă©mission comme un mĂ©lange de Les Douze Salopards, Mission Impossible, Les Sept Mercenaires, Mad Max et Capitaine Furillo, avec « Mr. T conduisant l’engin. »

L’Agence tous risques n’Ă©tait, au dĂ©part, pas considĂ©rĂ©e comme une future sĂ©rie Ă  succĂšs, mais Stephen J. Cannell explique que George Peppard Ă©tait persuadĂ© qu’elle deviendrait un succĂšs « avant mĂȘme que l’on allume la camĂ©ra »13. L’Ă©mission se popularise ; le premier Ă©pisode, diffusĂ©e juste aprĂšs le Super Bowl XVII le 30 janvier 1983, atteint 26,4 % de l’audience sur la chaĂźne, le classant ainsi quatriĂšme sur l’Échelle de Nielsen.

Le titre original de la sĂ©rie vient des « Special Forces » (SF, « forces spĂ©ciales »), que les amĂ©ricains surnomment A-Teams et populairement connues sous le surnom des « bĂ©rets verts » (green berets), qui sont une des forces spĂ©ciales de l’US Army.

SpĂ©cialisĂ©es dans la guerre non conventionnelle, les actions commandos et la formation de troupes alliĂ©es, elles ont, depuis leur crĂ©ation au dĂ©but des annĂ©es 1950, Ă©tĂ© engagĂ©es dans la plupart des conflits impliquant les États-Unis.

La sĂ©rie s’inscrit dans un contexte particulier aux États-Unis, qui voit apparaĂźtre divers avatars de vĂ©tĂ©rans de la guerre du ViĂȘt Nam, comme le dĂ©tective privĂ© Thomas Magnum ou le sergent T.J. Hooker.



Rapatriés aprÚs la fin officielle de la guerre, en 1975, de trÚs nombreux vétérans américains ont éprouvé de grandes difficultés à se réintégrer dans une société qui ne les reconnaissait plus.

D’une part, les traumatismes physiques et psychologiques des soldats les rendaient extrĂȘmement fragiles, d’autre part, Ă  la frustration patriotique de la population s’est ajoutĂ© le rejet de soldats dont l’opinion publique dĂ©couvrit brusquement les techniques de combat.

En effet, si l’AmĂ©rique moyenne soutenait la guerre au dĂ©but des annĂ©es 1960, dans un contexte de guerre froide, il en allait tout autrement quinze ans plus tard.

Les milliers de morts et de blessĂ©s dans le camp amĂ©ricain ne trouvaient plus aucun sens dans l’opinion publique, tandis que de nombreux journalistes rĂ©vĂ©laient la nature des combats, opposant des soldats lourdement armĂ©s Ă  des combattants mĂȘlĂ©s Ă  la population.

Des photos d’enfants brĂ»lĂ©s au napalm ont tĂŽt fait de retourner le peuple amĂ©ricain contre une guerre jugĂ©e mal prĂ©parĂ©e, idĂ©ologiquement discutĂ©e et grande consommatrice d’hommes et d’argent public.

Dans ce contexte d’aprĂšs-guerre, la sociĂ©tĂ© amĂ©ricaine rejette les vĂ©tĂ©rans du ViĂȘt Nam, une attitude illustrĂ©e notamment par la chanson Born in the USA de Bruce Springsteen, le film Rambo ou plus tard le film NĂ© un 4 juillet avec Tom Cruise.

L’Agence tous risques en est une autre illustration, puisque des soldats ayant agi sur ordre de la hiĂ©rarchie se retrouvent face Ă  la justice de leur pays, pour un dĂ©lit qu’ils n’ont commis que dans le cadre de leur fonction.

ÉvadĂ©s, ils seront pourchassĂ©s pour ce dĂ©lit, ne parvenant pas Ă  faire reconnaĂźtre par le dĂ©partement de la DĂ©fense le contexte dans lequel les faits reprochĂ©s ont Ă©tĂ© commis.

Par ailleurs, d’un point de vue plus strictement formel, la sĂ©rie marque une Ă©volution (ou du moins y participe) dans la structure des personnages. Autrefois seul, tel un Colombo ou une Arabesque, le hĂ©ros se multiplie, ici par quatre, offrant plus de possibilitĂ©s d’identification au spectateur.


Chaque personnage est nettement marquĂ© dans ses singularitĂ©s, l’ensemble formant une Ă©quipe hĂ©tĂ©rogĂšne mais nĂ©anmoins soudĂ©e, oĂč tous les grands types de caractĂšres se reconnaĂźtront.

Cette formule d’Ă©criture des sĂ©ries coexistera nĂ©anmoins avec d’autres personnages isolĂ©s, tels Magnum ou MacGyver, mais elle continuera de se dĂ©velopper pour atteindre un casting Ă©tendu dans des sĂ©ries comparable Ă   Jump Street, Beverly Hills  ou Urgences. Dans ces derniers exemples, il est possible de voir apparaĂźtre une nĂ©buleuse de personnages, chacun dĂ©veloppant une histoire parallĂšle ou imbriquĂ©e avec celle des autres protagonistes.

De multiples spectateurs peuvent dĂ©sormais s’identifier Ă  un personnage en particulier, peu importe leur race, sexe, religion ou orientation sexuelle dans certains cas.

Enfin, pour les sĂ©ries plus rĂ©centes, une telle Ă©volution correspond peut-ĂȘtre aussi aux plans de carriĂšre des acteurs, qui profitent des sĂ©ries pour dĂ©velopper une carriĂšre au cinĂ©ma (tels Johnny Depp) ou pas (Jason Priestley).

Dans une telle perspective, les producteurs de la sĂ©rie ne peuvent se permettre d’interrompre une saison Ă  cause du dĂ©part du rĂŽle-titre. La multiplication des hĂ©ros offre une solution Ă  ce problĂšme, puisqu’une sĂ©rie peut se passer d’un personnage dont l’histoire dira qu’il est parti Ă  l’Ă©tranger, dĂ©cĂ©dĂ© ou quoi que ce soit qui explique son absence au gĂ©nĂ©rique.


Saisons une Ă  quatre


Les Ă©pisodes sont en gĂ©nĂ©ral construits sur des schĂ©mas trĂšs semblables. Le dĂ©but de l’Ă©pisode correspond Ă  la prise de contact entre un client qui est terrorisĂ© par une association de malfaiteurs ou un potentat local.

La maniĂšre classique de cette rencontre est que le client entre en contact alors qu’Hannibal Smith est dĂ©guisĂ©, afin de vĂ©rifier que le client n’est pas en rĂ©alitĂ© Ă  la solde des militaires.

Dans d’autres cas, l’Agence est en train de rouler et tombe sur quelqu’un qui a besoin d’aide. La plupart du temps, les honoraires pour l’intervention de l’Agence ne sont soit pas demandĂ©s, soit pas perçus ou sont rĂ©cupĂ©rĂ©s d’une autre maniĂšre (en prĂ©levant sur l’argent des malfaiteurs par exemple).

GĂ©nĂ©ralement, Looping n’est pas prĂ©sent dans l’Ă©quipe car il est internĂ© dans un hĂŽpital psychiatrique, et l’Agence utilise en gĂ©nĂ©ral FutĂ© pour aller le rĂ©cupĂ©rer grĂące Ă  divers stratagĂšmes.

Ou alors il s’Ă©vade de lui-mĂȘme pour aller rejoindre l’Agence. Dans beaucoup d’Ă©pisodes, il aime avoir un objet ou un animal qui ne le quitte pas jusqu’Ă  la fin, tel qu’un cafard, un homard, une chaussette, avec lequel il agace gĂ©nĂ©ralement Barracuda avec ses facĂ©ties.

Ensuite, l’Agence qui doit se rendre sur le lieu des crimes et dĂ©lits des malfaiteurs emprunte parfois l’avion, ce que Barracuda dĂ©teste particuliĂšrement auquel cas ils doivent l’endormir.

Une fois sur les lieux, il y a souvent une annonce d’Hannibal aux malfaiteurs indiquant qu’ils doivent dĂ©sormais compter avec eux. Cela produit en gĂ©nĂ©ral une bagarre sans armes que l’Agence gagne facilement, tout en laissant curieusement leurs ennemis s’Ă©chapper.

Peut-ĂȘtre dans l’espoir que ces derniers, impressionnĂ©s par les membres de l’Agence, abandonnent leurs entreprises malhonnĂȘtes et s’en aillent.

Les antagonistes reviennent et au lieu de tuer les membres de l’Agence, les laissent (souvent, sans mĂȘme les ligoter et/ou les bĂąillonner) dans une grange, un garage ou un entrepĂŽt, voire une mine.

PrivĂ©s de leurs armes, ils ont nĂ©anmoins Ă  leur disposition du matĂ©riel tel que de l’acĂ©tylĂšne, de la poudre, des tĂŽles et des tubes d’acier permettant Ă  Barracuda de bricoler des armes ou de refaire fonctionner un engin (voiture, tracteur…) ce qui leur permet de s’Ă©chapper, et d’arriver Ă  arrĂȘter les malfaiteurs.

Dans d’autres cas, Looping arrive Ă  prendre le contrĂŽle d’un hĂ©licoptĂšre, souvent sous le nez de son propriĂ©taire, ce qui permet de constituer un appui aĂ©rien non nĂ©gligeable.

L’arrestation finale des mĂ©chants se fait parfois par un combat Ă  mains nues, qui oppose toujours les mĂ©chants Ă  l’agence en respectant la hiĂ©rarchie (Hannibal contre le chef de l’Ă©quipe, Barracuda contre le noir ou le plus costaud des mĂ©chants), ou alors au terme d’une des innombrables poursuites homĂ©riques de la sĂ©rie, qui permettent Ă  chaque fois d’admirer les talents de pilote de Barracuda au volant de sa camionnette ou d’un bolide Ă©trange bricolĂ© par l’agence.

Ils doivent souvent partir rapidement aprĂšs l’arrestation des mĂ©chants pour Ă©chapper aux colonels Lynch ou Decker. Dans tous les cas, il n’y a en gĂ©nĂ©ral, mĂȘme avec l’utilisation d’armes de guerres mortelles, pas de personnes qui soient tuĂ©es, voire sĂ©rieusement blessĂ©es.

La plupart du temps, les ennemis sont sonnĂ©s, ou trĂšs lĂ©gĂšrement blessĂ©s (une douleur Ă  un membre ou Ă  la tĂȘte). Il n’y a eu, en tout et pour tout, que deux morts dans toute la sĂ©rie. Cette sĂ©rie est devenue pour cette raison un genre Ă  part entiĂšre dans la tĂ©lĂ©vision, puisque c’est la premiĂšre sĂ©rie violente Ă  avoir Ă©tĂ© diffusĂ©e aux heures de grande Ă©coute aux États-Unis justement en raison de l’absence, ou presque, de morts.

À ce titre, la sĂ©rie apparaĂźt quelquefois peu crĂ©dible, notamment dans l’Ă©pisode Tirez sur le Cheik, oĂč l’hĂ©licoptĂšre des mĂ©chants s’Ă©crase contre une falaise et que leurs occupants en ressortent indemnes.

CinquiĂšme saison

L’avant-derniĂšre saison perdant en popularitĂ©[rĂ©f. nĂ©cessaire], le format de la sĂ©rie a Ă©tĂ© changĂ© pour la derniĂšre saison (1986-1987).

AprĂšs avoir Ă©chappĂ© pendant des annĂ©es aux militaires, l’Agence tous risques est finalement arrĂȘtĂ©e. Ils ont le choix entre retourner en prison, ĂȘtre exĂ©cutĂ©s ou ĂȘtre affectĂ©s Ă  une agence gouvernementale dirigĂ©e par le gĂ©nĂ©ral Hunt Stockwell qui rĂ©alise des missions secrĂštes. Ils choisissent de travailler avec Stockwell.


ArrĂȘt de la sĂ©rie

Selon le producteur Stephen J. Cannell, la sĂ©rie s’est arrĂȘtĂ©e au bout de cinq ans parce qu’elle devenait de plus en plus chĂšre Ă  produire. Qui plus est, les acteurs George Peppard, Dirk Benedict et Mr. T Ă©taient de plus en plus dĂ©motivĂ©s (ce dernier avait d’ailleurs sa propre sĂ©rie, de 1988 Ă  1990).


L’Agence tous risques bĂ©nĂ©ficie de gĂ©nĂ©riques diffĂ©rents Ă  chaque saison, avec une accroche commune : « Il y a dix ans (en 1972), une unitĂ© de commando d’Ă©lite stationnĂ©e au ViĂȘt Nam fut envoyĂ©e en prison par un tribunal militaire, pour un crime qu’ils n’avaient pas commis.

Ces hommes s’Ă©vadĂšrent rapidement de leur prison militaire de haute sĂ©curitĂ©, se rĂ©fugiant dans les bas-fonds de Los Angeles. Aujourd’hui, encore recherchĂ©s par le gouvernement, ils fuient encore et toujours devant leurs poursuivants et survivent comme des mercenaires.

Si vous avez un problĂšme, si vous ĂȘtes seul, si personne ne peut vous aider, si vous ĂȘtes acculĂ©, si la justice ne peut plus rien pour vous, il vous reste un recours, un seul : l’Agence tous risques. »

Plus tard, au cours de la saison 2, l’accroche fut modifiĂ©e : « accusĂ©s d’un vol qu’ils n’ont pas commis, n’ayant aucun moyen d’en faire la preuve, ils fuient sans cesse devant leurs poursuivants. Pour subsister, ils emploient leurs compĂ©tences. Si la loi ne peut plus rien pour vous, il vous reste un recours, un seul : l’Agence tous risques. »









The Statler Brothers (sometimes referred to in country music circles as simply The Statlers) were an American country music, gospel, and vocal group. The quartet was founded in 1955 and began their career backing Johnny Cash.


The statler Brothers are DAILY played on RADIO SATELLITE2 ( click on Logo RS2, to listen) 

between 10h00 PM and Midnight Paris Time




Originally performing gospel music at local churches, the group billed themselves as The Four Star Quartet, and later The Kingsmen.

In 1963, when the song “Louie, Louie” by the garage rock band also called The Kingsmen became famous, the group elected to bill themselves as The Statler Brothers. Despite the name, only two members of the group (Don and Harold Reid) are actual brothers and none have the surname of Statler.


The band, in fact, named themselves after a brand of facial tissue they had noticed in a hotel room (they joked that they could have turned out to be the Kleenex Brothers).

Don Reid sang lead; Harold Reid, Don’s older brother, sang bass; Phil Balsley sang baritone; and Lew DeWitt sang tenor and was the guitarist of the Statlers before being replaced by Jimmy Fortune in 1983 due to DeWitt’s ill health.

DeWitt died on August 15, 1990, of heart and kidney disease, stemming from complications of Crohn’s disease.

The band’s style was closely linked to their gospel roots. “We took gospel harmonies,” said Harold Reid, “and put them over in country music.”

The group remained closely tied to their gospel roots, with a majority of their records containing at least one gospel song. They produced several albums containing only gospel music and recorded a tribute song to the Blackwood Brothers, who influenced their music. The Statler Brothers also wrote a tribute song to Johnny Cash, who discovered them. The song was called “We Got Paid by Cash”, and it reminisces about their time with Cash.

Very early on in the group’s history, before the group named themselves “The Statler Brothers,” Joe McDorman was their original lead singer.

The Statler Brothers started their career at a performance at Lyndhurst Methodist Church near their hometown of Staunton.

In 1964, they started to become Johnny Cash’s backing vocal for an 8 1⁄2-year run as his opening act.

This period of their career was memorialized in their song “We Got Paid by Cash”. They were featured regularly on Cash’s hit show The Johnny Cash Show on ABC. The show ran from 1969-1971. Due to their expanding career the Statlers left Cash’s entourage around the mid 1970s to pursue their own careers. They left Cash on good terms.

Two of their best-known songs are “Flowers on the Wall”, their first major hit that was composed and written by Lew DeWitt, and the socially conscious “Bed of Rose’s”. In the 1980s, the Statlers were a mainstay on The Nashville Network (TNN), where their videos were shown regularly. Also on TNN, between 1991 and 1998, they hosted their own show, The Statler Brothers Show, a weekly variety show which was the channel’s top-rated program for its entire run.

Their songs have been featured on several film soundtracks. These range from “Charlotte’s Web” in Smokey and the Bandit II, to “Flowers on the Wall” in the crime dramedy Pulp Fiction.

Throughout their career, much of their appeal was related to their incorporation of comedy and parody into their musical act, thanks in large part to the humorous talent of group member Harold Reid; they were frequently nominated for awards for their comedy as well as their singing. They recorded two comedy albums as Lester “Roadhog” Moran and the Cadillac Cowboys, and one-half of one side of the album Country Music Then and Now was devoted to satirizing small-town radio stations’ Saturday morning shows.

They earned the number one spot on the Billboard chart four times: for “Do You Know You Are My Sunshine?” in 1978; “Elizabeth” in 1984; and in 1985, “My Only Love” and “Too Much on My Heart”.


Since forming, the Statler Brothers have released over 40 albums.

The Statler Brothers purchased and renovated their former elementary school in Staunton, and occupied the complex for several years.

The complex consisted of offices for the group, a small museum and auditorium, as well as an adjacent building which served as office space for unrelated businesses. A garage was built to store the two tour buses that the group had used for many years. The group has since sold the building which has been converted back into a school.[citation needed]

In 1970, the group began performing at an annual Independence Day festival in Gypsy Hill Park in Staunton. The event, known as “Happy Birthday USA”, lasted for 25 years and included many country music figures including Mel Tillis, Charley Pride and many others. The event drew as many as 100,000 fans each year. The group also honored their hometown with the song “Staunton, Virginia” on their 1973 album Do You Love Me Tonight.




The group disbanded and retired after completing a farewell tour on October 26, 2002. Balsley and the Reid brothers continue to reside in Staunton, while Fortune relocated to Nashville, where he is continuing his music career as a solo artist. He has released three albums as a soloist. The Statlers continue to be one of the most awarded acts in the history of country music.

Since the Statlers’ retirement in 2002, Don Reid has pursued a second career as an author. He authored or co-authored three books: Heroes and Outlaws of the Bible, Sunday Morning Memories, and You’ll Know It’s Christmas When…. He and brother Harold co-wrote a history of the Statler Brothers titled Random Memories released in February 2008.

Grandstaff/Wilson Fairchild

Wil and Langdon Reid, the sons of Harold and Don respectively, formed a duo in the 1990s, originally performing under the name Grandstaff. In 2007, Grandstaff recorded “The Statler Brothers Song”, a tribute song to the Statler Brothers.

In an interview on Nashville’s WSM (AM) on March 25, 2010, Wil Reid said that they decided to change their name to Wilson Fairchild after many people got the name “Grandstaff” wrong during introductions. The name comes from “Wilson”, Wil’s middle name, and “Fairchild”, Langdon’s middle name.



Les Statler Brothers sont un groupe de musique country amĂ©ricain qui s’est formĂ© en 1955 dans la ville de Staunton en Virginie.

Originellement chanteurs de gospel dans les églises de leur état, les membres du groupe se sont ensuite attribué le surnom de « Four Stars » (Quatre étoiles) puis de Kingsmen.

Mais étant donné que le groupe The Kingsmen portait déjà ce nom, le groupe prit finalement le nom de Statler Brothers.

Le groupe avoua par la suite avoir pris ce nom en rĂ©fĂ©rence Ă  une marque de mouchoirs. En plaisantant, ils expliquĂšrent mĂȘme qu’ils auraient tout aussi bien pu s’appeler les Kleenex Brothers.

Le groupe se compose bel et bien de deux frĂšres, Don Reid (soliste) et Harold Reid (basse).

Les deux autres membres sont le baryton Phil Balsley et le tenor Jimmy Fortune, qui a remplacĂ© Lew DeWitt, l’un des fondateurs du groupe, lorsqu’il prit sa retraite, en 1982, afin de soigner la Maladie de Crohn, dont il souffrait depuis son adolescence, et dont les complications provoquĂšrent son dĂ©cĂšs en 1990.

Le style musical du groupe est resté tout au long de sa carriÚre trÚs proche de ses racines de gospel. Ainsi, Harold Reid expliqua que le groupe utilisa « les mélodies du gospel pour les transposer dans la musique country ».


Ainsi, la plupart des albums proposent des titres issus du gospel. Certains albums reposaient mĂȘme intĂ©gralement sur du gospel.

Les chansons des Statler Brothers sont apparues dans de nombreuses bandes originales de films ou de jeux vidéo. Ainsi, la chanson Flowers on the wall apparaßt dans Pulp Fiction de Quentin Tarantino, et les chansons Bed of Roses et New York City apparaissent dans le jeu vidéo Grand Theft Auto: San Andreas, sur la station K-Rose.

La carriĂšre du groupe a durĂ© 47 ans, depuis 1955 jusqu’en 2002, oĂč Don Reid, Harold Reid et Phil Balsley ont annoncĂ© leur retraite au cours d’une tournĂ©e d’adieu. Jimmy Fortune (en) continue depuis sa carriĂšre en solo.

La carriĂšre du groupe a dĂ©butĂ© dans la Lynhurst Methodist Church situĂ©e dans leur ville d’origine, Staunton.

En 1963 débuta une série de huit années de premiÚres parties dans les concerts de Johnny Cash. Cette premiÚre partie de carriÚre fut immortalisée dans leur chanson We were paid by cash (littéralement Nous étions payés cash).

Deux de leurs chansons les plus cĂ©lĂšbres sont Flowers on the wall, leur premier gros titre, et Bed of Roses qui firent tous deux l’objet d’un album portant le mĂȘme nom.

Dans les annĂ©es 1980, les Statlers comptĂšrent parmi les groupes les plus importants de la chaĂźne cĂąblĂ©e The Nashville Network oĂč leurs vidĂ©os Ă©taient rĂ©guliĂšrement diffusĂ©es. Entre 1991 et 1998, ils animĂšrent mĂȘme leur propre Ă©mission, le The Statler Brothers Show, diffusĂ© quotidiennement sur le TTN.


Le programme devint dĂšs lors l’Ă©mission la plus regardĂ©e de l’Ă©mission durant toute la durĂ©e de sa diffusion.

Tout au long de leur carriĂšre, leur succĂšs reposa tant sur leurs talents musicaux que sur leur talent pour la comĂ©die et la parodie qu’ils mettaient en Ɠuvres lorsqu’ils chantaient.

Ils Ă©taient ainsi souvent nominĂ©s pour des rĂ©compenses de comĂ©diens, autant que de chanteurs. Deux de leurs albums, Lester Moran et Cadillac Cowboys se voulaient fondamentalement comiques, et la moitiĂ© de l’album Country Music Then and Now Ă©tait consacrĂ© Ă  une satire des Ă©missions dominicales sur les petites radios locales.

Le groupe a atteint Ă  quatre reprises la tĂȘte du Classement du Billboard avec leurs chansons Do You Know You Are My Sunshine? en 1978, Elizabeth en 1982, My Only Love en 1984, et Too Much on My Heart en 1985. Au cours de leur carriĂšre, les Statler Brothers ont sorti plus de 40 albums.


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La carriÚre des Statler Brothers a été auréolée de trois Grammy Award : ceux de Best New Country and Western Artist, de Best New Country Music Artist et de Best Contemporary (R&R) Performance en 1965.

Le 29 octobre 2007, cinq annĂ©es aprĂšs sa derniĂšre tournĂ©e, le groupe a Ă©tĂ© officiellement intronisĂ© au Gospel Music Hall of Fame de Nashville dans le Tennessee. Le 12 fĂ©vrier 2008, l’entrĂ©e du groupe dans le Country Music Hall of Fame a Ă©tĂ© officiellement annoncĂ©e.