JERRY LEWIS


Jerry Lewis  (born Joseph Levitch; March 16, 1926) is an American actor, comedian, singer, film producer, film director, screenwriter and humanitarian. He is known for his slapstick humor in film, television, stage and radio.

Picture taken during the 60s of US comedian, direc

JERRY LEWIS

 

He and Dean Martin were partners as the hit popular comedy duo of Martin and Lewis. Following that success, he was a solo star in film, nightclubs, television, concerts and musicals. Lewis served as national chairman of the Muscular Dystrophy Association and hosted the live Labor Day broadcast of the Jerry Lewis MDA Telethon for 44 years.

Lewis has received several awards for lifetime achievements from the American Comedy Awards, Los Angeles Film Critics Association, Venice Film Festival, Academy of Motion Picture Arts and Sciences and been honored with two stars on the Hollywood Walk of Fame.

Early life

Lewis was born on March 16, 1926 in Newark, New Jersey to Russian Jewish parents His father, Daniel Levitch (1902–80), was a master of ceremonies and vaudeville entertainerwho used the professional name Danny Lewis.

His mother, Rachel (“Rae”) Levitch (née Brodsky),was a piano player for a radio station. Lewis started performing at age five and would often perform alongside his parents in the Catskill Mountains in New York State.

By 15, he had developed his “Record Act” in which he exaggeratedly mimed the lyrics to songs on a phonograph.

He used the professional name Joey Lewis but soon changed it to Jerry Lewis to avoid confusion with comedian Joe E. Lewis and heavyweight boxing champion Joe Louis. Lewis then dropped out of Irvington High School in the tenth grade. He was a “character” even in his teenage years pulling pranks in his neighborhood including sneaking into kitchens to steal fried chicken and pies. During World War II, he was rejected for military service because of a heart murmur.

 

Lewis initially gained attention as part of a double act with singer Dean Martin, who served as straight man to Lewis’ zany antics in the Martin and Lewis comedy team. The performers were different from most other comedy acts of the time because they relied on their interaction instead of planned skits. They quickly rose to national prominence, first with their popular nightclub act, next as stars of their own radio program.

The two men made many appearances on early live television, their first on the June 20, 1948, debut broadcast of Toast of the Town on CBS (later as The Ed Sullivan Show). This was followed on October 3, 1948, by an appearance on the NBC series Welcome Aboard, then a stint as the first of a series of hosts of The Colgate Comedy Hour in 1950.

The duo began their Paramount film careers as ensemble players in My Friend Irma (1949), based on the popular radio series of the same name. This was followed by a sequel My Friend Irma Goes West (1950).

 

Jerry Lewis MDA Telethon

Dean Martin / Franck Sinatra / Jerry Lewis

 

Starting with At War with the Army (1950), Martin and Lewis were the stars of their own vehicles in fourteen additional titles, That’s My Boy (1951), Sailor Beware (1952), Jumping Jacks (1952), (plus appearing in the Crosby and Hope film, Road to Bali (1952) as cameos) The Stooge (1952), Scared Stiff (1953), The Caddy (1953), Money from Home (1953), Living It Up (1954), 3 Ring Circus (1954), You’re Never Too Young (1955), Artists and Models (1955) and Pardners (1956) at Paramount, ending with Hollywood or Bust (1956).

All sixteen movies were produced by Hal B. Wallis. Attesting the comedy team’s popularity, DC Comics published the best-selling The Adventures of Dean Martin and Jerry Lewis comics from 1952 to 1957. As Martin’s roles in their films became less important over time the partnership came under strain. Martin’s participation became an embarrassment in 1954 when Look magazine used a publicity photo of the team for the magazine cover but cropped Martin out of the photo.The partnership ended on July 24, 1956.

While both Martin and Lewis went on to successful solo careers, neither would comment on the split nor consider a reunion. They did however make occasional public appearances together up until 1961, but were not seen together again until a surprise television appearance by Martin on a Muscular Dystrophy Telethon in 1976, arranged by Frank Sinatra.

The pair eventually reconciled in the late 1980s after the death of Martin’s son, Dean Paul Martin, in 1987.

The two men were seen together on stage for the last time when Martin was making what would be his final live performance at Bally’s Hotel and Casino in Las Vegas. Lewis pushed out a birthday cake for Martin’s 72nd birthday in 1989 and sang “Happy Birthday” to him, and joking, “why we broke up, I’ll never know.”

Solo

After the split from Martin, Lewis remained at Paramount and became a comedy star in his own right with his first film as a solo comic, The Delicate Delinquent (1957). Meanwhile, DC Comics published a new comic book series The Adventures of Jerry Lewis from 1957 to 1971. Teaming with director Frank Tashlin, whose background as a Warner Bros. Looney Tunes cartoon director suited Lewis’s brand of humor, he starred in five more films, The Sad Sack (1957), Rock-A-Bye Baby (1958), The Geisha Boy (1958), Don’t Give Up The Ship (1959) and even appeared uncredited as Itchy McRabbitt in Li’l Abner (1959).

Lewis tried his hand at releasing music during the 1950s, having a chart hit with the song “Rock-a-Bye Your Baby with a Dixie Melody” (a song largely associated with Al Jolson and later re-popularized by Judy Garland) as well as the song, “It All Depends on You” in 1958. He eventually released his own album titled, Jerry Lewis Just Sings.

By the end of his contract with producer Hal B. Wallis, Lewis had several productions of his own under his belt. In 1959, a contract between Paramount Pictures and Jerry Lewis Productions was signed specifying a payment of $10 million plus 60% of the profits for 14 films over a seven-year period.

In 1960, Lewis finished his contract with Wallis with Visit to a Small Planet (1960), and wrapped up work on his own production, Cinderfella, which was postponed for a Christmas 1960 release, and Paramount, needing a quickie feature film for its summer 1960 schedule, held Lewis to his contract to produce one. Lewis came up with The Bellboy (1960). Using the Fontainebleau Hotel in Miami as his setting—and on a small budget, with a very tight shooting schedule, and no script—Lewis shot the film by day and performed at the hotel in the evenings. Bill Richmond collaborated with him on the many sight gags. Lewis later revealed that Paramount was not happy financing a ‘silent movie’ and withdrew backing. Lewis used his own funds to cover the $950,000 budget.

During production Lewis developed the technique of using video cameras and multiple closed circuit monitors, which allowed him to review his performance instantly.

 

His techniques and methods, documented in his book and his USC class, enabled him to complete most of his films on time and under budget.

Lewis followed The Bellboy by directing several more films that he co-wrote with Richmond while some were directed by Tashlin, including The Ladies Man (1961), The Errand Boy (1961), It’s Only Money (1962) and The Nutty Professor (1963). Lewis did a cameo in It’s a Mad, Mad, Mad, Mad World (1963).

Further Lewis films were Who’s Minding the Store? (1963), The Patsy (1964) and The Disorderly Orderly (1964).

Lewis directed and co-wrote The Family Jewels (1965) about a young heiress who must choose among six uncles, one of whom is up to no good and out to harm the girl’s beloved bodyguard who practically raised her. Lewis played all six uncles and the bodyguard. On television, Lewis hosted two different programs called The Jerry Lewis Show. The first was a two-hour Saturday night variety show on ABC in the fall of 1963. The lavish, big-budget production failed to find an audience and was canceled after 13 weeks. His second program was a one-hour variety show on NBC from 1967 to 1969.

By 1966, Lewis, then 40, was no longer an angular juvenile, his routines seemed more labored and his box office appeal waned to the point where Paramount Pictures new executives felt no further need for the Lewis comedies and did not wish to renew his 1959 profit sharing contract. Undaunted, Lewis packed up and went to Columbia Pictures, where he made Three On A Couch (1966), then appeared in Way…Way Out (1966) for 20th Century Fox followed by The Big Mouth (1967), Don’t Raise the Bridge, Lower the River (1968) and Hook, Line & Sinker (1969).

Lewis taught a film directing class at the University of Southern California in Los Angeles for a number of years; his students included Steven Spielberg and George Lucas.]

In 1968, he screened Spielberg’s early film, Amblin’ and told his students, “That’s what filmmaking is all about.”

Lewis directed and made his first offscreen voice performance as a bandleader in One More Time (1970), which starred Sammy Davis Jr. (a friend of Lewis). He then produced, directed and starred in Which Way to the Front? (1970).

He would then make and star in the unreleased The Day the Clown Cried (1972), a drama set in a Nazi concentration camp.

Lewis rarely discusses the film, but once suggested that litigation over post-production finances prevented the film’s completion and release. However, he admitted during his book tour for Dean and Me that a major factor for the film’s burial is that he is not proud of the effort. In 1976, Lewis appeared in a revival of Hellzapoppin’ with Lynn Redgrave, but it closed on the road before reaching Broadway.

After an absence of 11 years, Lewis returned to film in Hardly Working (1981), a movie in which he both directed and starred.

Despite being panned by critics, the movie eventually earned $50 million. Lewis next appeared in Martin Scorsese‘s film The King of Comedy (1983), in which he portrayed a late-night television host plagued by two obsessive fans, played by Robert De Niro and Sandra Bernhard. Lewis also appeared in Cracking Up (1983) and Slapstick (Of Another Kind) (1984).

In France, Lewis starred in both To Catch a Cop a.k.a. “The Defective Detective” (1984) and How Did You Get In?, We Didn’t See You Leave (1984). Lewis has stated that as long as he has control over distribution of those movies, they will never have an American release. Meanwhile, a syndicated talk show Lewis hosted for Metromedia in 1984 was not continued beyond the scheduled five shows. Lewis starred in the ABC televised drama movie Fight For Life (1987) with Patty Duke, then appeared in Cookie (1989).

Lewis had a cameo in Mr. Saturday Night (1992) while guest appearing in an episode of Mad About You as an eccentric billionaire. Lewis made his Broadway debut, as a replacement cast member playing the devil in a revival of Damn Yankees, choreographed by future movie director Rob Marshall (Chicago) while also starring in the film Arizona Dream (1994), as a car salesman uncle. Lewis then starred as a father of a young comic in Funny Bones (1995).

 

In March 2006, the French Minister of Culture awarded Lewis the Légion d’honneur, calling him the “French people’s favorite clown” Lewis has remained popular in the country, evidenced by consistent praise by French critics in the influential magazine Cahiers du Cinéma for his absurd comedy, in part because he had gained respect as an auteur who had total control over all aspects of his films, comparable to Howard Hawks and Alfred Hitchcock.

Liking Lewis has long been a common stereotype about the French in the minds of many English-speakers, and is often the object of jokes in English-speaking world pop culture.

“That Americans can’t see Jerry Lewis’s genius is bewildering,” says N. T. Binh, a French film magazine critic. Such bewilderment was the basis of the book Why the French Love Jerry Lewis, by Rae Beth Gordon

In 2012, Lewis directed a musical theatre version of The Nutty Professor (with score by Marvin Hamlisch) at the Tennessee Performing Arts Center in Nashville from July 31 to August 19 over the summer. Lewis appeared in the Brazilian film Till Luck Do Us Part 2 (2013), then next in a small role in the crime drama The Trust (2016). Lewis made a comeback in a lead role in Max Rose (2016).

In an October 6, 2016 interview with Inside Edition, Lewis acknowledged that he may not star in any more films given his advanced age, while admitting, through tears, that he was afraid of dying as it would leave his wife and daughter alone.] In December of that year, he expressed interest in making another film.

Lewis has been married twice:

  • Patti Palmer (née Esther Grace Calonico), a former singer with Ted Fio Ritomarried October 3, 1944, divorced September 1980[
  • SanDee Pitnick; married February 13, 1983; a 32-year-old Las Vegas dancer; married in Key Biscayne, Florida

He has six sons (one adopted) and one daughter (adopted):

With Patti Palmer

  • Gary Lewis(born July 31, 1945); known for his 1960s pop group Gary Lewis & the Playboys
  • Ronald Steven “Ronnie” Lewis (born December 1949 [adopted])
  • Scott Anthony Lewis (born February 22, 1956)
  • Christopher Lewis (born October 1957)
  • Anthony Lewis (born October 1959)
  • Joseph Lewis (born January 1964, died October 24, 2009 [from a narcoticsoverdose])[36]

With SanDee Pitnick

  • Danielle Sara Lewis (adopted March 1992)

Lewis has suffered from a number of illnesses and addictions related both to aging and a back injury sustained in a comedic pratfall from a piano while performing at the Sands Hotel on the Las Vegas Strip on March 20, 1965.

The accident almost left him paralyzed. In its aftermath, Lewis became addicted to the painkiller Percodan for thirteen years

He says he has been off the drug since 1978.] In April 2002, Lewis had a Medtronic “Synergy” neurostimulator implanted in his back which has helped reduce the discomfort. He is now one of the company’s leading spokesmen.

In the 2011 documentary Method to the Madness of Jerry Lewis, Lewis said he suffered his first heart attack while filming Cinderfella in 1960.

In December 1982, Lewis suffered another heart attack. En route to San Diego from New York City on a cross-country commercial airline flight on June 11, 2006, he sustained a minor heart attack .

It was discovered that he had pneumonia as well as a severely damaged heart. He underwent a cardiac catheterization and two stents were inserted into one of his coronary arteries, which was 90% blocked. The surgery resulted in increased blood flow to his heart and has allowed him to continue his rebound from earlier lung problems. Having the cardiac catheterization meant canceling several major events from his schedule, but Lewis fully recuperated in a matter of weeks.

In 1999, Lewis’ Australian tour was cut short when he had to be hospitalized in Darwin with viral meningitis. He was ill for more than five months. It was reported in the Australian press that he had failed to pay his medical bills. However, Lewis maintained that the payment confusion was the fault of his health insurer. The resulting negative publicity caused him to sue his insurer for US$100 million

Lewis has had prostate cancerdiabetespulmonary fibrosis and a decades-long history of heart diseasePrednisone  treatment in the late 1990s for pulmonary fibrosis resulted in weight gain and a noticeable change in his appearance.

In September 2001, Lewis was unable to perform at a planned London charity event at the London Palladium.

 

He was the headlining act, and he was introduced, but did not appear. He had suddenly become unwell, apparently with heart problems. He was subsequently taken to the hospital. Some months thereafter, Lewis began an arduous, months-long therapy that weaned him off prednisone and enabled him to return to work. On June 12, 2012, he was treated and released from a hospital after collapsing from hypoglycemia at a New York Friars’ Club event. This latest health issue forced him to cancel a show in Sydney.

Muscular dystrophy activism

Throughout his entire life and prolific career, Lewis was a world renowned humanitarian who has supported fundraising for research into muscular dystrophy. Until 2011, he served as national chairman of and spokesman for the Muscular Dystrophy Association (MDA) (formerly, the Muscular Dystrophy Associations of America).

Lewis began hosting telethons to benefit the company from 1952 to 1959, then every Labor Day weekend from 1966 to 2010, he hosted the live annual Jerry Lewis MDA Telethon. Over nearly half a century, he raised over $2.6 billion in donations for the cause.

 

On August 3, 2011, it was announced that Lewis would no longer host the MDA telethons[56] and is no longer associated with the Muscular Dystrophy Association

On May 1, 2015, it was announced that in view of “the new realities of television viewing and philanthropic giving”, the telethon was being discontinued.

] In early 2016, Lewis made an online video statement for the organization on its website, in honor of its rebranding, marking his first appearance in support of the Muscular Dystrophy Association since his final Labor Day Telethon in 2010 and the ending of his tenure as national chairman in 2011.

Theater chain

 

In 1969, Lewis agreed to lend his name to “Jerry Lewis Cinemas”, offered by National Cinema Corporation as a franchise business opportunity for those interested in theatrical movie exhibition. Jerry Lewis Cinemas stated that their theaters could be operated by a staff of as few as two with the aid of automation and support provided by the franchiser in booking films and in other aspects of film exhibition.

A forerunner of the smaller rooms typical of later multi-screen complexes, a Jerry Lewis Cinema was billed in franchising ads as a “mini-theatre” with a seating capacity of between 200 and 350. In addition to Lewis’s name, each Jerry Lewis Cinema bore a sign with a cartoon logo of Lewis in profile.

Initially 158 territories were franchised, with a buy-in fee of $10,000 or $15,000 depending on the territory, for what was called an “individual exhibitor”. For $50,000, the Jerry Lewis Cinemas offered an opportunity known as an “area directorship”, in which investors controlled franchising opportunities in a territory as well as their own cinemas.

The success of the chain was hampered by a policy of only booking second-run, family-friendly films. Eventually the policy was changed, and the Jerry Lewis Cinemas were allowed to show more competitive films, but after a decade the chain failed. Both Lewis and National Cinema Corp. declared bankruptcy in 1980.

Jerry’s House

In 2010, Lewis met with 7-year-old Lochie Graham who shared his idea for “Jerry’s House”, a place for vulnerable and traumatized children. The Australian charity hope2Day is raising funds to build the facility in Melbourne, Australia.

 

 

 

SOURCES : WIKIPEDIA

 

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Wonderful


Below this picture,  a video tracing the evolution of dance ( the 20th century)

dance_marathon_1923

 

Sources : shared.com

Comment écouter de la belle musique en 2016


Il fut une époque où les gens achetaient des albums… Avant le CD, c’était les disques Vinyls dits “Long Play / LP ” ou 33 tous Donc arriva l’époque où Polygram (Contra…

Source : Comment écouter de la belle musique en 2016

Comment écouter de la belle musique en 2016


WEBRADIO RADIOSATELLITE

WEBRADIO RADIOSATELLITE

Il fut une époque où les gens achetaient des albums…
Avant le CD, c’était les disques Vinyls dits “Long Play / LP ” ou 33 tous

Donc arriva l’époque où Polygram (Contraction de Phonogram et Polydor )( 2 marques d’éditions musicales de la maison mère PHILIPS) lança le CD ( vers 1980 )

Polygram étant le mariage des allemands ( Polydor ) et Phonogram (Pays bas)
Les japonais n’étaient pas en reste…A partir de leur île, ils ont lancé auss des tests via SONY MUSIC ( EX CBS Music ) rachetée aux USA

Donc acheter des albums en CD étaient “encore à la mode” même si d’aucuns préféraient le LP : Le plaisir d’avoir une couverture / pochette d’album ( belle photo ); les photographes et artistes pouvaient exprimer leurs désirs via de grandes belles images.. Chose que le CD a relegué au 2e plan… La couverture étant “trop petite pour être appréciée artistiquement”

 

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Par la suite, ce fut progressivement, l’explosion du dématérialisé : Le MP3

Nous passâmes de l’achat de l’album entier… Souvent pour 12 titres, seuls 4 ou 5 maxi nous interessaient…Les autres, c’était 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 économie d’argent !!

Ce qui était vrai. Oui.

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

Du coup… Bien que le rôle des radios fut primordial, les années 50 60 70 80 et 90…. Ce rôle fut encore plus vital…Le citoyen auditeur ne pouvait découvrir 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 interessés par 1 ou 2 titres”.. VRAI

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

Il faut préciser ici : Qu’écouter un extrait de titre est possible évidemment sur les plateformes de ventes.. Mais par expérience, lorsque l’acheteur de musique “passe à l’action” c’est après avoir écouté ce titre …4… 5 ou 10 fois …Le temps de bien assimiler ce nouveau titre découvert…Le temps aussi qu’il entende son entourage, les médias…en parler.. Donc c’est un tout…

Rares sont les achats qui se font suite à une seule écoute d’extrait ou sur coup de tête.

Du coup… L’explosion du numérique a engendré aussi l’explosion des RADIOS NUMERIQUES dont nous en faisons partie au sein de RADIO SATELLITE2

cropped-logo-rs2-257-x-157-with-website.jpg

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

1) Nous n’avons pas de limite Géographique: Contrairement aux ancêtres de la radio FM : Nous diffusons de la musique sur toute la planète… Sans aucune limite…Là où internet existe..Nous existons. D’ailleurs, même les radios FM ont crée par la suite,  leurs webradios aussi.

Donc pas d’antennes… Pas de contraintes musicales…

Résultat ? Nos musiques ( du moins au sein de RADIO SATELLITE2 ) : chansons francophones ( Belges, acadiennes,Suisses…) Américaines, 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 achète.. On diffuse.

2) Autre avantage? Notre INDEPENDANCE: Nous ne sommes PAS des radios commerciales. Donc pas d’actionnaires, pas de compte à rendre à des actionnaires, pas de publicités, pas de jeux SMS où la question est souvent simpliste…Donc réponse aussi facile…Le but étant 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 frontières géographiques et sans langue unique ( Nos animations sont faites en Anglais et en Français )

Reste LA question que de nombreuses personnes pose : Comment vous écouter? 🙂

Facile: Si vous êtes dans votre bureau: face à l’ordi: Notre site:
http://radiosatellite.co

En cliquant sur le logo bleu , en haut , à droite…Vous êtes redirigés sur une autre site . Là, cliquez sur le lecteur et voilà la musique. RIEN A INSTALLER

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

Nous vous conseillons vivement d’installer sur votre téléphone (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 à partir des APPLE STORE / GOOGLE STORE ou GOOGLE PLAY )

Comme vous avez déjà , sans doute, installé d’autres applications sur votre téléphone… Soit par la méthode 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’à ouvrir le site mais en cliquant dessus via votre connection mobile, vous pourrez installer l’appli selon votre marque utilisée)

 

Si vous possédez un IPHONE / IPAD :
https://itunes.apple.com/us/app/radio-satellite2/id975597379?mt=8

Si vous possédez un ANDROID ( SAMSUNG et certaines autres marques): Voir le store: ce doit être GOOGLE
https://play.google.com/store/apps/details?id=com.nobexinc.wls_80172696.rc

Si vous possédez un BLACKBERRY
https://appworld.blackberry.com/webstore/content/59955997/?countrycode=FR&lang=en

Donc facile.. Simple de nous écouter en final…

N’hésitez pas surtout que grâce à Radio Satellite2, vous pourrez découvrir des horizons que les radios traditionnelles ne vous permettent pas.

En espérant vous retrouver parmi nos fidèles auditeurs (déjà plus de 300 000 fidèles auditeurs de par le monde, sans compter ceux qui nous écoutent de temps en temps… )

Banjo and Bluegrass


  Amaizing / Fantastic

Superbe et fabuleux

Kids playing bluegrass / Des enfants jouant du Bluegrass

 

 

banjo

MOSTLY FOLK on RS2


Do you like Folk music?

Do you like great musical programs?

You will LOVE : “Mostly Folk”

 

 

 

Every :  SATURDAY  & MONDAY at 03h00 AM Paris Time ( Fridays & Sundays 08h00 PM US central time  09H00 pm Eastern)

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THE A TEAM & GEORGE PEPPARD


ARTICLE IN ENGLISH FIRST

ARTICLE IN FRENCH AFTER

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 1

 

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.

Casting

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 série télévisée américaine en 98 épisodes de 45 minutes, créée par Frank Lupo et Stephen J. Cannell, diffusée entre le 23 janvier 19831 et le 8 mars 1987 sur le réseau NBC.

En France, les saisons 1 à 4 ont été diffusées à partir du 1er juillet 1984 sur TF12. Diffusion de la saison 5 inédite du 5 février 19963 au 16 février 19964 sur TF1. Rediffusion intégrale du 6 juillet 20025 au 8 mai 20046 sur M6. Puis en 20037 sur 13e rue, de juin 2010 à août 2013 sur TMC ainsi qu’à partir du 16 décembre 2013 jusqu’en juillet 2014 sur HD1 et depuis le 19 février 2015 sur Paris Première.

Le 16 juin 2010, un film du même nom est commercialisé par 20th Century Fox8.

 

 

 

 

Pendant la guerre du Viêt Nam, le chef hiérarchique de l’Agence tous risque, le général Morrison, leur a donné l’ordre de voler la banque de Hanoï afin de précipiter la fin de la guerre. La mission est un succès, mais quatre jours après la fin de la guerre, ils retrouvent le général assassiné par les Viet Cong, le quartier général étant entièrement brûlé. Par conséquent, 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 à la prison. Incarcérés aux États-Unis, ils s’évadent rapidement et mènent désormais une vie de mercenaires au service « de la veuve et de l’orphelin », combattant les injustices locales.

Distribution

Acteurs principaux

George Peppard  : colonel John « Hannibal » Smith

Dirk Benedict  : lieutenant Peck « Futé » Templeton (VO : « Face ») (à partir de l’épisode 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 été créée par les producteurs américains Stephen J. Cannell et Frank Lupo à la demande du président du réseau NBC, Brandon Tartikoff.

Stephen J. Cannell a été renvoyé de chez ABC au début des années 1980, après avoir échoué dans sa tentative de produire une émission à succès pour la chaîne. Cannell est engagé à la NBC et son premier projet était de créer L’Agence tous risques.

Brandon Tartikoff considère l’émission comme un mélange 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’était, au départ, pas considérée comme une future série à succès, mais Stephen J. Cannell explique que George Peppard était persuadé qu’elle deviendrait un succès « avant même que l’on allume la caméra »13. L’émission se popularise ; le premier épisode, diffusée juste après le Super Bowl XVII le 30 janvier 1983, atteint 26,4 % de l’audience sur la chaîne, le classant ainsi quatrième sur l’Échelle de Nielsen.

Le titre original de la série vient des « Special Forces » (SF, « forces spéciales »), que les américains surnomment A-Teams et populairement connues sous le surnom des « bérets verts » (green berets), qui sont une des forces spéciales de l’US Army.

Spécialisées dans la guerre non conventionnelle, les actions commandos et la formation de troupes alliées, elles ont, depuis leur création au début des années 1950, été engagées dans la plupart des conflits impliquant les États-Unis.

La série s’inscrit dans un contexte particulier aux États-Unis, qui voit apparaître divers avatars de vétérans de la guerre du Viêt Nam, comme le détective privé Thomas Magnum ou le sergent T.J. Hooker.

 

 

Rapatriés après la fin officielle de la guerre, en 1975, de très 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 extrêmement fragiles, d’autre part, à la frustration patriotique de la population s’est ajouté le rejet de soldats dont l’opinion publique découvrit brusquement les techniques de combat.

En effet, si l’Amérique moyenne soutenait la guerre au début des années 1960, dans un contexte de guerre froide, il en allait tout autrement quinze ans plus tard.

Les milliers de morts et de blessés dans le camp américain ne trouvaient plus aucun sens dans l’opinion publique, tandis que de nombreux journalistes révélaient la nature des combats, opposant des soldats lourdement armés à des combattants mêlés à la population.

Des photos d’enfants brûlés au napalm ont tôt fait de retourner le peuple américain contre une guerre jugée mal préparée, idéologiquement discutée et grande consommatrice d’hommes et d’argent public.

Dans ce contexte d’après-guerre, la société américaine rejette les vétérans du Viêt Nam, une attitude illustrée notamment par la chanson Born in the USA de Bruce Springsteen, le film Rambo ou plus tard le film Né un 4 juillet avec Tom Cruise.

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

Évadés, ils seront pourchassés pour ce délit, ne parvenant pas à faire reconnaître par le département de la Défense le contexte dans lequel les faits reprochés ont été commis.

Par ailleurs, d’un point de vue plus strictement formel, la série marque une évolution (ou du moins y participe) dans la structure des personnages. Autrefois seul, tel un Colombo ou une Arabesque, le héros se multiplie, ici par quatre, offrant plus de possibilités d’identification au spectateur.

 

Chaque personnage est nettement marqué dans ses singularités, l’ensemble formant une équipe hétérogène mais néanmoins soudée, où tous les grands types de caractères se reconnaîtront.

Cette formule d’écriture des séries coexistera néanmoins avec d’autres personnages isolés, tels Magnum ou MacGyver, mais elle continuera de se développer pour atteindre un casting étendu dans des séries comparable à  Jump Street, Beverly Hills  ou Urgences. Dans ces derniers exemples, il est possible de voir apparaître une nébuleuse de personnages, chacun développant une histoire parallèle ou imbriquée avec celle des autres protagonistes.

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

Enfin, pour les séries plus récentes, une telle évolution correspond peut-être aussi aux plans de carrière des acteurs, qui profitent des séries pour développer une carrière au cinéma (tels Johnny Depp) ou pas (Jason Priestley).

Dans une telle perspective, les producteurs de la série ne peuvent se permettre d’interrompre une saison à cause du départ du rôle-titre. La multiplication des héros offre une solution à ce problème, puisqu’une série peut se passer d’un personnage dont l’histoire dira qu’il est parti à l’étranger, décédé ou quoi que ce soit qui explique son absence au générique.

 

Saisons une à quatre

 

Les épisodes sont en général construits sur des schémas très semblables. Le début de l’épisode correspond à la prise de contact entre un client qui est terrorisé par une association de malfaiteurs ou un potentat local.

La manière classique de cette rencontre est que le client entre en contact alors qu’Hannibal Smith est déguisé, afin de vérifier que le client n’est pas en réalité à 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 demandés, soit pas perçus ou sont récupérés d’une autre manière (en prélevant sur l’argent des malfaiteurs par exemple).

Généralement, Looping n’est pas présent dans l’équipe car il est interné dans un hôpital psychiatrique, et l’Agence utilise en général Futé pour aller le récupérer grâce à divers stratagèmes.

Ou alors il s’évade de lui-même pour aller rejoindre l’Agence. Dans beaucoup d’épisodes, il aime avoir un objet ou un animal qui ne le quitte pas jusqu’à la fin, tel qu’un cafard, un homard, une chaussette, avec lequel il agace généralement Barracuda avec ses facéties.

Ensuite, l’Agence qui doit se rendre sur le lieu des crimes et délits des malfaiteurs emprunte parfois l’avion, ce que Barracuda déteste particulièrement 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 désormais compter avec eux. Cela produit en général une bagarre sans armes que l’Agence gagne facilement, tout en laissant curieusement leurs ennemis s’échapper.

Peut-être dans l’espoir que ces derniers, impressionnés par les membres de l’Agence, abandonnent leurs entreprises malhonnêtes et s’en aillent.

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

Privés de leurs armes, ils ont néanmoins à leur disposition du matériel tel que de l’acétylène, de la poudre, des tôles et des tubes d’acier permettant à Barracuda de bricoler des armes ou de refaire fonctionner un engin (voiture, tracteur…) ce qui leur permet de s’échapper, et d’arriver à arrêter les malfaiteurs.

Dans d’autres cas, Looping arrive à prendre le contrôle d’un hélicoptère, souvent sous le nez de son propriétaire, ce qui permet de constituer un appui aérien non négligeable.

L’arrestation finale des méchants se fait parfois par un combat à mains nues, qui oppose toujours les méchants à l’agence en respectant la hiérarchie (Hannibal contre le chef de l’équipe, Barracuda contre le noir ou le plus costaud des méchants), ou alors au terme d’une des innombrables poursuites homériques de la série, qui permettent à chaque fois d’admirer les talents de pilote de Barracuda au volant de sa camionnette ou d’un bolide étrange bricolé par l’agence.

Ils doivent souvent partir rapidement après l’arrestation des méchants pour échapper aux colonels Lynch ou Decker. Dans tous les cas, il n’y a en général, même avec l’utilisation d’armes de guerres mortelles, pas de personnes qui soient tuées, voire sérieusement blessées.

La plupart du temps, les ennemis sont sonnés, ou très légèrement blessés (une douleur à un membre ou à la tête). Il n’y a eu, en tout et pour tout, que deux morts dans toute la série. Cette série est devenue pour cette raison un genre à part entière dans la télévision, puisque c’est la première série violente à avoir été diffusée aux heures de grande écoute aux États-Unis justement en raison de l’absence, ou presque, de morts.

À ce titre, la série apparaît quelquefois peu crédible, notamment dans l’épisode Tirez sur le Cheik, où l’hélicoptère des méchants s’écrase contre une falaise et que leurs occupants en ressortent indemnes.

Cinquième saison

L’avant-dernière saison perdant en popularité[réf. nécessaire], le format de la série a été changé pour la dernière saison (1986-1987).

Après avoir échappé pendant des années aux militaires, l’Agence tous risques est finalement arrêtée. Ils ont le choix entre retourner en prison, être exécutés ou être affectés à une agence gouvernementale dirigée par le général Hunt Stockwell qui réalise des missions secrètes. Ils choisissent de travailler avec Stockwell.

 

Arrêt de la série

Selon le producteur Stephen J. Cannell, la série s’est arrêtée au bout de cinq ans parce qu’elle devenait de plus en plus chère à produire. Qui plus est, les acteurs George Peppard, Dirk Benedict et Mr. T étaient de plus en plus démotivés (ce dernier avait d’ailleurs sa propre série, de 1988 à 1990).

Générique

L’Agence tous risques bénéficie de génériques différents à chaque saison, avec une accroche commune : « Il y a dix ans (en 1972), une unité de commando d’élite stationnée au Viêt Nam fut envoyée en prison par un tribunal militaire, pour un crime qu’ils n’avaient pas commis.

Ces hommes s’évadèrent rapidement de leur prison militaire de haute sécurité, se réfugiant dans les bas-fonds de Los Angeles. Aujourd’hui, encore recherchés par le gouvernement, ils fuient encore et toujours devant leurs poursuivants et survivent comme des mercenaires.

Si vous avez un problème, si vous êtes seul, si personne ne peut vous aider, si vous êtes acculé, 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 modifiée : « accusés 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 compétences. Si la loi ne peut plus rien pour vous, il vous reste un recours, un seul : l’Agence tous risques. »

 

 

GEORGE PEPPARD

 

 

 

SOURCES WIKIPEDIA

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THE STATLER BROTHERS


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.

 

 

Retirement

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.

 

FRENCH VERSION

Les Statler Brothers sont un groupe de musique country américain qui s’est formé 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 référence à une marque de mouchoirs. En plaisantant, ils expliquèrent même qu’ils auraient tout aussi bien pu s’appeler les Kleenex Brothers.

 

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

Les deux autres membres sont le baryton Phil Balsley et le tenor Jimmy Fortune, qui a remplacé 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 provoquèrent son décès en 1990.

Le style musical du groupe est resté tout au long de sa carrière très 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 même intégralement 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 apparaît 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 carrière du groupe a duré 47 ans, depuis 1955 jusqu’en 2002, où Don Reid, Harold Reid et Phil Balsley ont annoncé leur retraite au cours d’une tournée d’adieu. Jimmy Fortune (en) continue depuis sa carrière en solo.

La carrière du groupe a débuté dans la Lynhurst Methodist Church située dans leur ville d’origine, Staunton.

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

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

Dans les années 1980, les Statlers comptèrent parmi les groupes les plus importants de la chaîne câblée The Nashville Network où leurs vidéos étaient régulièrement diffusées. Entre 1991 et 1998, ils animèrent même leur propre émission, le The Statler Brothers Show, diffusé quotidiennement sur le TTN.

 

Le programme devint dès lors l’émission la plus regardée de l’émission durant toute la durée de sa diffusion.

Tout au long de leur carrière, leur succès reposa tant sur leurs talents musicaux que sur leur talent pour la comédie et la parodie qu’ils mettaient en œuvres lorsqu’ils chantaient.

Ils étaient ainsi souvent nominés pour des récompenses de comédiens, autant que de chanteurs. Deux de leurs albums, Lester Moran et Cadillac Cowboys se voulaient fondamentalement comiques, et la moitié de l’album Country Music Then and Now était consacré à une satire des émissions dominicales sur les petites radios locales.

Le groupe a atteint à quatre reprises la tête 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 carrière, les Statler Brothers ont sorti plus de 40 albums.

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La carrière 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 années après sa dernière tournée, le groupe a été officiellement intronisé au Gospel Music Hall of Fame de Nashville dans le Tennessee. Le 12 février 2008, l’entrée du groupe dans le Country Music Hall of Fame a été officiellement annoncée.

 

SOURCES WIKIPEDIA

2016 RADIO FORUM / SALON DE LA RADIO 2016 PARIS


Voici un clip résumé sur le salon de la radio 2016

Here is a musical video resuming the 2016 Radio’s exhibition organized in “la Villette Paris”  the  31s Jan / 01st Feb / 02nd Feb

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Once upon a time


Once Upon a Time is an American fairy tale dramatic series that premiered on October 23, 2011, on ABC. The show takes place in the fictional seaside town of Storybrooke, Maine, whose residents are characters from various fairy tales transported to the “real world” town and robbed of their real memories by a powerful curse.

Episodes typically feature a primary storyline in Storybrooke, as well as a secondary storyline from another point in a character’s life before the curse was enacted.

It borrows elements and characters from Disney films, including Snow White and the Seven Dwarfs, Pinocchio, Alice in Wonderland, Peter Pan, Sleeping Beauty, 101 Dalmatians, The Sword in the Stone, Robin Hood, The Little Mermaid, Beauty and the Beast, Hercules, Mulan, Tangled, Brave, Oz the Great and Powerful, and Frozen.

Once Upon a Time was created by Lost and Tron: Legacy writers Edward Kitsis and Adam Horowitz. The series was renewed for a fifth season in May 2015. A spin-off series, Once Upon a Time in Wonderland, consisting of 13 episodes, premiered on October 10, 2013, and concluded on April 3, 2014.

The series takes place in the fictional seaside town of Storybrooke, Maine, in which the residents are actually characters from various fairy tales and other stories that were transported to the “real world” town and robbed of their original memories by the Evil Queen Regina (Lana Parrilla), using a powerful curse obtained from Rumplestiltskin (Robert Carlyle).

The residents of Storybrooke, where Regina is mayor, have lived an unchanging existence for 28 years, unaware of their own lack of aging.

The town’s only hope lies with a bounty hunter named Emma Swan (Jennifer Morrison), the daughter of Snow White (Ginnifer Goodwin) and Prince Charming (Josh Dallas), who was transported from the Enchanted Forest to our world as an infant before she could be cursed.

As such, she is the only person who can break the curse and restore the characters’ lost memories. She is aided by her son, Henry (Jared S. Gilmore), with whom she has recently reunited after giving him up for adoption upon his birth, and his Once Upon a Time book of fairy tales that holds the key to breaking the curse.

 

Henry is also the adopted son of Regina, providing a source of both conflict and common interest between the two women.

Episodes usually have one segment that details the characters’ past lives that, when serialized, adds a piece to the puzzle about the characters and their connection to the events that preceded the curse and its consequences.

The other, set in the present day, follows a similar pattern with a different outcome but also offers similar insights.

ARTICLE IN FRENCH

Once Upon a Time ou Il était une fois au Québec est une série télévisée fantastique américaine créée par Edward Kitsis et Adam Horowitz, basée sur tous les contes de fées. Elle est diffusée depuis le 23 octobre 2011 sur le réseau ABC1 aux États-Unis sur le réseau CTV2 au Canada.

En Belgique, la série est diffusée depuis le 6 août 2012 sur BeTV3 ainsi que depuis le 29 juin 2013 sur RTL-TVI4

En France, depuis le 1er décembre 2012 sur M65 puis à partir du 19 août 2014 sur 6ter6,

En Suisse, depuis le 31 octobre 2013 sur RTS Deux7

Au Québec, depuis le 6 janvier 2014 sur AddikTV8 puis à partir du 1er avril 2015 sur le réseau TVA.

Le jour du mariage de Blanche-Neige et du Prince Charmant, la méchante Reine fait irruption et lance une malédiction.

Tout le monde est inquiet et les jeunes mariés craignent pour leur enfant à venir. Ils décident de consulter Rumplestiltskin / le Ténébreux, un étrange et dangereux personnage.

Ce dernier les informe que l’enfant qu’ils attendent viendra les sauver lors de son 28e anniversaire.

La petite Emma naît et la malédiction se rapproche. Le prince réussit à envoyer sa fille dans un endroit sûr.

Cependant, la Reine arrive et tous sont envoyés dans un monde sans magie, où ils ne se souviennent pas de leur véritable identité.

À Boston, Emma Swan vit une existence solitaire.

Le jour de son 28e anniversaire, Henry, le petit garçon qu’elle a abandonné 10 ans auparavant, lui rend visite.

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Elle ne souhaite pas reprendre contact avec son fils, mais accepte de le ramener chez lui. Sur le chemin, Henry lui montre un livre de contes de fées et explique à Emma que toutes les histoires sont réelles et que les personnages qui y figurent habitent en réalité à Storybrooke dans le Maine, la ville où il vit.

Il ajoute aussi qu’elle est la seule à pouvoir vaincre la malédiction qui règne sur la ville, car elle est la fille de Blanche-Neige et du Prince Charmant. Emma découvre qu’Henry a été adopté par Regina Mills, le maire de la ville qui, d’après Henry, est la méchante Reine.

Emma est sceptique, mais décide finalement de rester quelque temps pour s’assurer que son fils va bien. L’horloge de la ville se remet alors en marche, ainsi que le temps jusqu’alors arrêté.

Jennifer Morrison  : Emma Swan

Lana Parrilla  : Regina Mills / la Méchante Reine

Ginnifer Goodwin  : Mary Margaret Blanchard / Blanche-Neige

Josh Dallas  : David Nolan / le Prince Charmant

Jared S. Gilmore : Henry Mills

Robert Carlyle : M. Gold / Rumplestiltskin / La Bête / Le Ténébreux / Le Crocodile

Émilie de Ravin  : Belle French / Lacey French (invitée saison 1, principale depuis la saison 2)

Colin O’Donoghue : Killian Jones / Capitaine Crochet (principal depuis la saison 2)

Sean Maguire  : Robin des Bois (récurrent saisons 3 et 4, principal saison 5)

Rebecca Mader  : Zelena, la Méchante Sorcière de l’Ouest (récurrente saisons 3 et 4, principale saison 5)

ALSO ON OUR WEBSITE  /  AUSSI SUR NOTRE SITE:   LANA PARILLA

SOURCES WIKIPEDIA