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.

This slideshow requires JavaScript.

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 Sound of Music is a 1965 American musical drama film produced and directed by Robert Wise and starring Julie Andrews and Christopher Plummer.


The film is an adaptation of the 1959 Broadway musical The Sound of Music, composed by Richard Rodgers with lyrics by Oscar Hammerstein II. The film’s screenplay was written by Ernest Lehman, adapted from the stage musical’s book by Howard Lindsay and Russel Crouse.

Based on the memoir The Story of the Trapp Family Singers by Maria von Trapp, the film is about a young Austrian woman studying to become a nun in Salzburg in 1938 who is sent to the villa of a retired naval officer and widower to be governess to his seven children.

After bringing love and music into the lives of the family through kindness and patience, she marries the officer and together with the children they find a way to survive the loss of their homeland through courage and faith.

The original Rodgers and Hammerstein stage musical score was enhanced by two new songs by Richard Rodgers.

Arranger and conductor Irwin Kostal prerecorded the songs with a large orchestra and singers on a stage prior to the start of filming, and later adapted instrumental underscore passages based on the songs.

Choreographers Marc Breaux and Dee Dee Wood, who had worked with Andrews on Mary Poppins, worked out all new choreography sequences that incorporated many of the Salzburg locations and settings. The Sound of Music was filmed from March 26 through September 1, 1964, with external scenes shot on location in Salzburg, Austria, and the surrounding region, and interior scenes filmed at the 20th Century Fox studios in California.

Sound of music team

The team before and nowadays


The movie was photographed in 70 mm Todd-AO by Ted McCord and produced with DeLuxe Color processing and six-track sound recording.

The film was released on March 2, 1965 in the United States, initially as a limited roadshow theatrical release. The critical response to the film was widely mixed, with Bosley Crowther of The New York Times calling it “romantic nonsense and sentiment”, and Philip K. Scheuer of the Los Angeles Times describing it as “three hours of visual and vocal brilliance”.

The film was a major commercial success, becoming the number one box office movie after four weeks, and the highest-grossing film of 1965.

By November 1966, The Sound of Music became the highest-grossing film of all-time—surpassing Gone with the Wind—and held that distinction for five years. The film was just as popular throughout the world, breaking previous box-office records in twenty-nine countries.

Following an initial theatrical release that lasted four and a half years, and two successful re-releases, the film sold 283.3 million admissions worldwide and earned a total worldwide gross of $286,214,076. Adjusted for inflation, the film earned $2.366 billion at 2014 prices—the fifth highest grossing film of all time.

The Sound of Music received five Academy Awards, including Best Picture and Best Director.



Julie Andrews & Christopher Plummer (The sound of Music )

The film also received two Golden Globe Awards, for Best Motion Picture and Best Actress, the Directors Guild of America Award for Outstanding Directorial Achievement, and the Writers Guild of America Award for Best Written American Musical.

In 1998, the American Film Institute (AFI) listed The Sound of Music as the fifty-fifth greatest American movie of all time, and the fourth greatest movie musical.

In 2001, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it “culturally, historically, or aesthetically significant”.



Sound of music team











“Sources Wikipedia”


Listen to the best music on RS2 : This music is played on RS2 : RADIO SATELLITE2  WEBRADIO

on Internet (Apps, Computors, TV…  For the FREE APPS to install ….Details are on our website : here => FOR INSTALLING FREE APPS TO LISTEN ON YOUR SMARTPHONES OR TABLETS








Adrian James “A.J.” Croce (born September 28, 1971 in Bryn Mawr, Pennsylvania) is an American singer-songwriter. He is the son of singer-songwriters Jim Croce and Ingrid Croce.

Shortly before his father’s death in a 1973 plane crash, Croce’s family moved west to San Diego, California, where he was raised by his mother, Ingrid Croce.

At the age of four Croce was completely blinded as the result of serious physical abuse by his mother’s boyfriend. Between the ages of four and ten, Croce gradually regained vision in his left eye. It was during this difficult time in Croce’s life that he began to play the piano. “I learned to play music by listening and playing along to the radio and to records…” Croce says, “At some point I was given the music of Ray Charles and Stevie Wonder as inspiration, which it was, and has been ever since.”

Croce’s first paying gig was at the age of 12, when he was paid $20 to perform at a Bar Mitzvah party. By the age of 16, Croce was performing regularly at San Diego nightclubs as a sideman and band leader. Croce reflected, “I was into every kind of music… you might say I was unfocused, but I consider an eclectic taste in music to be the foundation of versatility.” His house burned down when he was age 15.

Croce and his wife Marlo have two children, daughter Camille and son Elijah.

Ron Goldstein and Peter Bauman of Private Music signed Croce to his first recording contract at age 19.




He recorded two albums for Private Music: his self-titled debut, A. J. Croce, produced by T-Bone Burnett and John Simon, and That’s Me in the Bar, produced by Jim Keltner, and featuring artists such as Ry Cooder, David Hidalgo, and Keltner himself. Croce is also the owner/operator of his own record label, Seedling Records.

Croce’s third release, Fit to Serve, was recorded in Memphis, and produced by Jim Gaines, who had previously produced Van Morrison, Santana, and The Steve Miller Band. Croce then took a musical turn with the release of his album Transit. He explained, “I had been playing blues-based music for a long time, and I was ready to try something new.

“Transit was compared by critics to the work of John Lennon, Elvis Costello, Bob Dylan, and Van Morrison. Glen Starkey of New Times labeled Croce “a song crafter of the first order”.

Croce’s next three albums were self-produced. Adrian James Croce (Croce’s only pop-oriented album) was the only independently produced album of 2004 to chart in Top 40 charts in America. In Europe it was on the charts for six months, sitting in between songs by U2 and Coldplay. That same year Adrian James Croce won Best Pop album at the San Diego Music Awards.

His 2006 release Cantos on his own label Seedling Records notably features Ben Harper. In 2009, his album Cage of Muses was released on Seedling Records, garnering a 4-start review from Rolling Stone Magazine.

In 2013, Croce signed with Compass Records and has since released his latest album, Twelve Tales. Croce considers Twelve Tales to be his most ambitious recording project to date. He recorded two songs with each of six legendary producers in five U.S. cities throughout a year long period, at the same time releasing one song per month exclusively on iTunes in 2013.

The full album was released on CD and LP in 2014. The album’s producers are: the late ‘Cowboy’ Jack Clement, famous for his work with Elvis Presley and Johnny Cash; Rock n’ Roll Hall of Famer Allen Toussaint, notable producer of classic New Orleans recordings by artists such as Dr. John and Irma Thomas; Golden Globe-nominated Mitchell Froom, whose work includes Randy Newman and Crowded House; Grammy winning engineer and producer Kevin Killen, who has produced multiple albums by Elvis Costello; Notable A&R executive and record producer Tony Berg whose sessions have included Bob Dylan and Fiona Apple; and Greg Cohen, avant-garde bass player and producer, known for his work with Tom Waits.

Croce co-wrote a few of the songs on Twelve Tales, including one song with legendary songwriter Leon Russell. Croce’s albums have charted on eight radio charts including AAA, Blues, College, Jazz, and Americana.

He has performed as an opening act for artists such as Carlos Santana, Rod Stewart, Aretha Franklin, Dr. John, Lyle Lovett, James Brown, B.B. King, Dave Matthews, Earth, Wind and Fire, Rod Stewart and Ray Charles. Croce has sat in with many notable artists live, including Willie Nelson, Ben Harper, Ry Cooder, the Neville Brothers, Waylon Jennings, and David Hidalgo (Los Lobos). He has also performed on national television, on shows including The Tonight Show with Jay Leno, Late Show with David Letterman, Late Night with Conan O’Brien, The Today Show, Good Morning America, MTV, CNN, and Austin City Limits.

In 2015 Croce’s performance on the show “Music City Roots” began airing nationwide on PBS, including in Los Angeles and Nashville. It will air on 85 stations across the country 2015. It was announced that later this year Compass Records will release a re-issue of Croce’s highly regarded sophomore album, “That’s Me In the Bar” for its 20th anniversary. All of Croce’s 2015 concerts will feature a set from that album.




J. Croce (1993)

That’s Me in the Bar (1995) including  chekin’

Fit to Serve (1998)

Transit (2000)

Adrian James Croce (2004)

Early On – The American Recordings 1993–1998 (2005)

Cantos (2006)

Cage of Muses (2009)

Twelve Tales (2014)











ANNIVERSARIES : 18th of January

Anniversaires de naissances et décÚs en ce 18 Janvier
Birthdays and death anniversaries on 18th January




18 janvier 1980 ◊ Estelle, chanteuse, rappeuse et productrice britannique (36 ans).
◊ Jason Segel, acteur, scĂ©nariste et musicien amĂ©ricain (36 ans).
18 janvier 1965 ◊ ValĂ©rie Damidot, animatrice tĂ©lĂ© française (51 ans).
18 janvier 1956 ◊ Elli Medeiros, chanteuse uruguayenne, carriùre en France (60 ans).
18 janvier 1955 ◊ Kevin Costner, acteur et rĂ©alisateur amĂ©ricain (61 ans).
18 janvier 1950 ◊ Gilles Villeneuve, coureur automobile quĂ©becois (aurait 66 ans).
† 8 mai 1982
18 janvier 1949 ◊ Franz-Olivier Giesbert, journaliste français (67 ans).
◊ Philippe Starck, Designer et architecte français (67 ans).
18 janvier 1933 ◊ Jean Vuarnet, skieur français (83 ans).
18 janvier 1913 ◊ Danny Kaye, acteur amĂ©ricain (aurait 103 ans).
† 3 mars 1987
18 janvier 1904 ◊ Cary Grant, acteur amĂ©ricain (aurait 112 ans).
† 29 novembre 1986
18 janvier 1892 ◊ Oliver Hardy, acteur amĂ©ricain, Laurel & Hardy (aurait 124 ans).
† 7 aoĂ»t 1957
18 janvier 1881 ◊ Gaston Gallimard, Ă©diteur français (aurait 135 ans).
† 25 dĂ©cembre 1975
18 janvier 1689 ◊ Montesquieu, Ă©crivain philosophe français (aurait 327 ans).
† 10 fĂ©vrier 1755



danny kaye

Danny Kaye


CARY GRANT : here also another article / Voici un autre article

OLIVER HARDY : here also another article / Voici un autre article


DécÚs   Death   18 Janvier 

18 janvier 1988
Il y a 28 ans
† Jean Mitry, co-fondateur de la cinĂ©mathĂšque française (Ă  81 ans).
né le 7 novembre 1907
18 janvier 1986
Il y a 30 ans
† Jean Cassou, Ă©crivain et rĂ©sistant français (Ă  88 ans).
né le 9 juillet 1897
18 janvier 1977
Il y a 60 ans
† Yvonne Printemps, actrice française (à 82 ans).
née le 25 juillet 1894
18 janvier 1936
Il y a 80 ans
† Rudyard Kipling, Ă©crivain britannique (Ă  71 ans).
né le 30 décembre 1865

This slideshow requires JavaScript.





A l’attention de tous les artistes qui sont diffusĂ©s sur RS2 (et RS)

Nos webradios ont depuis peu, leur quotidien…le Webradio RadioSatellite2 daily”
Outre nos articles, nous reprenons les articles des autres médias.

Donc dĂšs que vous avez un article oĂč l’on parle de vous, n’hĂ©sitez pas Ă  venir nous poster en public sur notre page facebook
pour le relayer et que votre article soit re-diffusĂ© aussi sur d’autres mĂ©dias

L’impact est amplifiĂ© x 100


To all artists concerned

Whome RS2 ( and/or RS  ) is broadcasting, promoting and playing on “air”

Our webradios have (it’s recent) their daily paper: the “RadioSatellite2 webradio daily ”
In addition to our articles, we relay , also, other interesting articles from other medias.
.as soon as you have an article in which you are concerned
Talking about you, your album, career
. Do not hesitate to post please on our facebook page :


So thank you for posting the link here , to be able to relay your article

The impact is amplified x 100!art_entertainment

Best to all.



Une vidéo que vous partageons avec vous. Vidéo sur CUBA. Vidéo prise de Youtube.

Sourced through from:



Just amazing. No way to comment. Watch and enjoy

Juste fantastique. No comment pour notre part. Nous vous laissons apprécier cette vidéo






Who is Aria Tesolin?   Aria’s songs are currently on light to medium rotation on over 750 commercial FM and internet stations ( on Radio Satellite,  of course )  in 17 countries.  Aria’s new single The Key has been selected on Cool New Music, Hot/Mod/AC on  Both The Key and Dolce were listed on

Sourced through from:



PARAMOUNT CHANNEL : CARY GRANT       Wikipedia sources:  Cary Grant (born Archibald Alexander Leach; January 18, 1904 – November 29, 1986) was an English stage and Hollywood film actor who became an American citizen in 1942. Known for his transatlantic accent, debonair demeanor and “dashing good looks”, Grant is considered one of classic Hollywood’s definitive leading men. Notorious (1946), The

Sourced through from:


FOR 2016….Hope? A united planet


The world united Â Â à€Šà„à€šà€żà€Żà€Ÿ à€à€•à€œà„à€Ÿ   le monde uni   die wĂȘreld verenig

die Welt vereint Â Ű§Ù„ŰčŰ§Ù„Ù… مŰȘŰ­ŰŻ    Ś”ŚąŚ•ŚœŚ Ś”ŚȘŚŚ—Ś“   եշխերհն ŐŽŐ«ŐĄŐœŐ¶ŐĄŐŻŐĄŐ¶   birleƟik DĂŒnya

аб’ŃĐŽĐœĐ°ĐœĐ°Ń сĐČДт Â Â Đ”ĐŽĐžĐœ ĐŸĐ±Đ”ĐŽĐžĐœĐ”Đœ сĐČят    un mĂłn unit   Â äž€ć€‹ćœ˜ç”çš„äž–ç•Œ  

연합 ì„žêł„    yon mond ini    en forenet verden    un mundo unido

ujedinjena svijet   Â ĂŒhendatud maailma  ერთიანი áƒ›áƒĄáƒáƒ€áƒšáƒ˜áƒáƒĄ  

έΜα Î”ÎœÏ‰ÎŒÎ­ÎœÎż ÎșÏŒÏƒÎŒÎż   az egyesĂŒlt vilĂĄg    dunia bersatu  

un mondo unito   Â ăƒŠăƒŠă‚€ăƒ†ăƒƒăƒ‰ăƒŻăƒŒăƒ«ăƒ‰     ក្នុងពិភពលោកមវយដែលមានសាមគ្គឞភាព

ໂàș„àșàșȘàș°àș«àș°àș›àș°àșŠàșČເàș›àș±àș™   dunia yang bersatu    tafaray izao tontolo izao

F’dinja magħquda  een verenigd wereld Â Â à€à€• à€à€•à€€à€Ÿà€Źà€Šà„à€§ à€žà€‚à€žà€Ÿà€°à€źà€Ÿ

en forent verden   Â ŰŹÙ‡Ű§Ù† مŰȘŰ­ŰŻÙ‡     zjednoczony ƛwiat    um mundo unido

o lume unită Â Â ĐŸĐ±ŃŠĐ”ĐŽĐžĐœĐ”ĐœĐœĐ°Ń ĐŒĐžŃ€ Â Â ŃƒŃ˜Đ”ĐŽĐžŃšĐ”ĐœĐž сĐČДт  zjednotenej svet 

en enad vĂ€rld  dunya ngahiji    dunia ya umoja Â Â àź‰àźČàź• àź’àź±àŻàź±àŻàźźàŻˆ

sjednocenĂ© svět    àč‚àž„àžàž—àž”àčˆàžȘàž«àžŁàž±àž Â Â ĐŸĐ±’Ń”ĐŽĐœĐ°ĐœĐ° сĐČіт    một tháșż giới thống nháș„t

àššà©‚à©° àš‡à©±àš• àšžà©°àšŻà©àš•àš€ àšžà©°àšžàšŸàš°



Westinghouse…Old Spice…Ford…Coca Cola…Old commercials froml the 50s and 60s


Publicités anciennes des années 50 et 60














Merle Ronald Haggard (born April 6, 1937) is an American country and Western songwriter, singer, guitarist, fiddler, and instrumentalist.


Merle Haggard

Along with Buck Owens, Haggard and his band The Strangers helped create the Bakersfield sound, which is characterized by the unique twang of Fender Telecaster and the unique mix with the traditional country steel guitar sound, new vocal harmony styles in which the words are minimal, and a rough edge not heard on the more polished Nashville sound recordings of the same era.


By the 1970s, Haggard was aligned with the growing outlaw country movement, and has continued to release successful albums through the 1990s and into the 2000s. In 1994, he was inducted into the Country Music Hall of Fame.  In 1997, he was inducted into the Oklahoma Music Hall of Fame.


Haggard’s parents, Flossie Mae Harp and James Francis Haggard,  moved to California from their home in Checotah, Oklahoma, during the Great Depression, after their barn burned in 1934.


They settled with their children, Lowell and Lillian, in an apartment in Bakersfield, while James Francis Haggard started working for the Santa Fe Railroad. A woman who owned a boxcar, which was placed in Oildale, a nearby town north of Bakersfield, asked Haggard’s father about the possibility of converting it into a house. He remodeled the boxcar, and soon after moved in, also purchasing the lot, where Merle Ronald Haggard was born on April 6, 1937.


The property was eventually expanded by building a bathroom, a second bedroom, a kitchen and a breakfast nook in the adjacent lot.

His father died of a brain hemorrhage in 1945, an event that deeply affected Haggard during his childhood, and the rest of his life.


To support the family, his mother worked as a bookkeeper. His brother, Lowell, gave Haggard his used guitar as a gift when he was 12 years old. Haggard learned to play alone, with the records he had at home, influenced by Bob Wills, Lefty Frizzell and Hank Williams.


As his mother was absent due to work, Haggard became progressively rebellious. His mother sent him for a weekend to a juvenile detention center to change his attitude, which worsened.

Haggard committed a number of minor offences, such as thefts and writing bad checks. He was sent to a juvenile detention center for shoplifting in 1950.

Merle Haggard2

When he was 14, Haggard ran away to Texas with his friend Bob Teague.  He rode freight trains and hitchhiked throughout the state.  When he returned the same year, he and his friend were arrested for robbery. Haggard and Teague were released when the real robbers were found. Haggard was later sent to the juvenile detention center, from which he and his friend escaped again to Modesto, California.


He worked a series of laborer jobs, including driving a potato truck, being a short order cook, a hay pitcher, and an oil well shooter. His debut performance was with Teague in a Modesto bar named “Fun Center,” being paid US$5, with free beer.


He returned to Bakersfield in 1951, and was again arrested for truancy and petty larceny and sent to a juvenile detention center. After another escape, he was sent to the Preston School of Industry, a high-security installation. He was released 15 months later, but was sent back after beating a local boy during a burglary attempt.


After his release, Haggard and Teague saw Lefty Frizzell in concert. After hearing Haggard sing along to his songs backstage, Frizzell refused to sing unless Haggard would be allowed to sing first.


He sang songs that were well received by the audience. Due to the positive reception, Haggard decided to pursue a career in music. While working as a farmhand or in oil fields, he played in nightclubs. He eventually landed a spot on the local television show Chuck Wagon, in 1956.


Married and plagued by financial issues, he was arrested in 1957 shortly after he tried to rob a Bakersfield roadhouse. He was sent to Bakersfield Jail, and was later transferred after an escape attempt to San Quentin Prison, on February 21, 1958. While in prison, Haggard discovered that his wife was expecting a child from another man, which pressed him psychologically.



He was fired from a series of prison jobs, and planned to escape along with another inmate nicknamed “Rabbit”. Haggard was convinced not to escape by fellow inmates.

Haggard started to run a gambling and brewing racket with his cellmate. After he was caught drunk, he was sent for a week to solitary confinement where he encountered Caryl Chessman, an author and death row inmate.

Meanwhile, “Rabbit” had successfully escaped, only to shoot a police officer and return to San Quentin for execution. Chessman’s predicament, along with the execution of “Rabbit,” inspired Haggard to turn his life around. Haggard soon earned a high school equivalency diploma and kept a steady job in the prison’s textile plant, while also playing for the prison’s country music band, attributing a 1958 performance by Johnny Cash at the prison as his main inspiration to join it.


Merle haggard cover album


Upon his release in 1960, Haggard said it took about four months to get used to being out of the penitentiary and that, at times, he actually wanted to go back in. He said it was the loneliest he had ever felt.

According to Rolling Stone, “In 1972, then–California governor Ronald Reagan expunged Haggard’s criminal record, granting him a full pardon.”


Upon his release, Haggard started digging ditches and wiring houses for his brother. Soon he was performing again, and later began recording with Tally Records.


The Bakersfield Sound was developing in the area as a reaction against the over-produced honky tonk of the Nashville Sound. Haggard’s first song was “Skid Row”.


In 1962, Haggard wound up performing at a Wynn Stewart show in Las Vegas and heard Wynn’s “Sing a Sad Song”. He asked for permission to record it, and the resulting single was a national hit in 1964.


The following year he had his first national top ten record with “(My Friends Are Gonna Be) Strangers”, written by Liz Anderson (mother of country singer Lynn Anderson) and his career was off and running.


In his 1981 autobiography Merle Haggard: Sing Me Back Home, Haggard recalls having been talked into visiting Anderson—a woman he didn’t know—at her house to hear her sing some songs she had written. “If there was anything I didn’t wanna do, it was sit around some danged woman’s house and listen to her cute little songs. But I went anyway. She was a pleasant enough lady, pretty, with a nice smile, but I was all set to be bored to death, even more so when she got out a whole bunch of songs and went over to an old pump organ…There they were.




My God, one hit right after another. There must have been four or five number one songs there…” In 1966, Haggard recorded his first number-one song “I’m a Lonesome Fugitive”, also written by Liz Anderson, which Haggard acknowledges in his autobiography remains his most popular number with audiences.”


Haggard felt a connection to the song immediately and when it was released it became his first number one country hit. When Anderson played the song for Haggard, she was unaware about his prison stretch.


“I guess I didn’t realize how much the experience at San Quentin did to him, ’cause he never talked about it all that much,” Bonnie Owens, Haggard’s backup singer and then-wife, is quoted by music journalist Daniel Cooper in the liner notes to the 1994 retrospective Down Every Road. “I could tell he was in a dark mood…and I said, ‘Is everything okay?’ And he said, ‘I’m really scared.’ And I said, ‘Why?’ And he said, ‘Cause I’m afraid someday I’m gonna be out there…and there’s gonna be some convict…some prisoner that was in there the same time I was in, stand up – and they’re gonna be about the third row down – and say, ‘What do you think you’re doing, 45200?'”

Cooper notes that the news had little effect on Haggard’s career:

“It’s unclear when or where Merle first acknowledged to the public that his prison songs were rooted in personal history, for to his credit, he doesn’t seem to have made some big splash announcement.  In a May 1967 profile in Music City News, his prison record is never mentioned. But in July 1968, in the very same publication, it’s spoken of as if it were common knowledge.”

The 1966 album Branded Man kicked off an incredible artistic run for Haggard; in 2013 Haggard biographer David Cantwell states, “The immediate successors to I’m a Lonesome Fugitive – Branded Man in 1967 and, in ’68, Sing Me Back Home and The Legend of Bonnie and Clyde – were among the finest albums of their respective years.” Haggard’s new recordings largely centered around Roy Nichols’s Telecaster, Ralph Mooney’s steel guitar, and the harmony vocals provided by Bonnie Owens.



At the time of Haggard’s first top-ten hit “(My Friends Are Gonna Be) Strangers” in 1965, Owens was actually the better known performer, a fixture on the Bakersfieldclub scene who had recorded and appeared on television. Bonnie, who had been married to Buck Owens, won the new Academy of Country Music’s first ever award for Female Vocalist after her 1965 debut album, Don’t Take Advantage of Me, hit the top five on the country albums chart. However, there were no more hit singles, and although Owens recorded six solo albums on Capitol between 1965 and 1970, she became mainly known for her background harmonies on Haggard hits like “Sing Me Back Home” and “Branded Man.”


Producer Ken Nelson took a hands-off approach to producing Haggard. In the episode of American Masters dedicated to him, Haggard remembers: “The producer I had at that time, Ken Nelson, was an exception to the rule. He called me ‘Mr. Haggard’ and I was a little twenty-four, twenty-five year old punk from Oildale…


He gave me complete responsibility. I think if he’d jumped in and said, ‘Oh, you can’t do that,’ it would’ve destroyed me.”  In the documentary series Lost Highway, Nelson recalls, “When I first started recording Merle, I became so enamored with his singing that I would forget what else was going on, and I suddenly realized, ‘Wait a minute, there’s musicians here you’ve got to worry about!’ But his songs – he was a great writer.”


Towards the end of the decade, Haggard went on a songwriting tear, composing several #1 hits as “Mama Tried,” “The Legend of Bonnie and Clyde,” “Hungry Eyes,” and “Sing Me Back Home.” Daniel Cooper calls “Sing Me Back Home,” “a ballad that works on so many different levels of the soul it defies one’s every attempt to analyze it.”


In a 1977 interview inBillboard with Bob Eubanks, Haggard reflected, “Even though the crime was brutal and the guy was an incorrigible criminal, it’s a feeling you never forget when you see someone you know make that last walk. They bring him through the yard, and there’s a guard in front and a guard behind – that’s how you know a death prisoner.


They brought Rabbit out…taking him to see the Father,…prior to his execution. That was a strong picture that was left in my mind.” In 1968, Haggard’s first tribute LP Same Train, Different Time: A Tribute to Jimmie Rodgers, was released to acclaim.



Okie From Muskogee”, 1969’s apparent political statement, was, according to some Merle Haggard interviews decades later, actually written as a humorous character portrait. In one such interview, Haggard called the song a “documentation of the uneducated that lived in America at the time



However, he said later on the Bob Edwards Show that “I wrote it when I recently got out of the joint. I knew what it was like to lose my freedom, and I was getting really mad at these protesters.


They didn’t know anything more about the war in Vietnam than I did. I thought how my dad, who was from Oklahoma, would have felt. I felt I knew how those boys fighting in Vietnam felt.” In the country music documentary series Lost Highway, he elaborates: “My dad passed away when I was nine, and I don’t know if you’ve ever thought about somebody you’ve lost and you say, ‘I wonder what so-and-so would think about this?’ I was drivin’ on Interstate 40 and I saw a sign that said “19 Miles to Muskogee.”


Muskogee was always referred to in my childhood as ‘back home.’ So I saw that sign and my whole childhood flashed before my eyes and I thought, ‘I wonder what dad would think about the youthful uprising that was occurring at the time,  On December 19, 2006, the Kern County Board of Supervisors approved a citizen-led resolution to rename a portion of 7th Standard Road in Oildale as Merle Haggard Drive, which will stretch from North Chester Avenue west to U.S. Route 99.


The first street travelers will turn onto when they leave the new airport terminal will be Merle Haggard Drive.

In 2006, Haggard was honored as a BMI Icon at the 54th annual BMI Pop Awards. During his songwriting career, Haggard has earned 48 BMI Country Awards, nine BMI Pop Awards, a BMI R&B Award, and 16 BMI “Million-Air” awards, all from a catalog of songs that adds up to over 25 million performances.

Merle Haggard accepted the prestigious award for lifetime achievement and “outstanding contribution to American culture” from the John F. Kennedy Center for the Performing Arts on December 4, 2010. At a December 5, 2010 gala in Washington, D.C. he was honored with musical performances by Kris Kristofferson, Willie Nelson, Sheryl Crow, Vince Gill, Jamey Johnson, Kid Rock, Miranda Lambert and Brad Paisley. This tribute was featured on the December 28, 2010 CBS telecast of the Kennedy Center Honors.


On June 14, 2013, the California State University, Bakersfield, honored Merle Haggard for his contributions to the arts with the honorary degree, Doctor of Fine Arts. Haggard stepped to the podium and said, “Thank you. It’s nice to be noticed.” On January 26, 2014, Haggard performed his 1969 song “Okie from Muskogee” at the 56th Annual Grammy Awards along with Kris Kristofferson, Willie Nelson, and Blake Shelton

Gary Keck, a chemistry professor at the University of Utah and an ardent fan of Haggard, introduced a series of chemical analogues of a biologically active natural product called bryostatin 1 and named them “Merle compunds” to honor his idol’s legacy….I understood them, I got along with it, but what if he was to come alive at this moment?

And I thought, what a way to describe the kind of people in America that are still sittin’ in the center of the country sayin’, ‘What is goin’ on on these campuses?’


” In the American Masters episode about his life and career, however, a more defiant Haggard states that the song was more than a satire: ”


That’s how I got into it with the hippies…I thought they were unqualified to judge America, and I thought they were lookin’ down their noses at something that I cherished very much, and it pissed me off. And I thought, ‘You sons of bitches, you’ve never been restricted away from this great, wonderful country, and yet here you are in the streets bitchin’ about things, protesting about a war that they didn’t know any more about than I did.



They weren’t over there fightin’ that war anymore than I was.” Haggard began performing the song in concert in the fall of 1969 and was astounded at the reaction it received. As David Cantwell notes in his 2013 book Merle Haggard: The Running Kind, “The Haggard camp knew they were on to something.


Everywhere they went, every show, ‘Okie’ did more than prompt enthusiastic applause. There was an unanticipated adulation racing through the crowds now, standing ovations that went on and on and sometimes left the audience and the band-members alike teary-eyed.


Merle had somehow stumbled upon a song that expressed previously inchoate fears, spoke out loud gripes and anxieties otherwise only whispered, and now people were using his song, were using him, to connect themselves to these larger concerns and to one another.”


The studio version, which is far mellower than the usually raucous concert versions, topped the charts in the fall of 1969, where it remained for a month, and also hit number 41 on the pop charts, becoming Haggard’s all-time biggest hit (until his 1973 crossover Christmas smash “If We Make It Through December”) and signature tune.

Haggard was beginning to attract attention from artists outside the country field, such as crooner Dean Martin, who recorded “I Take a Lot of Pride in What I Am” for his album of the same name in 1969.


In addition, the Gram Parsons incarnation of the Byrds had performed “Sing Me Back Home” on the Grand Ole Opry and had recorded Haggard’s “Life in Prison” for their album Sweetheart of the Rodeo the same year.


In 1969 the Grateful Dead began performing Haggard’s tune “Mama Tried”, which appeared on their 1971 eponymous live album. The song became a staple in their repertoire until the band’s end in 1995.


Singer-activist Joan Baez, whose political leanings could not be more different from those expressed in Haggard’s above-referenced songs, nonetheless covered “Sing Me Back Home” and “Mama Tried” in 1969. The Everly Brothers also used both songs in their 1968 country-rock album Roots.



In the original Rolling Stone review for Haggard’s 1968 album Mama Tried, Andy Wickham wrote, “His songs romanticize the hardships and tragedies of America’s transient proletarian and his success is resultant of his inherent ability to relate to his audience a commonplace experience with precisely the right emotional pitch…Merle Haggard looks the part and sounds the part because he is the part. He’s great.”


However, his next single, 1970’s “The Fightin’ Side of Me”, was so unapologetically right wing that it left no doubt as to where Haggard stood politically.


It became his fourth consecutive #1 country hit and also made an appearance on the pop chart, but any ideas that Haggard was a closeted liberal sympathizer were irretrievably squashed.



In the song, Haggard allows that he doesn’t mind the counterculture “switchin’ sides and standin’ up for what they believe in” but resolutely declares, “If you don’t love it, leave it!” In May 1970, Haggard explained to John Grissom of Rolling Stone, “I don’t like their views on life, their filth, their visible self-disrespect, y’ know. They don’t give a shit what they look like or what they smell like…What do they have to offer humanity?”


Ironically, Haggard had wanted to follow “Okie from Muskogee” with “Irma Jackson,” a song that dealt head-on with an interracial romance between a white man and an African-American woman.


His producer Ken Nelson discouraged him from releasing it as a single.


As Jonathan Bernstein recounts in his online Rolling Stone article “Merle Haggard Reluctantly Unveils ‘The Fightin’ Side of Me'”, “Hoping to distance himself from the harshly right-wing image he had accrued in the wake of the hippie-bashing “Muskogee,” Haggard wanted to take a different direction and release “Irma Jackson” as his next single…



When the Bakersfield, California native brought the song to his record label, executives were reportedly appalled.


In the wake of ‘Okie,’ Capitol Records was not interested in complicating Haggard’s conservative, blue-collar image.”After “The Fightin’ Side of Me” was released instead, Haggard later commented to the Wall Street Journal, “People are narrow-minded.


Down South they might have called me a nigger lover.. In an interview in 2001, Haggard stated that Nelson, who was also head of the country division at Capitol at the time, never interfered with his music but “this one time he came out and said, ‘Merle…I don’t believe the world is ready for this yet’…And he might have been right. I might’ve canceled out where I was headed in my career..



“Okie From Muskogee”, “The Fightin’ Side of Me”, and “I Wonder If They Think of Me” were hailed as anthems of the Silent Majority and presaged a trend in patriotic songs that would reappear years later with Charlie Daniels’ “In America”, Lee Greenwood’s “God Bless the USA”, and others. Haggard’s next LP was A Tribute to the Best Damn Fiddle Player in the World, dedicated to Bob Wills, which helped spark a permanent revival and expanded audience for western swing.


By this point, Haggard was one of the most famous country singers in the world, having enjoyed an immensely successful artistic and commercial run with Capitol accumulating twenty-four #1 country singles since 1966.


On Tuesday, March 14, 1972, shortly after “Carolyn” became another number one country hit, then-California governor Ronald Reagan granted Haggard a full pardon for his past crimes. In the fall of 1972, “Let Me Tell You about A Song,” the first TV special starring Merle Haggard, was nationally syndicated by Capital Cities TV Productions.


It was a semi-autobiographical, musical profile of Haggard, akin to the contemporary “Behind The Music,” produced and directed by Michael Davis. The 1973 recession anthem “If We Make It Through December” furthered Haggard’s status as a champion of the working class.


“If We Make It Through December” turned out to be Haggard’s last pop hit. Haggard appeared on the cover of TIME on May 6, 1974. He also wrote and performed the theme song to the television series Movin’ On, which in 1975 gave him another number one country hit. During the early to mid-1970s, Haggard’s chart domination continued with songs like “Someday We’ll Look Back”, “Grandma Harp”, “Always Wanting You”, and “The Roots of My Raising”.


Between 1973 and 1976, Haggard scored 9 consecutive #1 country hits. In 1977, he switched to MCA Records and began exploring the themes of depression, alcoholism, and middle age on albums like Serving 190 Proof and The Way I Am. Haggard sang a duet cover of Billy Burnette’s What’s A Little Love Between Friends with Lynda Carter in her 1980 television music special Lynda Carter: Encore!



He also scored a #1 hit in 1980 with “Bar Room Buddies,” a duet with movie star Clint Eastwood that appeared on the Bronco Billy soundtrack.

In 1981, Haggard published an autobiography, Sing Me Back Home. That same year, he alternately spoke and sang the ballad “The Man in the Mask”. Written by Dean Pitchford (whose other output includes “Fame”, “Footloose”, “Sing”, “Solid Gold”, and the musical Carrie), this was the combined narration/theme from the movie The Legend of the Lone Ranger, a box-office flop.


Haggard also jumped record labels again in 1981, moving to Epic and releasing one of his most critically acclaimed albums, Big City. Between 1981 and 1985, Haggard scored twelve Top 10 country hits, with nine of them reaching #1, including “My Favorite Memory,” “Going Where the Lonely Go,” “Someday When Things Are Good,” and “Natural High.”


In addition, Haggard recorded two chart topping duets with George Jones (“Yesterdays’ Wine” in 1982) and Willie Nelson (“Pancho and Lefty” in 1983).


Nelson believed the 1983 Academy Award-winning film Tender Mercies, about the life of fictional singer Mac Sledge, was based on the life of Merle Haggard. Actor Robert Duvall and other filmmakers denied this and claimed the character was based on nobody in particular. Duvall, however, said he was a big fan of Haggard. He won a Grammy Award for Best Male Country Vocal Performance for his 1984 remake of “That’s The Way Love Goes.” Haggard and third wife Leona Williams divorced in 1983 after five stormy years of marriage and the split, which took Haggard by surprise, served as a license to party for Haggard, who spent much of the next decade becoming mired in alcohol and drug problems. Haggard has often stated that he was in the stages of his own mid-life crisis, or “male menopause,” around this time. In the documentary Learning to Live With Myself, the singer is quoted in an interview from around the time: “Things that you’ve enjoyed for years don’t seem nearly as important, and you’re at war with yourself as to what’s happening. ‘Why don’t I like that anymore? Why do I like this now?’ And finally, I think you actually go through a biological change, you just, you become another…

Your body is getting ready to die and your mind doesn’t agree.” By the mid-eighties he was addicted to cocaine but managed to kick the habit. However, he was hampered by financial woes well into the 1990s as his presence on the charts continued to diminish as newer singers had begun to take over country music, and singers like George Strait and Randy Travis had taken over the charts. Haggard’s last number one hit was “Twinkle, Twinkle Lucky Star” from his smash album Chill Factor in 1988.


In 1989, Haggard recorded a song, “Me and Crippled Soldiers Give a Damn”, in response to the Supreme Court’s decision to allow flag burning under the First Amendment. After CBS Records Nashville avoided releasing the song, Haggard bought his way out of the contract and signed with Curb Records, which was willing to release the song.


Of the situation, Haggard commented, “I’ve never been a guy that can do what people told me…It’s always been my nature to fight the system.”



In 2000, Haggard made a comeback of sorts, signing with the independent record label Anti and releasing the spare If I Could Only Flyto critical acclaim.


He followed it in 2001 with Roots, vol. 1, a collection of Lefty Frizzell, Hank Williams, and Hank Thompson covers, along with three Haggard originals.


The album, recorded in Haggard’s living room with no overdubs, featured Haggard’s longtime bandmates The Strangers as well as Frizzell’s original lead guitarist, Norman Stephens.


In December 2004, Haggard spoke at length on Larry King Live about his incarceration as a young man and said it was “hell” and “the scariest experience of my life”.

Haggard’s number one hit single “Mama Tried” is featured in the 2003 film Radio with Cuba Gooding, Jr. and Ed Harris as well as in Bryan Bertino’s “The Strangers” with Liv Tyler. In addition, his song “Swingin’ Doors” can be heard in the 2004 film Crash and his 1981 hit “Big City” is heard in Joel and Ethan Coen’s 1996 film “Fargo” and in the 2008 Larry Bishop film “Hell Ride”.


In October 2005, Haggard released his album Chicago Wind to mostly positive reviews. The album contained an anti-Iraq war song titled “America First,” in which he laments the nation’s economy and faltering infrastructure, applauds its soldiers, and sings, “Let’s get out of Iraq, and get back on track.”



This follows from his 2003 release “Haggard Like Never Before” in which he includes a song, “That’s The News”. Haggard released a bluegrass album, The Bluegrass Sessions, on October 2, 2007.


In 2008, Haggard was going to perform at Riverfest in Little Rock, Arkansas, but the concert was canceled because he was ailing, and three other concerts were canceled as well; however, he was back on the road in June and successfully completed a tour that ended on October 19.


In April 2010, Haggard released a new album, I Am What I Am. Released to strong reviews, Haggard performed the title song on The Tonight Show with Jay Leno in February 2011. His 2014 and 2015 tour schedule has been aggressive, including over 30 cities in 2015 alone, suggesting the kind of performing stamina usually characterized by artists half Haggard’s age.



In 2000, Haggard made a comeback of sorts, signing with the independent record label Anti and releasing the spare If I Could Only Flyto critical acclaim.


He followed it in 2001 with Roots, vol. 1, a collection of Lefty Frizzell, Hank Williams, and Hank Thompson covers, along with three Haggard originals.


The album, recorded in Haggard’s living room with no overdubs, featured Haggard’s longtime bandmates The Strangers as well as Frizzell’s original lead guitarist, Norman Stephens.

In December 2004, Haggard spoke at length onLarry King Live about his incarceration as a young man and said it was “hell” and “the scariest experience of my life”.

Haggard’s number one hit single “Mama Tried” is featured in the 2003 film Radio with Cuba Gooding, Jr. and Ed Harris as well as in Bryan Bertino’s “The Strangers” with Liv Tyler.


In addition, his song “Swingin’ Doors” can be heard in the 2004 film Crash and his 1981 hit “Big City” is heard in Joel and Ethan Coen’s 1996 film “Fargo” and in the 2008 Larry Bishop film “Hell Ride”.


In October 2005, Haggard released his album Chicago Wind to mostly positive reviews. The album contained an anti-Iraq war song titled “America First,” in which he laments the nation’s economy and faltering infrastructure, applauds its soldiers, and sings, “Let’s get out of Iraq, and get back on track.” This follows from his 2003 release “Haggard Like Never Before” in which he includes a song, “That’s The News”.


Haggard released a bluegrass album, The Bluegrass Sessions, on October 2, 2007. In 2008, Haggard was going to perform at Riverfest in Little Rock, Arkansas, but the concert was canceled because he was ailing, and three other concerts were canceled as well; however, he was back on the road in June and successfully completed a tour that ended on October 19.


In April 2010, Haggard released a new album, I Am What I Am. Released to strong reviews, Haggard performed the title song on The Tonight Show with Jay Leno in February 2011.


His 2014 and 2015 tour schedule has been aggressive, including over 30 cities in 2015 alone, suggesting the kind of performing stamina usually characterized by artists half Haggard’s age.


Haggard has been married five times, first to Leona Hobbs from 1956 to 1964. They had four children: Dana, Marty, Kelli, Noel. They divorced, and in 1965 he married singer Bonnie Owens, former wife of Buck Owens, and a successful country singer at the time. Haggard has credited her with helping him make his big break as a country artist. Haggard shared the writing credit with Owens for his hit “Today I Started Loving You Again”, and has acknowledged, including on stage, that the song was about a sudden burst of special feelings he experienced for her while they were touring together.


She also helped care for Haggard’s children from his first wife and was the maid of honor for Haggard’s third marriage. Haggard and Owens divorced in 1978. In 1978 Haggard married Leona Williams; they divorced in 1983.


In 1985 Haggard married Debbie Parret, but they divorced in 1991. He married his current wife, Theresa Ann Lane, on September 11, 1993. They have two children, Jenessa and Ben.


On December 19, 2006, the Kern County Board of Supervisors approved a citizen-led resolution to rename a portion of 7th Standard Road in Oildale as Merle Haggard Drive, which will stretch from North Chester Avenue west to U.S. Route 99. The first street travelers will turn onto when they leave the new airport terminal will be Merle Haggard Drive.

In 2006, Haggard was honored as a BMI Icon at the 54th annual BMI Pop Awards. During his songwriting career, Haggard has earned 48 BMI Country Awards, nine BMI Pop Awards, a BMI R&B Award, and 16 BMI “Million-Air” awards, all from a catalog of songs that adds up to over 25 million performances.

Merle Haggard accepted the prestigious award for lifetime achievement and “outstanding contribution to American culture” from the John F. Kennedy Center for the Performing Arts on December 4, 2010. At a December 5, 2010 gala in Washington, D.C.


he was honored with musical performances by Kris Kristofferson, Willie Nelson, Sheryl Crow, Vince Gill, Jamey Johnson, Kid Rock, Miranda Lambert and Brad Paisley.




This tribute was featured on the December 28, 2010 CBS telecast of the Kennedy Center Honors. On June 14, 2013, the California State University, Bakersfield, honored Merle Haggard for his contributions to the arts with the honorary degree, Doctor of Fine Arts.


Haggard stepped to the podium and said, “Thank you. It’s nice to be noticed.” On January 26, 2014, Haggard performed his 1969 song “Okie from Muskogee” at the 56th Annual Grammy Awards along with Kris Kristofferson, Willie Nelson, and Blake Shelton


Gary Keck, a chemistry professor at the University of Utah and an ardent fan of Haggard, introduced a series of chemical analogues of a biologically active natural product called bryostatin 1 and named them “Merle compunds” to honor his idol’s legacy.



With our APPS  :   Stay tune on our Webradio : Radio Satellite2 : Daily every evening between 10h00 PM and Midnight (Paris Time )  /  04h00 PM central USA  /  03H00 PM Mountain USA  0/02H00 pm Pacific USA  / 05h00 PM Eastern USA




Facebook page: FACEBOOK PAGE

Twitter:  TWITTER RS2





Damien Michel est originaire des bouches du RhÎnes. Depuis 2012, il vit à La Garde dans le var à CÎté de Toulon.


pour Ă©couter quelques Ă©chantillons musicaux , merci de cliquer sur la photo ci dessous


To listen to some musical samples, you can click on image below



Click on image to listen / Cliquez sur l’image pour Ă©couter


Damien Michel a dĂ©couvert l’accordĂ©on Ă  l’Ăąge de 7 ans, lors de vacances familiales en Auvergne. Ce fut un coup de foudre.

Aujourd’hui Damien est professeur de piano Ă  l’Ă©cole de musique de LAURIS.


Damien Michel a participĂ© Ă  diverses Ă©missions de tĂ©lĂ©visions. “La chance aux chansons” “chanter la vie” “Sur un air d’accordĂ©on” “Top accordĂ©on”


This slideshow requires JavaScript.


Avis de notre Ă©quipe: L’album de Damien Michel “L’essayer c’est l’adopter” est une pure merveille. Pour celles, ceux qui aiment l’accordĂ©on? C’est une oeuvre Ă  suivre, Ă  se procurer .


Damien Michel est diffusé sur RS2 :