Pink Floyd, Pink Floyd" Run, Run, Run, Run, Run, Run, Run, Run, Run, Run, Run, Run, Run, Run, Run, Run. You better make your face up in Your favorite disguise. With your button down lips and your Roller blind eyes. With your empty smile And your hungry heart. Feel the bile rising from your guilty past. With your nerves in tatters When the cockleshell shatters And the hammers batter Down the door. You'd better run. Run, Run, Run, Run, Run, Run, Run, Run, Run, Run, Run, Run, Run, Run, Run, Run. You better run all day And run all night. Keep your dirty feelings Deep inside. And if you're taking your girlfriend Out tonight You'd better park the car Well out of sight. Cause if they catch you in the back seat Trying to pick her locks, They're gonna send you back to mother In a cardboard box. You better run. "Hey, open up! HaHaHaHaHaaaaaaaaaa! [sound of car skidding, followed by loud scream] "Hammer, Hammer" ( moins )

1916 by Motorhëad. 16 years old when I went the war, To fight for a land fit for heroes, God on my side, and a gun in my hand, Chasing my days down to zero, And I marched and I fought and I bled and I died, And I never did get any older, But I knew at the time that a year in the line, Is a long enough life for a soldier, We all volunteered, and we wrote down our names, And we added two years to our ages, Eager for life and ahead of the game, Ready for history's pages, And we brawled and we fought and we whored 'til we stood, Ten thousand shoulder to shoulder, A thirst for the Hun, we were food for the gun, And that's what you are when you're soldiers, I heard my friend cry, and he sank to his knees, Coughing blood as he screamed for his mother, And I fell by his side, and that's how we died, Clinging like kids to each other, And I lay in the mud and the guts and the blood, And I wept as his body grew colder, And I called for my mother and she never came, Though it wasn't my fault and I wasn't to blame, The day not half over and ten thousand slain, And now there's nobody remembers our names, And that's how it is for a soldier. ( moins )

The Doors résulte de la rencontre entre deux diplômés de l'UCLA, Morrison et Manzarek : Morrison chanta quelques-unes de ses chansons à Manzarek, en particulier Moonlight Drive. Frappé par l'intensité lyrique du texte, les deux frères de Ray Manzarek décidèrent de quitter leur ancien groupe (Rick and The Ravens) pour fonder The Doors avec Morrison. Ce nom d'apparence triviale réfère à un livre de Aldous Huxley, The Doors of Perception, où l'auteur narre son expérience des produits stupéfiants (ce titre était lui-même inspiré d'une citation de William Blake). En août, le batteur John Densmore quitte The Psychedelic Rangers et rejoint The Doors. Il est imité en octobre par le guitariste Robbie Krieger. Pendant l'automne 1965, muni d'une démo enregistrée à la fin de l'été, les membres du groupe démarchent plusieurs maisons de disques mais toutes refusent de leur faire signer un contrat. En décembre, faute de mieux, The Doors signe un contrat avec un bar de Los Angeles, The London Fog, qu'ils animent régulièrement pendant le premier semestre 1966. Puis ils décrochent en mai 1966 un nouveau contrat avec le Whisky A Go-Go, un autre bar branché de Los Angeles. Ils y assurent notamment les premières parties du groupe irlandais Them, dont le chanteur Van Morrison (aucun lien de parenté) aura une considérable influence sur Jim : le peu d'importance que Van accorde à un public qu'il insulte régulièrement et son naturel penchant pour la boisson marqueront à vie Jim et les autres membres du groupe, qui reprendront ensuite régulièrement sa chanson Gloria. Ces débuts difficiles permettent au groupe de se forger une expérience scénique solide, de maîtriser de nombreuses reprises et de tester leurs propres compositions. En juin 1966, le groupe parvient enfin à signer un contrat avec la maison de disques Elektra (représentée par Jac Holzman) : le contrat prévoit une collaboration pour un minimum de six albums. En juillet, lors d'une performance de The Doors au Whiskey A Go Go, Jim Morrison, qui a avalé un cachet de LSD, et sans doute inspiré par les écrits de Freud sur le complexe d'Œdipe, improvise des paroles sur la section musicale centrale de la chanson The End : "Father, I want to kill you. Mother, I want to fuck you all night long" ("Père, je veux te tuer. Mère, je veux te baiser toute la nuit"). Scandalisé, le patron du Whiskey A Go Go jette The Doors dehors sans même leur laisser le temps de terminer le morceau. Ce premier incident inaugure une longue série de provocations transgressives destinées à séduire les adolescents de l'époque : elles deviendront caractéristiques de The Doors et contribueront à forger la légende de Jim Morrison. Au cours de l'automne 1966, The Doors enregistrent leur premier album, sobrement intitulé The Doors, caractérisé par un son unique résultant de la combinaison du style virevoltant de Manzarek, des tonalités jazz de Densmore et des influences du flamenco et de la musique indienne apportées par Krieger. Il s'ouvre sur un morceau bref et très rythmé, Break on Through (To The Other Side), à valeur de manifeste puisqu'il invite à dépasser les apparences banales et à passer "de l'autre côté" par l'usage de la drogue. L'album comprend également des titres où la musique met en valeur la qualité poétique des paroles de Morrison (Soul Kitchen ; The Crystal Ship), des chansons plus légères correspondant mieux à l'esprit "rock 'n roll" inspiré par l'insouciance (Twentieth Century Fox ; I Looked at You), et des reprises (notamment Alabama Song tirée de Grandeur et décadence de la ville de Mahagony de Kurt Weill, sur des paroles de Bertolt Brecht). Le disque s'achève dans la longue composition The End, dont l'atmosphère troublante s'intensifie grâce aux paroles tour à tour mystérieuses ("Weird scenes inside the gold mine", "Scènes étranges dans la mine d'or"), évocatrices ("Ride the snake/To the lake/The ancient lake", "Chevauche le serpent/Jusqu'au lac/Le lac primordial") et scandaleuses (la fameuse "section oedipienne", maintenue textuellement sur l'album). Achevé en une semaine grâce au professionnalisme acquis par le groupe, l'album paraît en janvier 1967. Les critiques sont d'abord peu enthousiastes mais au cours du printemps, Richard Goldstein rédige un article élogieux où il écrit, à propos de The End : "quiconque conteste la notion de littérature rock devrait méditer sur cette chanson". Pendant ce temps, The Doors ré-enregistrent l'un des titres de l'album, Light My Fire (dont les paroles sont de Robbie Krieger, et non de Jim Morrison) pour la réduire de six à trois minutes afin de la sortir en single le 3 juin. Le succès est immédiat : dès le 25 juillet, Light My Fire, véritable hymne à l'amour fou, atteint le n°1 du billboard et y reste pendant six semaines, devenant le titre culte de The Doors. Le groupe est alors acclamé à la fois par la presse adolescente (notamment 16) mais aussi par la presse intellectuelle "sérieuse" (Newsweek, Time, Vogue…), séduite par la qualité lyrique des paroles de Morrison. Il n'était guère fréquent, à l'époque, de trouver un groupe de rock qui citât Blake, Brecht ou Freud. En octobre 1967, l'album The Doors et le single Light My Fire deviennent tous deux disques d'or. La sortie, au même moment, du deuxième album, Strange Days, contribue à maintenir le groupe sur le devant de la scène. Plus déconcertant encore que le premier disque, Strange Days exprime, au travers de plusieurs titres, une sensation de malaise, de perte d'identité, de solitude (Strange Days ; You're Lost, Little Girl ; People Are Strange). Des chansons en apparence plus romantiques (Love Me Two Times ; Moonlight Drive ; My Eyes Have Seen You) laissent percer un sentiment d'urgence, d'imminence, qui se teinte même d'agressivité. Ces impressions morbides culminent dans le morceau central de l'album, Horse Latitudes, un poème écrit par Jim Morrison pendant ses dernières années de lycée, et où il décrit l'épouvante de chevaux jetés à la mer par des marins pour alléger leur navire. Le disque s'achève, comme le premier opus, sur une longue composition presque apocalyptique, When The Music's Over, où Morrison exprime, sous sa forme la plus ramassée et la plus dense, la révolte de la fin des sixties contre le puritanisme américain : "We want the world and we want it… NOW !" ("Nous voulons le monde et nous le voulons… MAINTENANT !"). Horace Andy You know that it would be untrue You know that i would be a liar If was to say to you Girl, we couldn't get much higher Come on baby, light my fire Come on baby, light my fire Try to set the night on fireThe time to hesitate is through No time to wallow in the mire Try now we can only lose And our love become a funeral pyreCome on baby, light my fire Come on baby, light my fire Try to set the night on fire The time to hesitate is through No time to wallow in the mire Try now we can only lose And our love become a funeral pyre Come on baby, light my fire Come on baby, light my fire Try to set the night on fire You know that it would be untrue You know that i would be a liar If was to say to you Girl we couldn't get much higher Come on baby, light my fire Come on baby, light my fire Try to set the night on fire... ( moins )

Voici les paroles: I need a double cheeseburger and hold the lettuce Don't be frontin' son no seeds on a bun We be up in this drive thru Order for two I gots a craving for a number nine like my shoe We need some chicken up in here In this dizzle For rizzle my mizzle Extra salt on the frizzle Dr. Pepper my brother Another for your mother Double double super size And don't forget the FRIES... ( moins )

les parties de Britney Spears dans How i meet your mother ( moins )

Eye on the TV 'cause tragedy thrills me Whatever flavor it happens to be Like: "Killed by the husband" ... "Drowned by the ocean" ... "Shot by his own son" ... "She used a poison in his tea, Then (she) kissed him goodbye" That's my kind of story It's no fun til someone dies. Don't look me at like I am a monster Frown out your one face, but with the other (you) Stare like a junkie into the TV Stare like a zombie while the mother holds her child, Watches him die, Hands to the sky cryin "why, oh why?" Cause I need to watch things die from a distance Vicariously, I live while the whole world dies You all need it too - don't lie. Why can't we just admit it? Why can't we just admit it? We won't give pause until the blood is flowin' Neither the brave nor bold Nor brightest of stories told We won't give pause until the blood is flowin' I need to watch things die from a good safe distance Vicariously, I live while the whole world dies You all feel the same so why can't we just admit it? Blood like rain fallin' down Drum on grave and ground Part vampire, part warrior, Carnivore and voyeur Stare at the transmittal. Sing to the death rattle. La, la, la, la, la, la, la-lie (x4) Credulous at best Your desire to believe in Angels in the hearts of men. But pull your head on out (of) your hippie haze And give a listen Shouldn't have to say it all again The universe is hostile So impersonal Devour to survive So it is, so it's always been ... We all feed on tragedy. It's like blood to a vampire. Vicariously, I live while the whole world dies Much better you than I. ( moins )

Did protons and electrons create the earth? Or did Allah meditate and create it's birth? Is everyday in this place a curse ? Or should I pray on my knees and ebrace it's dirt? (yeah) I dont know if theres a reason im here, I feel the only thing thats driving me is reason and fear. (yeah) And seeing death to me conceiveably near, So I dont give a fuck what you think bout me reachin from fear. (Damn) I dont worry anymore about what my friends do, I have a more urgent matter to attend to. Is there something there bigger when I die and vanish? That weaves everyone and everything into a canvas? Im not smart enough to think I have a resolution, Ill never be a man with meteokre constitution. My father told me that blood and power intoxicate, And that tearity is a product of his fathers hate. CHORUS Im recognized of giving the sins of the father, And recognized whats built and what stems from the author. Understand man is not a machine, He needs a surface and a purpose and a reason for being. Either way im going to stick with my fam', Regardless of my sick dream of a ridiculous man. And im becoming more indifferent every day, As soon as I lean all the questions have faded away. Some of the things I said I hated to say, But blame yourself mother fucker you made it this way. I dont think I would even if I was able to stay, I dont think you could I would sit to the angles and pray. But everybody's got to deal with theyself, If they cut another throat for them, material welts. If it's a problem are you man enough to deal with the help? Or are you destin for the darkness of concealing yourself? (yeah) CHORUS Im trying to deal with the thirty years I spent in prison, Not the physical because of accidentalism. Ive backed myself into a previous lead deposition, When all I ever had to do is just repent and listen. Why cant everybody leave me alone, Im the only one who'd really need to see that Ive grown. You aint smart enough to see what I know, Id like to stab myself and let me fuckin bleed til' I go. But im too scared what would happen on the other side, Trying to fight the good fight how many of us died? I dont know if I trust the people that hang with me. Is it god, or is it the big bang theory? I know some really good people and they slang near me, But I dont think that comically they should hang really. At thirty years old I dont have base yet, And I aint got out of the belly of the beast yet. ( moins )

Displaced and destitute. Recent fighting in eastern Democratic Republic of Congo has left a humanitarian crisis. Thousands have been helped already -- families have been registered, children vaccinated against deadly diseases and cooking utensils, food and basic shelter have been provided; latrines and clean running water have kept illness down to a minimum. But the flood of humanity fleeing conflict has meant aid agencies and government authorities are not been able to keep up. Many walked for days to get to these safe camps outside Goma, shaping bush and branches into makeshift homes. 16 year old Pascaline was heavily pregnant when she and her family were forced to flee. She went into labour on the road, found shelter from the pouring rain and gave birth to a healthy girl. Seeing the new born baby and young mother, Josephine took pity on the family and opened her home to them. 17 people live here now. Josephine Ndalemwa, Head of host family: "I saw this family and the young mother and her tiny baby were completely soaked from the rain and I felt really sorry for them and took them in." The main victims of the renewed fighting are children. This young boy was shot leaving his home. Brought here by an NGO worker, his leg was saved. The main goal of UNICEF's partner Heal Africa is to help rape survivors. A mobile clinic is loaded up with medicines and heads out to volatile areas where women are most vulnerable. Young boys are particularly at risk. Once fighting was their thing, now it's football. At this transit centre for children recruited by armed forces, they get their playfulness back, caring for rabbits and being cared for themselves. Celestin too was shot and had just been brought in MONUC, the UN forces here. "Celestin", 13-year-old: Fears of re-recruitment mean these children won't be united until peace holds. Villages have emptied out in the fighting. For now MONUC and Congolese government forces are in control of the town of Sake. But ongoing insecurity threatens children most. Colonel Chand Saroha, Commanding Officer MONUC: "Nkunda's forces, Mayi mayi and FDLR also, we have seen children in all these three groups, all these commanders, they generally try to lure children to pick up arms." For now a tenuous peace is holding but the crisis in eastern DR Congo remains on the edge. ( moins )

Français (English below): Cette vidéo est un hommage au défunt grand “showman” d'accordéon de piano pour la bande, “La Planete Folle”, depuis 1993 à 2008. Votre musique vivra dessus dans nos mémoires, Cher Ami Mike! La Rue Bourbon est un hommage à la rue célèbre de partie à la Nouvelle-Orléans. Elle a trois vers en anglais et trois vers en français qui indiquent les mêmes choses au sujet de la musique, de la danse, du romance, et de la cuisine unique de la Nouvelle-Orléans et du bayou de la Louisiane. On lui a écrit en 1993, une année après que Vic Sadot ait voyagé à la Nouvelle-Orléans et à la région d'Acadiana le long du Golfe de Mexique. La chanson a été libérée en 1997 par Vic Sadot et La Planete Folle sur un CD intitulé “Comin' Home" (Revenant Chez Moi). Mike Reynolds joue l'accordéon joyeux. Earle Brown joue le saxophone montant, et Dennis Hertzog joue le violon dansant. Dave Sumner fournit à la sauce chaude pour la recette avec sa guitare de grésillement. Le légendaire Chris Sherlock met sa signature à la batterie des tambours. Cette basse de basculage régulière est Monty Cullum. Allons Danser! (Let' s Dance!) Laissez rouler les bons temps! (Let the good times roll!) Cette vidéo est consacrée à notre copain d’equipe Planete Folle, Michael Reynolds de Blackwood, New Jersey. Nous envoyons nos meilleurs voeux et mémoires affectueuses à son épouse Eileen et à ses fils Mike et Kevin. La soeur de Mike, Jane Roork, a pris la tête dans le projet pour préserver sa musique et sa mémoire. Entrez en contact avec Vic au broadsideballadeer@gmail si vous avez n'importe quoi contribuer à préserver la musique et la mémoire de Mike Reynolds. Nous vous aimons, Mike ! Continuez de rock dans le monde d'esprit! ENGLISH: This video is a tribute to the late great Mike Reynolds, the piano accordion showman extraordinaire for Planete Folle Band from 1993 to 2008. May your music live on in our memories, Mike! Bourbon Street is a tribute to the famous party street in New Orleans. It has three verses in English and three verses in French that say the same things about the music, dance, romance, and the unique cuisine of New Orleans and the Louisiana Bayou. It was written in 1993, a year after Vic Sadot travelled to New Orleans and the Acadiana region along the Gulf Coast. The song was released in 1997 by Vic Sadot's Planete Folle Band on a CD titled "Comin' Home". Mike Reynolds plays the joyful accordion. Earle Brown plays the soaring saxophone, and Dennis Hertzog plays the dancing fiddle. Dave Sumner provides the hot sauce for the recipe with his sizzling guitar. The legendary Chris Sherlock is on playing his signature drums. That steady rocking bass is Monty Cullum. Allons danser! (Let's go dance!) Laissez les bons temps rouler! (Let the good times roll!) Many of our Cajun/Zydeco heroes appear in this video from Louisiana and the San Francisco Bay Area. Alan O’Brien is the 2008 bass player helping the young boy learn to play the scrub board. I had no photo of Earle Brown. My apology to you wherever you are. Earle played briefly for Planete Folle while visiting his mother in Wilmington, DE. Last we heard was that he went back to New Orleans and was with a hot travelling band. That’s another Planete Folle sax player named Fulani Davis in a photo from July 4, 2000. This video is dedicated to our buddy and band-mate Michael Reynolds of Blackwood, New Jersey with best wishes and fond memories to his wife Eileen and his sons Mike and Kevin. Mike's sister Jane is taking the lead in preserving Mike’s music and photographic memorabilia. Contact Vic at broadsideballadeer@gmail if you have anything to contribute to preserving the music and memory of our friend Mike. We love you, Mike! Keep on rockin' in the spirit world! ( moins )

Au cas vous ne le saviez pas, Justin Timberlake a fait plusieurs apparitions à l'émission Saturday Night Live dans lequel il a fait les sketchs les plus mémorables. Si jamais vous avez la chance, regardez Justin avec Beyonce, Justin qui chante Mother Lover, Justin accompagné de Jessica Biel, etc. ( moins )