Available from http://www.cafepress.com/ourkrazykulture

December 21, 1934 – St. Petersburg Times

Santa Claus Already Drops In on Radio Entertainers With New Contracts for ‘35

By C. E. Butterfield NEW YORK, Dec. 20—Santa Claus has dropped in already on many of the top-notchers of radio.

But it isn’t the old gentleman’s dropping in alone that has ushered in a burst of early Christmas cheer—it’s the breath-taking contracts he’s dropped into many a prematurely hung rock or stocking.

To Eddie Cantor has gone the bulkiest gift of the lot to date. When the heavy-browed comedian returns to the air in February, he will top them all with a contract calling for $10,000 a Sunday—divided $7,000 for himself and $3,000 for needed program makeup.

This figure isn’t so far above the amount due Kate Smith beginning with her new series, Christmas eve. Altogether she will be making $7,150 per week, $5,000 for a Monday night show, $1,500 for a local station appearance and $650 for her Wednesday matinee.

The Revelers quartet will rate $1,500 per microphone singing. Edwin C. Hill can figure up approximately $2,500 for four programs a week as commentator. The highest paid orchestra on the networks is declared to be the Fred Waring group at $6,000 for one program, or $10,000 for two a week.

It was in this $6,000 a week class that Santa already has placed Will Rogers, Ed Wynn, Jack Benny, John Charles Thomas, and Morton Downey, although out of his $6,000 for two programs Downey must pay the orchestra and narrator.

The list doesn’t stop there. Santa hasn’t done so badly by some others as the following list shows:

$5,000—Phil Baker and his accodion; Rosa Ponselle, operatic soprano.

$4,500—Grace Moore, soon to start a new series.

$4,000—Bing Crosby and Lawrence Tibbett.

$3,500—Guy Lombardo’s orchestra and Fred Allen.

$3,000—Roxy (S. L. Rothafel). Burns and Allen and Joe Penner.

$2,800—Rudy Vallee.

$2,500—Helen Hayes beginning a new series soon and Nino Martini.

$2,000—Stoopnagle and Budd and Alexander Woollcott.

$1,200—Gertrude Niesen.

I hate my job.  But it pays the bills so I’m keeping it until I find something else.

But I find myself frustrated because my passion is hypnosis and past life regressions and I’m not able to pursue that at this time.

I decided to start this blog as a way of venting my feelings and frustrations about my life.  But now that I’ve started writing I find that I don’t want to talk about (at this moment) that.  I normally work the night shift but have tonight off which is good because as I said earlier I hate my job.  This is the third different job I’ve had this year which is odd for me because I’m used to staying in a job for years.  But for the past 5 years I’ve worked overseas as an English teacher and 10 months ago I returned to the States.  I’m very happy about that.  It was time to come home.  However, I’ve not found where I want to live and what I want to do now.  My multiple job experiences from this year have not been happy ones.  I’ve recently decided that until I’m doing what I’m passionate about, hypnosis, that I won’t be happy.  Sigh.  Now I have to figure out how to make that happen.  Just writing about it gets my thoughts working and I’m sure I’ll find the solution.

On a side note, I went to see the move Old Dogs tonight.  It was charming and funny.  I definitely needed the laugh.

The Scarlet Empress was the sixth collaboration between Marlene Dietrich and Joseph Von Sternberg, whose pairing had produced a successful and profitable formula for Hollywood, and this cinematically extravagant film works to enhance and confirm the over the top personalities of both individuals. Based on the true exploits of Catherine the Great, the film tells the story of the German Princess Sophia who is ordered to marry the Russian Prince Peter so that they can strengthen ties between both countries provide a son to carry on the families reign of the empire. Dietrich gives a great performance which develops from a wide eyed princess sheltered from the world to a man-eater who seduces half of the Russian army due to her unsatisfied marriage to the prince. As the film develops, a network of lovers and relationships spring up between her and others in the government, and we get a sense of her increasing power over the rest of the royal family, which culminates in the finale of the film showing her attempt to take over the government to become Catherine the Great.

In typical Hollywood fashion, people from both foreign countries and played by Americans making no attempt to hide their accents, distancing the story from the factually based events it claims to be based on, and turning it into a thinly disguised parody of the Russian empire. Louise Dresser as Empress Elizabeth is particularly hard to take seriously as her mid-west accent makes it impossible to think of her as Russian royalty. Inter-titles describe the barbaric and inhuman actions of the royal court while Prince Peter is portrayed as a grinning idiot more concerned with his toy soldiers that the workings of his family. His almost slapstick performance adds a comedic element to the film (at one point the drills a hole in his mothers wall to eavesdrop), which was surely included to give the public at the time some comic relief to spare (or distract) them from the political subtext.

The mise-en-scene of the film is one of its most important merits; the detailed sets filled with impressive religious iconography, the huge number of details dresses and outfits worn by the princess and the large number of sets with their enormous carved doors all create the effect of a hugely wealthy and indulgent high society. The poorer members of the country are depicted in large overhead group shots as they are ordered to pray for the princess, which works to achieve a similar effect to what Eisenstein formulated in his earlier films; creating a sense of the public as a mass of people by not focusing on a single character. This works to focus the film solely on the wealthy royal family and their actions, not concerning itself with the actions and consequences of the poor. The film was made just a few years out of the silent era, and Sternberg seems to pay tribute to silent cinema by filming the extended wedding sequence with minimal dialogue, relying on the claustrophobic framing and careful editing to convey the princesses wonder and amazement at her new life and surroundings.

The film was not a huge success at the time of its release, and this may be attributed to the almost alienating cinematic extravagance which, due to the countries political and economic troubles, may have made it hard for the ordinary public to identify with a wealthy princess solely interested in pursuit of her personal pleasure. Sternberg has created a film so visually indulgent that the actors appear to be integrated into the sets as decoration, rather than allowing their presence and acting to stand out on their own, and this seems to be one of the films major problems. By the end of the film the over the top settings and emphasis on cinematic excess are the films downfall. As Sophia storms the castle with a horde of soldiers on horseback, the film seems to forget about the network of relationships it has crafted and decides to end the film concentrating on pure cinematic spectacle, rather than tying up the ends of the characters stories. The film ends with several multiple exposure shots of bells ringing out signalling the triumph of Sophia, but the audience is left with an image signifying the aesthetic triumph of the film rather than giving us a satisfying emotional closure.

by Jonathan Burrello

Perhaps there is nothing remotely binding between the holiday in which we partake of turkey and welcome family fellowship with the 1934 Laurel & Hardy musical “March of the Wooden Soldiers” (a.k.a. “Babes in Toyland”). All I know is that at my house growing up, it wasn’t Thanksgiving without this odd comedy (it used to be a holiday staple on TV in the 60’s and 70’s). The film stars the legendary comedy team of the infantile Stan Laurel and the rotund Oliver Hardy and features an interesting—and sometimes dark—peek into the world of fairy tales and nursery fables.

My deep admiration of Laurel and Hardy clearly influenced my enjoyment of this twisted yarn, but even for the uninitiated this film has undeniable charm and an incorrigible sense of whimsy…but it wouldn’t hurt to enjoy some of their other work and funny shorts first. The duo’s shtick was a basic one: two grown men with extremely childlike sensibilities saunter in and out of trouble while the softer more naive Laurel inadvertently causes more duress for the more domineering Hardy. They would put these characters into many situations and milk the comedy out of any circumstance and, naturally, the darker the dilemma the funnier the solution. Like Abbott and Costello, Laurel and Hardy were always funniest to me when they were up against monsters, killers, ghosts, gangsters, etc. and in “March of the Wooden Soldiers” (directed by Gus Meins and Charley Rogers) they bounce from delightful childhood storybook characters to an army of Bogeymen led by the conniving Crooked Man, Silas Barnaby (Henry Brandon).

Based on Victor Herbert’s 1903 operetta, Silas Barnaby is the wealthiest and meanest man in town (you don’t get rich by being nice to people), and he is in love with Little Bo-Peep (Charlotte Henry), but she loves the gallant Tom-Tom Piper (Felix Knight). Barnaby will not be beat so he frames Tom-Tom for pig-napping one of the Three Little Pigs and then furthers the deed by making it look as though Tom-Tom also ground him into sausage. Ollie Dee and Stannie Dum (Laurel and Hardy), two boarders with the Old Woman Who Lived in a Shoe (Florence Roberts) and friend of Bo-Peep, suspect foul play and so embark on a mission to find the truth…but get themselves arrested for burglary when they try to steal Mother Peep’s mortgage from Barnaby.

Screwball mishaps abound as the lovable duo rub elbows with Mother Goose, Rock-a-by Baby, Old King Cole, Mary Quite Contrary, Santa Claus, the Sandman, and many others. There are five musical numbers including the memorable “March of the Toys” instrumental piece that plays during the final battle when Laurel and Hardy unleash 100 giant Wooden Toy Soldiers on the vicious Bogeymen. The battle at the end is a lot of fun. All the characters band together to fight off the onslaught of monsters in their own unique ways. “March of the Wooden Soldiers” is a funny, entertaining, scary, bizarre, and fun Thanksgiving adventure for everyone.

Personal notes: The Bogeymen are actually not the scariest part of this film. My family and I have always been slightly perturbed by the weird rubber pig costumes and the glassy eyed cat playing the cello (pigs and cat all played by people in suits). Another spooky aspect (but somehow absolutely fantastic in an incredibly deranged way) is the presence of Mickey Mouse. I’ve heard that they couldn’t get the rights from Disney (little surprise), but they still have a black mouse character with round head and ears, white gloves, red trousers, and yellow shoes. The spooky part: Mickey Mouse is played by small monkey that has been freakishly adorned to vaguely resemble the iconic rodent. The Mickey Mouse creature scrambles around, throwing bricks at the cat and is easily one of the coolest parts of the Bogeyman Battle (I won’t ruin it), but is still slightly unnerving. Last note: This film is one of those rare movies that really benefits from the computer colorization process. Originally shot in black and white, the colorized version actually enhances the film and brings a lot more magic to this already special movie.

This celebrated classic may be strange, but I encourage you to invite Laurel and Hardy and the rest of Toyland into your home this Thanksgiving.

I had one or two other treasures before I started school, given by neighbours usually. Mrs. Priestley next door gave me a very small porcelain figure of a little girl in a Dutch bonnet, and that became a sort of friend and confidante and comfort for many years. I still have it. I was told later that it was a cake decoration and it was hollow, about one and a half inches high. The same lady gave me a little pot watering can, with a brilliant orange lustrous glaze and a little desert scene on one side, about five inches high. It wasn’t very useful; I couldn’t think of anything much to play with it, and I always disliked orange I’m afraid, but it was mine and therefore special. Later another neighbour presented me with one of those Japanese tea sets, with very thin china and a beautiful lustre, decorated with ladies in kimonos and trees and blossoms and lakes and bridges: I really thought they were beautiful and was quite upset when my mother shattered the milk-jug. The rest of the set is still intact and still seems lovely to me – I fall for lustre, it’s so pretty and bubble-like. I suppose some things that I once liked I have grown out of, but it is surprising how I feel to have been consistent. Many of the things I specially liked when very young I still take much pleasure in.

Und dann „flöten“ die so das Blech weg?! Wie die richtig Großen?! Einfach Klasse! Jedesmal wenn ich den 4. Satz aus Jean Françaix’ Bläserquintett von 1934 höre kann ich mir das Lachen nicht verkneifen und muss im Takt mitgehen. Geht es Euch auch so?

DIJUAL UANG DOLAR KUNO DENGAN PECAHAN USD$ 100.000 TAHUN 1934..

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Tampak Belakang (LOOKS BACK)

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uang kuno, dolar kuno, klasik, uang klasik

]]> http://nighthawknews.wordpress.com/2009/11/18/the-year-in-film-1934/ Wed, 18 Nov 2009 22:03:39 +0000 nighthawk4486 http://nighthawknews.wordpress.com/2009/11/18/the-year-in-film-1934/

My Top 10:

William Powell, Myrna Loy and Asta in The Thin Man (1934)

1. The Thin Man
2. The Gay Divorcee
3. It Happened One Night
4. Death Takes a Holiday
5. Mauvaise Graine
6. Story of Floating Weeds
7. The Scarlet Empress
8. Of Human Bondage
9. Twentieth Century
10. Madame Bovary

Academy Awards:

• Best Picture:  It Happened One Night
• Best Director:  Frank Capra  (It Happened One Night)
• Best Actor:  Clark Gable  (It Happened One Night)
• Best Actress:  Claudette Colbert  (It Happened One Night)
• Best Adaptation:  It Happened One Night (from the short story “Night Bus” by Samuel Hopkins Adams)
• Best Original Story:  Manhattan Melodrama

TSPDT Consensus Top 5 Films:

• It Happened One Night – #198
• The Scarlet Empress – #298
• Man of Aran – #311
• It’s a Gift – #423
• Our Daily Bread – #821

Top 5 Awards Points:

1. It Happened One Night - 490
2. One Night of Love – 245
3. The Thin Man – 170
4. Cleopatra – 155
5. The Gay Divorcee – 135

AFI Top 100 Films:

• It Happened One Night – #35  (1998) / #46  (2007)

Nighthawk Awards:

Bette Davis as the Cockney waitress in Of Human Bondage - even with write-in votes she only finished third in the Oscar voting

• Best Picture:  The Thin Man
• Best Director:  W.S. Van Dyke  (The Thin Man)
• Best Actor:  William Powell  (The Thin Man)
• Best Actress:  Bette Davis  (Of Human Bondage)
• Best Supporting Actor:  Charles Laughton  (The Barretts of Wimpole Street)
• Best Supporting Actress:  Alice Brady  (The Gay Divorcee)
• Best Adapted Screenplay:  The Thin Man (from the novel by Dashiell Hammett)
• Best Original Screenplay:  Mauvaise Graine
• Best Foreign Film:  L’Atalante

Nighthawk Notables:

• Best Film to Watch over and over:  The Gay Divorcee
• Best Scene:  Claudette Colbert stopping traffic in It Happened One Night
• Best Ending:  It Happened One Night
• Best Line:  “I read where you were shot 5 times in the tabloids.”  “It’s not true.  He didn’t come anywhere near my tabloids.”  (The Thin Man – Myrna Loy and William Powell)
• Read the Book – Don’t See the Movie:  The Age of Innocence

Ebert Great Films (in order they were added):

• The Thin Man
• The Scarlet Empress

In 1934 the Academy Awards and NBR finally lined up as the Academy stuck to the actual calendar year.  It is the last of the weaker years, as many of the Best Picture nominees are widely forgotten today, with a few of them (The White Parade, The House of Rothschild, Here Comes the Navy) especially hard to find.  Of the 5 films hailed in the Top 1000, one is a British documentary and one is a W.C. Fields film lauded more for his wit than for any greatness in the film itself.  While It Happened swept the awards, I prefer the wit of The Thin Man.  Is there a more entertaining movie couple than William Powell and Myrna Loy?  But either way, it’s close – my top 3 are pretty much a tie.  All of them are well made, well acted and first rate entertainment and all of them have wit and romance — two things that aren’t combined well enough anymore.

Film History: Thanks to films like The Story of Temple Drake and She Done Him Wrong, the Production Code begins to be strictly enforced in June, thus ending the Pre-Code Era. We have the first appearances of Donald Duck and The Three Stooges, the start of the Thin Man series and the beginnings of screwball comedy with It Happened One Night.  Jean Vigo dies of leukemia, just after the release of his L’Atalante.  John Dillinger makes Manhattan Melodrama famous as the trivia question answer to “What movie was Dillinger coming out of when he was killed by police?”

Academy Awards: It Happened One Night is still remembered as the first film to win the big 5: Picture, Director, Actor, Actress, Screenplay (it was also the first film to win more than 3 Oscars).  It would take 41 years before it would happen again (or even before the same film would win Actor and Actress).  The Academy expanded, adding Editing, Score, Song and Assistant Director.  For the final time, more than 1 film will get a Best Picture nomination and no other nominations (the 3 hard to find films mentioned above).

• Worst Oscar:  Best Cinematography for Cleopatra
• Worst Oscar Nomination:  Best Adaptation for Viva Villa!
• Worst Oscar Omission:  Best Actress for Bette Davis  (Of Human Bondage)
• Worst Oscar Category:  Best Editing
• Best Oscar Category:  Best Actor

Awards: For the first time, the NBR and the Oscars were working on the same calendar and yet, only three of the Top 10 NBR films made the Best Picture nominations, though they did both agree on It Happened One Night as the best film of the year (the other two were The Thin Man and Viva Villa!).  For the first time (according to their records), the NBR picked a specific Best Foreign Film, the documentary Man of Aran.

Helen Venable and Frederic March in Death Takes a Holiday (1934)

Over-looked film of 1934:

Death Takes a Holiday (dir. Mitchell Leisen)

Do people today understand the extent to which Frederic March was a star?  When they look back at the 30’s, and look at Gable and Cagney will they even remember March?  But Frederic March was one of the first great actors to emerge in the Sound Era.  He had the forceful presence of John Barrymore (without the self-destructive drinking), the elegance and class of Leslie Howard (without the foppishness) and he could romance with the best of them.

So why, why, why would anyone in their right minds ever have conceived of re-making a Frederic March film with Brad Pitt in the March role?  March had charisma, had star power, knew how to act.  Pitt can do great acting in character roles, but as a lead is a complete vacuum, and never more so than in Meet Joe Black, the over-long, tedious re-make of Death Takes a Holiday.  Pitt’s idea of being Death was to simply never show the slightest sign of emotion.

March, on the other hand, was one hell of an actor, one of the first to win an Oscar for Best Actor and one of the few to do it a second time.  As Death, he actually seeks out to explore a world.  He gives a performance of someone who has ventured out beyond what they are normally accustomed to and what to understand what the new world means.  He is genuinely seeking out a chance to explore life, the very thing that he brings an end to.  And Death Takes a Holiday is a fascinating film, often forgotten, for it was nominated for no Oscars and has not been seen much over the years (it is unavailable on DVD).  But it is a sharp reminder of the star power of the Studio Era.

Treat yourself to some Frederic March.  It doesn’t just have to be Death Takes a Holiday.  It could be either of his Oscar winning roles: Dr. Jekyll and Mr. Hyde or The Best Years of Our Lives.  It could be the film he should have won an Oscar for: A Star is Born.  It could be his Oscar nominated performance as Willy Loman in Death of a Salesman.  Or his amazing late career performance in Inherit the Wind.  Just discover him and watch how amazing he truly was.

Um dos filmes mais belos da história.

Il 14 Novembre 1934 nello stadio londinese di Highbury, si disputò una partita amichevole tra l’Inghilterra e l’Italia. L’Italia si era laureata campione del mondo per la prima volta, l’Inghilterra invece decise di non partecipare al campionato del mondo di calcio in Italia.

Ferraris and Hapgood

Tra gli azzurri scesero in campo 9/11 dei giocatori che mesi addietro scesero in campo nella finale mondiale contro la Cecoslovacchia. Prima di quel giorno, nessun nazionale di calcio aveva mai violato uno stadio inglese. Finì 3 a 2 per gli Inglesi e per via della durezza espressa in campo fu ribattezzata la “Battaglia di Highbury” e i 22 giocatori in campo furono chiamati i “leoni di Highbury”. Fu proprio (così pare) guardando questa partita, che W. Churchill dichiarò la famosa frase:

Gli italiani sono un popolo strano: si preparano ad andare in guerra come se dovessero giocare a calcio e giocano a calcio come se fossero in guerra.

Gli azzurri dovettero aspettare 39 anni per onorare i Leoni di Highbury. Infatti, il 14 Novembre del 1974 l’Italia sconfisse l’Inghilterra allo stadio Wembley per 1 a 0 grazie ad un goal di Fabio Capello, e fu per la nazionale italiana la prima volta che riuscì a battere gli Inglesi in casa loro. Così dopo quasi mezzo secolo furono ricordati gli undici azzurri che uscirono sconfitti ma a testa alta dallo stadio Highbury di Londra. Oggi la nostra nazionale italiana disputa una partita amichevole contro l’Olanda e chissà se verranno ricordati, dopo 75 anni, i nostri gloriosi Leoni di Highbury:

• Carlo Ceresoli (Ambrosiana Inter)
• Eraldo Monzeglio (Bologna)
• Luigi Allemandi (Ambrosiana Inter)
• Attilio Ferraris (Roma)
• Luisitto Monti (Juventus)
• Luigi Bertolini (Juventus)
• Enrique Guaita (Roma)
• Pietro Serantoni (Juventus)
• Giuseppe Meazza (Ambrosiana Inter)
• Giovanni Ferrari (Juventus)
• Raimondo Orsi (Juventus) 

© 2009 ATWA Brasil

            I missed the opening of the Smithsonian American Art Museum’s “1934: A New Deal for Artists,” which displays art made with the first tranche of money directed at artists under President Franklin Delano Roosevelt’s short-lived Public Works of Art Project. When I finally made it to the show last month, I was struck by comments in the visitor’s log book, many of them evincing a powerful nostalgia for government supported art. After reading Morris Dickstein’s book on art during the Great Depression, and looking through another volume, “When Art Worked: The New Deal, Art, and Democracy” by Roger Kennedy, I ruminated on some of the issues involved with public funding for the arts then and now. The story appeared in last Sunday’s Post.

Perhaps the boys tricked me at times, I don’t know – but on the whole they were very nice to me. They certainly encouraged the tomboy in me, and I was told that one mustn’t cry ever – if you hurt yourself you should laugh and hide the pain. Since I was three at the time, it surprises me that I simply accepted this and acted on it, and have always so far taken pain in silence- funny if the reason I have done so for 60 years is because my brother told me that was the right thing to do. He could have taught me to curse at pain instead and that would have made my life and me different. Such small bits of guidance can prove to be absorbed so deeply. Another thing I learned very young was that it’s not very clever to lose your temper – I had been playing all afternoon and was probably just about tired of it all, when the last straw reared its ugly head. I was playing with one of my favorite things, a set of thick cardboard squares, with round holes cut out in patterns, into which I placed little clay silvery painted balls to make pretty, geometric designs. Unfortunately, it was frustrating me in some way and I just got so cross with it that I flung the little balls about the room. My Dad came in from work while I was miserably crawling here and there trying to gather up my precious game, and he naturally came to help me, reaching into far corners and moving furniture – if I had lost any pieces I would be unable to complete the designs and was feeling rather desperate. Dad was calming me down all the time and I trusted that it would all be all right because he was on my side, but before we finished he pointed out that such dismay and effort to put things right were likely to result if one really gave in to temper. I thought I’d like to avoid such things in future. I thought my Dad would like me to do so. I knew that was the way he behaved and I very much wanted to be just the same.

Me and my Dad with Maurice at the beach

1934 Buick Sedan in Kenya Classic 560×1847 wallpaper image of 1934 Buick Sedan in Kenya Classic 560×1847
to view full size click1934 Buick Sedan İn Kenya Classic 560X1847 wallpaper ( 1934 Buick Sedan İn Kenya Classic 560X1847 wallpaper )

Como os dije en la entrada anterior, vamos a dedicar algunos días a recorrer las calles que hay entre la plaza de los Santos Niños y la puerta de Madrid. Una zona que, si bien no es tan turística como otras más conocidas, tiene un peculiar encanto que hace que sea un placer perderse por ella.

Si nos situamos en la calle Postigo (más o menos a la altura de la facultad de ciencias económicas) y miramos desde ella en dirección hacia la plaza de los Santos Niños podremos ver entre los edificios la torre de la iglesia magistral. Así es hoy en día y así fue hace más de 70 años como podéis ver en la siguiente fotografía:

“Calle Postigo”. Fotografía de Vicente Zubilaga tomada en 1934. Extraída del libro “El archivo y la fotografía de Alcalá de Henares”. ISBN: 84-87914-53-3.

Como os digo, la vista desde este lugar no ha  cambiado en absoluto en todos estos años: la práctica totalidad de los edificios han sido restaurados o directamente reconstruidos, han desaparecido los postes del primitivo tendido eléctrico y la calle ha sido asfaltada en sustitución del adoquinado de la época; pero fijaos en que la vista del conjunto sigue siendo exactamente la misma.

La facultad de económicas es ese edificio moderno que se ve en la parte izquierda de la imagen y, como podéis apreciar, ha sustituido a aquellas viviendas destartaladas que se veían en la fotografía de 1934.

Bueno, hasta aquí nuestro vistazo al pasado de esta semana. Como os decía al principio de la entrada, me gustaría dedicar un tiempo a recorrer calles alejadas de la bulliciosa plaza de Cervantes y alrededores para así ver contrastes alejados de las zonas que todos conocemos ya. El lunes que viene visitaremos otro de esos rincones con encanto que no han cambiado apenas nada con el paso de las décadas… ¿o tal vez sí?

“Tener todo lo necesario para ser feliz, no es una buena razón para serlo realmente”

(proverbio francés)

Fò m ale! Très bientôt je partirai pour Ayiti, pour revoir la famille, les amis, le peyi. J’aimerais m’impliquer, en profiter pour tisser des liens, collaborer avec des artistes de là-bas. Kijan pou nou kontre?

Voici ma petite liste de talents “nouvèl jenerasyon”:

-Tifane

-Belo

-Eud

-Stanley Georges

-Kiko

-Jean Bernard Thomas

-Zing Experience

Ah ! Qui me rendra mon pays

Haiti

C’est toi mon seul paradis

Haiti

Ah ! Dieu me rappelle

Tes forêts si belles

Tes grands horizons

Loin de tes rivages

La plus belle cage

N’est qu’une prison

Oui !! Mon désir , mon cri d’amour

Haiti

C’est de te revenir un jour

Oh, beau pays bleu

Bien loin, bien loin sous d’autres cieux

Je vivais des jours heureux

Mais tout est fini

Seule dans mon exil aujourd’hui

Je chante, le coeur meurtri

Oui ! mon désir mon cri d’amour

Haiti

C’est de te revenir un jour

Haiti !!!

Paroles: Roger Bernstein, Géorge Koger

chanté par Joséphine Baker