Daily Archives: January 24, 2014

Balade Haute Provence – Juin 2013 – Pernes les Fontaines, Le Beaucet, Venasque

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Art Talk with George Eastman House

The Moving Image Collection at George Eastman House in Rochester, NY, is one of the major moving image archives in the United States. In this Art Talk, get a glimpse into the life of a film archivist as members of Eastman House’s Moving Image Department will be discussing the lesser known films of American cinema: films that exist but have fallen out of the public eye. Often called ‘orphan films,’ these films tend to be left out of the spotlight for more well-known titles made in Hollywood. What causes this to happen includes such factors as: studio closings, unknown copyright holders, non-famous actors, etc. Are films made today at risk to this type of obscurity? Using one film in particular to highlight this case: The Sign of the Cucumber (1917), they will explain what this film is about, who made it, the stars and what is being done to keep it in the public eye.


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Léo Ferré – L’oppression

Léo Ferré – L’oppression

Tiré du DVD “Sur la scène” (1972/1973 Olympia)


Ces mains bonnes à tout même à tenir des armes
Dans ces rues que les hommes ont tracées pour ton bien
Ces rivages perdus vers lesquels tu t’acharnes
Où tu veux aborder
Et pour t’en empêcher
Les mains de l’oppression

Regarde-la gémir sur la gueule des gens
Avec les yeux fardés d’horaires et de rêves
Regarde-là se taire aux gorges du printemps
Avec les mains trahies par la faim qui se lève

Ces yeux qui te regardent et la nuit et le jour
Et que l’on dit braqués sur les chiffres et la haine
Ces choses “défendues” vers lesquelles tu te traînes
Et qui seront à toi
Lorsque tu fermeras
Les yeux de l’oppression

Regarde-la pointer son sourire indécent
Sur la censure apprise et qui va à la messe
Regarde-la jouir dans ce jouet d’enfant
Et qui tue des fantômes en perdant ta jeunesse

Ces lois qui t’embarrassent au point de les nier
Dans les couloirs glacés de la nuit conseillère
Et l’Amour qui se lève à l’Université
Et qui t’envahira
Lorsque tu casseras
Les lois de l’oppression

Regarde-la flâner dans l’il de tes copains
Sous le couvert joyeux de soleils fraternels
Regarde-la glisser peu à peu dans leurs mains
Qui formerons des poings
Dès qu’ils auront atteint
L’âge de l’oppression

Ces yeux qui te regardent et la nuit et le jour
Et que l’on dit braqués sur les chiffres et la haine
Ces choses “défendues” vers lesquelles tu te traînes
Et qui seront à toi
Lorsque tu fermeras
Les yeux de l’oppression

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Great Performances: Léo Ferré “Avec le temps”

Great Performances:  Léo FerréAvec le temps

Cover of "Avec Le Temps"

Cover of Avec Le Temps

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Georges Brassens – Il n’y a pas d’amour heureux (live) 1965 (‘…Sa vie elle ressemble à ces soldats sans armes Qu’on avait habillés pour un autre destin A quoi peut leur servir de ce lever matin Eux qu’on retrouve au soir désarmés incertains Dites ces mots ma vie et retenez vos larmes…’)

Georges Brassens – Il n’y a pas d’Amour Heureux, 1965
(music de Georges Brassens – poeme de Louis Aragon)

Rien n’est jamais acquis à l’homme. Ni sa force
Ni sa faiblesse ni son cœur. Et quand il croit
Ouvrir ses bras son ombre est celle d’une croix
Et quand il croit serrer son bonheur il le broie
Sa vie est un étrange et douloureux divorce

Il n’y a pas d’amour heureux

Sa vie elle ressemble à ces soldats sans armes
Qu’on avait habillés pour un autre destin
A quoi peut leur servir de ce lever matin
Eux qu’on retrouve au soir désarmés incertains
Dites ces mots ma vie et retenez vos larmes

Il n’y a pas d’amour heureux

Mon bel amour mon cher amour ma déchirure
Je te porte dans moi comme un oiseau blessé
Et ceux-là sans savoir nous regardent passer
Répétant après moi les mots que j’ai tressés
Et qui pour tes grands yeux tout aussitôt moururent

Il n’y a pas d’amour heureux

Le temps d’apprendre à vivre il est déjà trop tard
Que pleurent dans la nuit nos cœurs à l’unisson
Ce qu’il faut de malheur pour la moindre chanson
Ce qu’il faut de regrets pour payer un frisson
Ce qu’il faut de sanglots pour un air de guitare

Il n’y a pas d’amour heureux

Il n’y a pas d’amour qui ne soit à douleur
Il n’y a pas d’amour dont on ne soit meurtri
Il n’y a pas d’amour dont on ne soit flétri
Et pas plus que de toi l’amour de la patrie
Il n’y a pas d’amour qui ne vive de pleurs

Il n’y a pas d’amour heureux


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Haiku – Snowdrops, by George-B

Haiku – Snowdrops, by George-B

Haiku – Snowdrops

Snowdrops pierce winter
Snows are blushingly thawing
Nature rejoices!

 Related articles

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TODAY’S SAINT: St. Francis de Sales

St. Francis de Sales

St. Francis de Sales

St. Francis de Sales

    Feastday: January 24
    Patron Saint of Journalists, Writers
    1567 – 1622
    Born in France in 1567, Francis was a patient man. He knew for thirteen years that he had a vocation to the priesthood before he mentioned it to his family. When his father said that he wanted Francis to be a soldier and sent him to Paris to study, Francis said nothing. Then when he went to Padua to get a doctorate in law, he still kept quiet, but he studied theology and practiced mentalprayer while getting into swordfights and going to parties. Even when his bishop told him if he wanted to be a priest that he thought that he would have a miter waiting for him someday, Francis uttered not a word. Why did Francis wait so long? Throughout hislife he waited for God’s will to be clear. He never wanted to push his wishes on God, to the point where most of us would have been afraid that God would give up!

    God finally made God’s will clear to Francis while he was riding. Francis fell from his horse three times. Every time he fell the sword came out of the scabbard. Every time it came out the sword and scabbard came to rest on the ground in the shape of the cross. And then, Francis, without knowing about it, was appointedprovost of his diocese, second in rank to the bishop.

    Perhaps he was wise to wait, for he wasn’t a natural pastor. His biggest concern on being ordained that he had to have his lovely curly gold hair cut off. And his preaching left the listeners thinking he was making fun of him. Others reported to the bishop that this noble-turned- priest was conceited and controlling.

    Then Francis had a bad idea — at least that’s what everyone else thought. This was during the time of the Protestant reformation and just over the mountains from where Francis lived was Switzerland — Calvinist territory. Francis decided that he should lead an expedition to convert the 60,000 Calvinists back to Catholicism. But by the time he left his expedition consisted of himself and his cousin. His father refused to give him any aid for this crazy plan and thediocese was too poor to support him.

    For three years, he trudged through the countryside, had doors slammed in his face and rocks thrown at him. In the bitter winters, his feet froze so badly they bled as he tramped through the snow. He slept in haylofts if he could, but once he slept in a tree to avoid wolves. He tied himself to a branch to keep from falling out and was so frozen the next morning he had to be cut down. And after three years, his cousin had left him alone and he had not made one convert.

    Francis’ unusual patience kept him working. No one would listen to him, no one would even open their door. So Francis found a way to get under the door. He wrote out his sermons, copied them by hand, and slipped them under the doors. This is the first record we have of religious tracts being used to communicate with people.

    The parents wouldn’t come to him out of fear. So Francis went to the children. When the parents saw how kind he was as he played with the children, they began to talk to him.

    By the time, Francis left to go home he is said to have converted 40,000 people back to Catholicism.

    In 1602 he was made bishop of the diocese of Geneva, in Calvinist territory. He only set foot in the city of Geneva twice — once when the Pope sent him to try to convert Calvin’s successor, Beza, and another when he traveled through it.

    It was in 1604 that Francis took one of the most important steps in his life, the step toward holiness and mystical union with God.

    In Dijon that year Francis saw a widow listening closely to his sermon — a woman he had seen already in a dream. Jane de Chantal was a person on her own, as Francis was, but it was only when they became friends that they began to become saints. Jane wanted him to take over her spiritual direction, but, not surprisingly, Francis wanted to wait. “I had to know fully what God himself wanted. I had to be sure that everything in this should be done as though his hand had done it.” Jane was on a path to mystical union with God and, in directing her, Francis was compelled to follow her and become a mystic himself.

    Three years after working with Jane, he finally made up his mind to form a new religious order. But where would they get a convent for their contemplative Visitation nuns? A man came to Francis without knowing of his plans and told him he was thinking of donating a place for use by pious women. In his typical way of not pushing God, Francis said nothing. When the man brought it up again, Francis still kept quiet, telling Jane, “God will be with us if he approves.” Finally the man offered Francis the convent.

    Francis was overworked and often ill because of his constant load of preaching, visiting, and instruction — even catechizing a deaf man so he could take first Communion. He believed the first duty of a bishop was spiritual direction and wrote to Jane, “So many have come to me that I might serve them, leaving me no time to think of myself. However, I assure you that I do feel deep-down- within-me, God be praised. For the truth is that this kind of work is infinitely profitable to me.” For him active work did not weaken his spiritual inner peace but strengthened it. He directed most people through letters, which tested his remarkable patience. “I have more than fifty letters to answer. If I tried to hurry over it all, i would be lost. So I intend neither to hurry or to worry. This evening, I shall answer as many as I can. Tomorrow I shall do the same and so I shall go on until I have finished.”

    At that time, the way of holiness was only for monks and nuns — not for ordinary people. Francis changed all that by giving spiritual direction to lay people living ordinary lives in the world. But he had proven with his own lifethat people could grow in holiness while involved in a very active occupation. Why couldn’t others do the same? His most famous book, INTRODUCTION TO THE DEVOUT LIFE, was written for these ordinary people in 1608. Written originally as letters, it became an instant success all over Europe — though some preachers tore it up because he tolerated dancing and jokes!

    For Francis, the love of God was like romantic love. He said, “The thoughts of those moved by natural human love are almost completely fastened on the beloved, their hearts are filled with passion for it, and their mouths full of its praises. When it is gone they express their feelings in letters, and can’t pass by a tree without carving the name of their beloved in its bark. Thus too those who love God can never stop thinking about him, longing for him, aspiring to him, and speaking about him. If they could, they would engrave the name of Jesus on the hearts of all humankind.”

    The key to love of God was prayer. “By turning your eyes on God in meditation, your whole soul will be filled with God. Begin all your prayers in the presence of God.”

    For busy people of the world, he advised “Retire at various times into the solitude of your own heart, even while outwardly engaged in discussions or transactions with others and talk to God.”

    The test of prayer was a person’s actions: “To be an angel in prayer and a beast in one’s relations with people is to go lame on both legs.”

    He believed the worst sin was to judge someone or to gossip about them. Even if we say we do it out of love we’re still doing it to look better ourselves. But we should be as gentle and forgiving with ourselves as we should be with others.

    As he became older and more ill he said, “I have to drive myself but the more I try the slower I go.” He wanted to be a hermit but he was more in demand than ever. The Pope needed him, then a princess, then Louis XIII. “Now I really feel that I am only attached to the earth by one foot…” He died on December 28, 1622, after giving a nun his last word of advice: “Humility.”

    He is patron saint of journalists because of the tracts and books he wrote. 

    from Wikipedia


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    Codex Alimentarius Explained

    This is from documentary called “Waking Up Canada To The New World Order”
    found on http://youtube.com/WakingUpCanada


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    Nutricide – Criminalizing Natural Health, Vitamins, and Herbs


    Nutricide – Criminalizing Natural Health, Vitamins, and Herbs



    WHO (Photo credit: Wikipedia)


    The Codex Alimentarius is a threat to the freedom of people to choose natural healing and alternative medicine and nutrition. Ratified by the World Health Organization, and going into Law in the United States in 2009, the threat to health freedom has never been greater.

    This is the first part of a series of talks by Dr. Rima Laibow MD, available on DVD from the Natural Solutions Foundation, an non-profit organization dedicated to educating people about how to stop Codex Alimentarius from taking away our right to freely choose nutritional health.

    Natural Solutions Foundation
    : Dr. Rima Laibow MD.



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    Unirea Principatelor Române 24 ianuarie 1859

    Unirea Principatelor Române 24 ianuarie 1859

    Unirea Principatelor Române cunoscută și ca Mica Unire (Marea Unire fiind cea de la 1918) a avut loc la jumătatea secolului al XIX-lea și reprezintă unificarea vechilor state Moldova și Țara Românească

    Unirea este strâns legată de personalitatea lui Alexandru Ioan Cuza și de alegerea sa ca domnitor al ambelor principate la 5 ianuarie 1859 în Moldova și la 24 ianuarie 1859 în Țara Românească. Totuși, unirea a fost un proces complex, bazat pe puternica apropiere culturală și economică între cele două țări. 

    Procesul a început în 1848, odată cu realizarea uniunii vamale între Moldova și Țara Românească, în timpul domniilor lui Mihail Sturdza, respectiv Gheorghe Bibescu. Deznodământul războiului Crimeii a dus la un context european favorabil realizării unirii. Votul popular favorabil unirii în ambele țări, rezultat în urma unor Adunări Ad-hoc în 1857 a dus la Convenția de la Paris din 1858, o înțelegere între Marile Puteri prin care se accepta o uniune mai mult formală între cele două țări, cu guverne diferite și cu unele instituții comune. La începutul anului următor, liderul unionist moldovean Alexandru Ioan Cuza a fost ales ca domnitor al Moldovei și Țării Românești, aducându-le într-o uniune personală. În 1862, cu ajutorul unioniștilor din cele două țări, Cuza a unificat Parlamentul și Guvernul, realizând unirea politică. 

    După înlăturarea sa de la putere în 1866, unirea a fost consolidată prin aducerea pe tron a principelui Carol de Hohenzollern-Sigmaringen, iar constituția adoptată în acel an a denumit noul stat România.

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    (12) Twitter / Search – #1Million600k

    (12) Twitter / Search – #1Million600k.

    Carl Nielsen – Hanedansen (Dance of the Cockerels) from the opera Maskarade

    A short ballet from Act III of the comic opera Maskarade by Danish composer Carl Nielsen (1865-1931). The opera libretto was written by Vilhelm Andersen, based on the comedy by Ludvig Holberg.

    Conductor: Ulf Schirmer
    Danish National Radio Symphony Orchestra


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    Granados – Danza Española nº 2 Oriental – Mille Bureau & André Figueroa


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    Un bulgăre de humă (1989) (Ion Creangă și Mihai Eminescu)

    Povestea lui Ion Creanga, scriitorul care a reusit sa impresioneze generatii de-a randul cu basmele si povestirile sale. Continuand un har mostenit de la stramosii sai, Creanga considera povestile lui o simpla sursa de amuzament, lipsita de profunditate. Mihai Eminescu este cel care incearca sa-l convinga ca detine un talent deosebit. Poetul, insa, are alte probleme, fiind implicat intr-o imposibila poveste de dragoste cu Veronica Micle…. Respectul pe care il avem in mod firesc fata de marile personalitati Ion Creanga si Mihai Eminescu a devenit, in
    momentul realizarii acestui film extrem de inhibant. Acesta a constituit principalul handicap pe care l-am avut de trecut. Pentru a deveni personaje de film, Eminescu si Creanga trebuiau sa coboare de pe statui, sa prinda viata imprumutand chipurile unor actori: sa vorbeasca, sa se miste si sa evolueze intr-un chip cat mai firesc. In loc sa pastram un ton solemn, omagial, care ar fi imprimat filmului, cred, un aer sedentios, an incercat sa ne apropiem cu discretie si caldura de personalitatile readuse la viata. Chiar daca primele lor aparitii in film risca sa deceptioneze printr-o fireasca neidentificare cu fotografiile icoana, atat de cunoscute, speram ca personajele sa devina convingatoare pe parcursul desfasurarii povestirii cinematografice. Este un omagiu pe care ila duce cu intarziuere implinirii a 100 de ani de la moartea lui Ion Creanga, Mihai Eminescu si Veronica Micle” (Nicolae Margineanu).


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    Great Compositions/Performances: Mihai Eminescu – Sara pe deal

    Daca v-a placut aceasta postare dati va rog un click pe link-ul asta:https://www.youtube.com/watch?v=S899Y…

    si un like la pagina de fb: https://www.facebook.com/skippproduction

    Mihai Eminescu – Sara pe deal


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    Great Compositions/Performances: Corul Madrigal Pe carare sub un brad D.G.Kiriac) “…ca dragostea n-are leac decat ochii care-ti plac!…)

    Great Compositions/Performances:  Corul Madrigal Pe carare sub un brad D.G.Kiriac) “…ca dragostea n-are leac decat ochii care-ti plac!…)


    English: the eyes Français : les yeux Deutsch:...

    English: the eyes Français : les yeux Deutsch: die Augen (Photo credit: Wikipedia)



    Buy this song on http://www.triplu.ro

    From Wikipedia, the free encyclopedia 

    Dumitru Georgescu Kiriac (18 March 1866 – 8 January 1928) was a Romanian composer, conductor, and ethnomusicologist.[1] He was particularly known for his sacred choral works and art songs which were based on the Romanian Orthodox tradition and Romanian folklore.[2]

    Kiriac was born in Bucharest and began his musical studies at the Bucharest Conservatory (now the National University of Music) with Gheorghe Brătianu (1847 – 1905) and Eduard Wachmann (1836 – 1908). From 1892 to 1899 he studied in Paris with Vincent d’Indy at the Schola Cantorum de Paris and with Charles-Marie Widor and Gabriel Fauré at the Paris Conservatory. It was during this time that he began collecting Romanian children’s folk songs. On his return to Bucharest in 1900 he became a professor at the Bucharest Conservatory. The following year he founded the Romanian choral society, Carmen.[2][3]

    Kiriac died in his native city at the age of 61. He was considered one of the founders of modern Romanian music.[4] Festivalul Internaţional de Muzică Corală “D.G. Kiriac”, an international festival of sacred choral music held annually in the city of Pitești, is named in his honour as is the city’s male voice choir.[5]

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