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**************************************************************

Mount Fuji from Mount Ogochi-Sunrise

Acker Bilk-Autumn Leaves|Yves Montand – Les Feuilles Mortes: make music part of your life series

Autumn Leaves — Acker Bilk

YOUTUBE ROCK & ROLL

******************************************************

Les Feuilles Mortes_Yves Montand à l´Olympia

  unamisma

Oh je voudrais tant que tu te souviennes
Des jours heureux où nous étions amis
En ce temps là, la vie était plus belle
Et le soleil plus brûlant qu’aujourd’hui
Les feuilles mortes se ramassent à la pelle
Tu vois je n’ai pas oublié
Les feuilles mortes se ramassent à la pelle
Les souvenirs et les regrets aussi
Et le vent du nord les emportet
Dans la nuit froide de l’oubli
Tu vois, je n’ai pas oublié
La chanson que tu me chantais

C’est une chanson, qui nous ressemble
Toi tu m’aimais, et je t’aimais
Et nous vivions tout les deux ensemble
Toi qui m’aimais, moi qui t’aimais
Mais la vie sépare ceux qui s’aiment
Tout doucement sans faire de bruit
Et la mer efface sur le sable
Le pas des amants désunis

C’est une chanson, qui nous ressemble
Toi tu m’aimais et je t’aimais
Et nous vivions, tous deux ensemble
Toi qui m’aimait, moi qui t’aimais
Mais la vie sépare ceux qui s’aime
Tout doucement sans faire de bruit
Et la mer efface sur le sable
Le pas des amants désunis.

******************************************************

From Wikipedia, the free encyclopedia

 

“Autumn Leaves”
(“Les feuilles mortes”)
Music by	Joseph Kosma
Lyrics by	Jacques Prévert (French) Johnny Mercer (English)
Published	1946
Written	1945
Original artist	Yves Montand and Irène Joachim
Recorded by	Jo Stafford, Edith Piaf, The Melachrino Strings, Nat King Cole, Eric Clapton

“Autumn Leaves” is a much-recorded popular song. Originally it was a 1945 French song “Les feuilles mortes” (literally “The Dead Leaves”) with music by Hungarian-French composer Joseph Kosma and lyrics by poet Jacques Prévert, and the Hungarian title is “Hulló levelek” (Falling Leaves). Yves Montand (with Irène Joachim) introduced “Les feuilles mortes” in 1946 in the film Les Portes de la nuit.^[1]

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A banking subcommittee will explore the case of fired examiner Carmen Segarra and whether the Federal Reserve Bank of New York is too soft on institutions it supervises.

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Senate Hearing Set on Secret Recordings at N.Y. Fed

A banking subcommittee will explore the case of fired examiner Carmen Segarra and whether the Federal Reserve Bank of New York is too soft on institutions it supervises.

by Jake Bernstein
ProPublica, Oct. 31, 2014, 1:57 p.m.

3 Comments Print Print

This is part of an ongoing investigation:

Fed Tapes

A confidential report and a fired examiner’s hidden recorder penetrate the cloistered world of Wall Street’s top regulator — and its history of deference to banks.

Connect with Facebook to share articles you read on ProPublica. Learn more »

 

 

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Latest Stories in this Project

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Sen. Tim Johnson, above, chairman of the Senate Committee on Banking, and Sen. Sherrod Brown, chairman of the panel’s Financial Institutions and Consumer Protection subcommittee, announced the hearing today. (Brendan Smialowski/Bloomberg via Getty Images)

A banking  subcommittee will explore the case of fired examiner Carmen Segarra and whether the Federal Reserve Bank of New York is too soft on institutions it supervises.

by Jake Bernstein
ProPublica, Oct. 31, 2014, 1:57 p.m.

The examiner, Carmen Segarra, secretly recorded approximately 46 hours of meetings with colleagues at the New York Fed and executives from Goldman Sachs as she examined Goldman’s policies, particularly those relating to conflicts of interest. She was fired after seven months on the job.

The recordings show regulators reluctance to push Goldman too hard for information and the New York Fed’s struggles to beef up its supervision of some of the nation’s biggest banks.

Segarra was dismissed after resisting pressure from higher-ups to change her conclusion that Goldman’s policies were insufficient.

Since the financial crisis of 2008, the New York Fed has received new responsibility for supervising Wall Street’s biggest and riskiest financial institutions. That is despite an internal confidential report in 2009 that concluded that the New York Fed was too deferential to the institutions it oversaw and had a culture in which examiners feared speaking out.

The New York Fed has said Segarra was fired for performance reasons alone and issued a statement defending its record of bank oversight.

via Senate Hearing Set on Secret Recordings at N.Y. Fed – ProPublica.

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IN CONCERT ” SIMON AND GARFUNKEL ” LIVE IN CENTRAL PARK NEW YORK 1981

“THE CONCERT IN CENTRAL PARK” SIMON AND GARFUNKEL”  (LIVE IN CENTRAL PARK NEW YORK 1981)

  Josie Sharp

From Wikipedia, the free encyclopedia

Set list

“Mrs. Robinson” (Simon & Garfunkel) “Homeward Bound” (Simon & Garfunkel) “America” (Simon & Garfunkel) “Me and Julio Down by the Schoolyard” (Paul Simon) “Scarborough Fair” (Simon & Garfunkel (folk song; arranged by Paul Simon and Art Garfunkel)) “April Come She Will” (Simon & Garfunkel) “Wake Up Little Susie” (The Everly Brothers (Felice and Boudleaux Bryant)) “Still Crazy After All These Years” (Paul Simon) “American Tune” (Paul Simon) “Late in the Evening” (Paul Simon)

“Slip Slidin’ Away” (Paul Simon) “A Heart in New York” (Art Garfunkel (Gallagher and Lyle)) “The Late Great Johnny Ace” (Paul Simon) “Kodachrome / Maybellene” (Paul Simon / Chuck Berry (Chuck Berry, Russ Fratto, Alan Freed)) “Bridge Over Troubled Water” (Simon & Garfunkel) “50 Ways to Leave Your Lover” (Paul Simon) “The Boxer” (Simon & Garfunkel) “Old Friends / Bookends Theme” (Simon & Garfunkel) “The 59th Street Bridge Song (Feelin’ Groovy)” (Simon & Garfunkel) “The Sound of Silence” (Simon & Garfunkel) “Late in the Evening” (Reprise) (Paul Simon)

After the second song, “Homeward Bound“, Simon delivered a short speech which began, “Well, it’s great to do a neighborhood concert.” He then thanked the police, the fire department, the park administration and finally Ed Koch. The audience booed at the mention of Koch, who had suggested permanent closure of the park, but they applauded as Simon continued and the irony in his reference became clear.^[23]

(A recording of the concert was released five months later, on February 16, 1982.-)