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Loca Virosque Cano (7) Brixton, "Guns of Brixton "The Clash (1979)



From "The Clash" to "Combat Rock": music as a vehicle of rebellion.

The Clash is a British band consisting of Joe Strummer (guitar, vocals), Paul Simonon (bass), Mick Jones (guitar and vocals) Topper Headon (drums, he joined the group From the 2nd album) formed in 1976. Two of its members, Mick Jones and Paul Simmonon, were born in Brixton, the latter is the composer of the song "Guns of Brixton" he plays well.

The Clash became known as an opening act for the Sex Pistols on a tour called "Anarchy Tour" which allowed them to sign with CBS for their first single "White Riot" in 1977 and first album, entitled "The Clash". They rotate with the major groups of the late 70's: The Jam, Paul Weller, group emblematic revival mods (1) but Buzzcocks, spearhead of the Mancunian punk scene. In 1978 they released their second album Give'em Enough Rope s'egagent and increasingly involved in political activism, for example, the concert "Rock Against the racism" Victoria Park, April 78, at the initiative of the Anti-Nazi League.

Then, in December 1979, The Clash released a double album to mark the definitive history of rock: London Calling . Always associated with the punk movement, yet the group follows a route very different from that taken by Johnny Rotten and Sid Vicious. Indeed, the Clash are more rock oriented but able to enrich the sound of ska, reggae, dub, etc.., What they are doing great on this double album. The cover inspired that of the first LP of Elvis Presley, dating from 1956, is now part of the picture book rock. It shows Paul Simonon destroyed in a furious gesture his guitar gesture that sums up both the energy of the group but also the revolt that irrigates his discography.

It closes in 1982 (the album's release Cut The Crap published 3 years later, the group no longer includes or Topper Headon, Mick Jones nor). In the end, the Clash leaves five albums, including a double ( London Calling) and triple ( Sandinista we talked Blot), and a multitude of titles witnessed their commitment to the image of him their last production entitled "Combat Rock" .

"Guns of Brixton" a song visionary.

England, 1978 the crisis is installed since the beginning of the decade. Oil crisis, which plunged the country deindustrialization blacks the first industrial revolution in the doldrums, a million unemployed and inflation rising to 18%. The general election are, as often placed under the banner of bipartisanship and are just a confrontation between the Labour Party and the Tories. At the head of the training of curators, Margaret Thatcher , which some say could be the first woman Prime Minister of the United Kingdom after the elections of May 79 that approach.

During the campaign, the issue of immigration burst into the debates. For Thatcher, recover the voices of supporters of the National Front is an option not to be overlooked. The country then 54 million inhabitants, 1.9 million of qualified people "colored" . The spearhead (no pun) of the Tory party, gave a series of sentences in the press which raise some doubts about its positioning and its attempts to recover his voice right, so it will stop listing to immigration ( "clear end to immigration" ) then open to family reunification, and adds "people are really afraid Rather That This Country Might Be swamped by people of a different culture." ("People are quite disturbed to see this country swamped by people from another culture ").

Although born eclectic personalities as Harold Macmillan (2) John Major (3) or David Bowie, the district of Brixton located das Borough of Lambeth in south-west London, is nevertheless strongly influenced by his Jamaican and Caribbean identity (or "West Indies" which also includes Trinidad and Tobago or Barbados) . A resident of Brixton on 3 comes from this region of the world (up to 70% in parts of the sector) so much so that the neighborhood was nicknamed Harlem London. According to studies conducted in the 80 (4) is a suburb marked by heavy housing problems (lots of squats, a long waiting list for public housing), a rampant crime linked to a drug trafficking important, with a decaying social fabric because of the important parenthood and unemployment . Even if all the possible numbers are after the 70 (5) they speak volumes: in 1985, 13% of the UK workforce is unemployed, the rate is 23% among minorities may culminate among young blacks at 55% to 67% even for locals.


relations with the police are difficult in the neighborhood for several years lorqui Paul Simonon wrote "Guns of Brixton." On the one hand, people criticized the Metropolitan Police's lack of enthusiasm to solve the cases in which immigrants are victims of the neighborhood. Thus, the disappearance of two young boys in the black community in a burning building remains unresolved. On the other hand, the population complains of harassment the MPS (Metropolitan Police Service) which has the possibility to carry out checks on mere suspicion. These are experienced by the population as controls facies, often unjustified and branding, making the atmosphere more irrespirrable. It is on this theme that Paul Simonon built its title as one can read and listen below:

When They kick out your front door

When they will smash your door

How you gonna come?

How will you respond?

With your hands on your head

putting your hands on your head

Gold On The trigger of your gun
Or your finger on the trigger?

When The law break in

When police disembark
How you gonna go?
How do you end up?

Shot Down on the pavement

Shot dead on the pavement Or waiting in Death row
Or waiting in death row

You Can crush us
You can crush us

You Can bruise us
you can beat us
Goal you'll Have to answer to
but you'll have to answer for
Oh, Guns of Brixton
Oh, the guns of Brixton

The money feels good

You have enough money
And your life you like it well
and you love your life
Surely your aim Time Will Come
but soon your time will come
As in heaven, in hell did
Both in heaven, in hell


You see, he feels like Ivan

You see, it felt like Ivan
BORN "under the Brixton Sun
Born under the Brixton sun
His Game Is Called survivin '
His game is called survival
At The End Of The Harder They Come
At the end the harder fall

You know, it means no mercy

You know it means no mercy
Theys HIM caught with a gun
They caught with a gun
No need for the Black Maria
No need for black van (6)
Goodbye To The Brixton sun
Goodbye sun Brixton

You Can crush us

You can crush us
You Can bruise us

You can hit us
Goal you'll Have to answer to

But you have to answer for
Oh-The Guns of Brixton

Oh-the guns of Brixton.


When They kick out your front door

When they stone ya your door
How you gonna come?

How do you react?
With your hands on your head

By placing hands on head
Or On The trigger of your gun

Or your finger on the trigger

You Can crush us

You can crush us
You Can bruise us

You can hit

shoot & Events us

And even kill us
Goal oh-the guns of Brixton

But Oh-The Guns of Brixton


Shot Down on the pavement

Shot on the sidewalk
Waiting in death row

In the death row

His game WAS survivin '

His game was survive
As in heaven as in hell

Both in hell that 'paradise.


You Can crush us

You can crush us
You Can bruise us

You can hit us
Goal you'll Have to answer to

But you must respond
Oh, The Guns of Brixton

Oh, the guns of Brixton
Oh, The Guns of Brixton

Oh, the guns of Brixton

Oh, The Guns of Brixton

Oh , guns Brixton

Oh, The Guns of Brixton

Oh, guns Brixton

The Clash - Guns of Brixton

" Guns of Brixton": the art of being clairvoyant in fertile ground for the riot.

Top April 1981, which describes Paul Simonon becomes a terrible reality. The temperature rises dangerously near Jamaica in London. The police are ever present, she engages in a systematic and very aggressive population of the suburb as part of Operation called "Swamp 1981" . 50% of people are controlled by the community of the West Indies, and 2 / 3 of them are under 21 years. (6)

the night of April 10 , a young man was wounded in stabbing . Two police officers approached him, the crowd around, wrongly or rightly, sees a new sign of assaulting a local resident. It accumulates rapidly and the situation degenerates. The petrol bombs rained down, the scenes of riots and clashes with police multiply. The neighborhood is in flames, especially the area known as the "frontline" on Raintail road. Many buildings were burned including a school, shops, pubs, some of which are known to reserve the worst home to people of color.

The results are overwhelming: 360 wounded, 83 premises are destroyed by fire, a hundred vehicles, half of which belonging the police, are damaged or burnt. 82 people were arrested. Damage totaled 7.5 million pounds .

Margaret Thatcher did not conclude that these riots are less justified. However, Lord Scarman is appointed to a report that bears his name and will be published in 1985 . Its conclusions are not all made in the same direction. He recognizes clearly that there is real discrimination, not legal, but real and felt by the colored population of the district who finds himself at a disadvantage. It then recommends policy of positive discrimination from including the hiring of people from Caribbean communities in the police force. Following the Scarman report, it should also be noted that the Vagrancy Act which made possible the arrest and abusive controls the police on suspicion falls.


That same year, new riots broke out in England in Brixton, in Toxteth (Liverpool) or the Clash Peckham but are no longer there to anticipate or sing.


And today?


Brixton is like Harlem, a neighborhood undergoing revitalization . He kept his colorful and cosmopolitan character and became famous for both its market daily for its vibrant cultural scene around the Brixton Academy . As often, the renovation of the district accompanied by gentrification of its population.

[Brixton, Electric Avenue, the market in 2011.
V. photo Servat]

[Brixton Market, between shops and eateries bios,
maintaining African identity carabéenne in the neighborhood. Photo
V. servat]

Notes:
(1) The group is anchored in both the punk rock movement and that of mods was embodied by the Who.
(2) - (3) British Conservative Prime Ministers respectively from 1957 to 1953 and from 1990 to 1997.
(4) The figures are taken from Lord Scarman's report published in 1985.
(5) The figures are derived from the report by Lord Scarman published in 1985.
(6) The black police vans, the equivalent of our "salad bowl", are nicknamed the Black Maria in the vernacular.
(7) Jean-Claude Monet " Fonts and urban violence: law and disorder in urban Anglo-Saxon " .

bibliographic slopes:

Headliners:
Time magazine article:

• http://www.time.com/time/magazine/article/0, 9171,924708,00 . html # ixzz17GLrII8f http://www.time.com/time/magazine/article/0, 9171,948011,00. html # ixzz17GMzmFJ1
• http:/ / www.time.com/time/magazine/article/0, 9171,924708,00. html # ixzz17GLcAOLp
• http://www.time.com/time/magazine/article/0 , 9171,948011,00. html # ixzz17GMpO0rD

Articles BBC:

• http://news.bbc.co.uk/onthisday/hi/dates/ stories/april/11/newsid_2523000/2523907.stm
• http://news.bbc.co.uk/onthisday/hi/dates/stories/november/25/newsid_2546000/2546233.stm

In journals:

• Cultures and Conflicts: Jean-Claude Monet " Fonts and urban violence: law and disorder in urban Anglo-Saxon "
• International Migration Review: Mike Keith "What happened? The riots of 1980 and 1981 in British cities. A trial analysis. "

On the web:

• http://www.nickelinthemachine.com/2008/08/brixton-and-the-riots-in-1981/
• http://www.urban75.org/brixton/history/ riot.html

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226. "The song Craonne."

Craonne The song is now the most famous piece of French songs of the war of 1914-18. It's actually a parody (literally a song containing the melody and meter of a famous song) the song Hello My love , composed by Charles Adhemar Sablon. Sung by the duo Karl Ditan / Emma Liebel, This waltz tune light, whose words were written by René Le Peltier, won great success in cafés-concert in 1911.

"My love Goodnight, goodnight my flower / evening all my soul / Oh you who want all my happiness / woman in your eyes / your beauty, your love / when my path is flowery / I swear, my beautiful / loving you always . "

Booklet from one partition to "dime" Goodnight My love of whose melody was composed by Charles Sablon (father of John and Germaine, two future big names in French song). Sale Sheet music for "Dimes" to provide the distribution of piece to hundreds of thousands of copies. [Now playing on the player below.]

The popular song can easily be pressed on a popular tune from the words of circumstance. In this case, the choice of adapting this title by the author (most likely the authors) Anonymous Song Craonne was probably no accident. On the one hand, the success of the "Saw" ensures a rapid and easy, second the contrast between the benign neglect in love with the original version and the cruel reality evoked in the adaptation creates discomfort, likely to shake the listener who knew the original.

* slow development.
We stabilized the text that is needed after the war the writer Paul Vaillant-Couturier who transcribed under the title the "Chanson de Lorette " in 1919. He appoints and a chapter of his book War Soldiers . He transcribed the song by commenting. Vaillant-Couturier heard the song for the first time in early 1916, when his regiment is located near Verdun.

year following the title becomes " Song Craonne .

Various interpretations of the song Craonne (Thanks Stephen for this selection).

His text is the result of slow development and amalgamation of several earlier versions.

lyrics what the song stands out as Craonne "final" come mainly from an earlier text, a piece learned by heart and transmitted orally by the fighters in 1915. Its title song Lorette, refers to heavy fighting taking place in Artois, around Our Lady of Loreto, in spring 1915.

At the option of conditions and the vagaries of conflict, the original text of the song Lorette turns. New verses appear, while the plateau mentioned in the chorus is now in Artois, Champagne or sometimes in the Verdun area. The lyrics of the version below refer to the defense of Fort de Vaux (north-east of Verdun), attacked by the Germans from March 9, 1916.

" When you're in niche [opening in the parapet of the trench]

not a stew, [a pass right]

be four meters Pruscaux. [the Prussians]

Right now the rain is raging,

if one shows it's a slaughter.

All our officers are in their shelters

doing the fuss.

And they do not really care if in front of them

there are poor unfortunate

all these gentlemen received payment dough

and us poor grunts [infantry]

we have only five rounds.

chorus

Farewell life, love goodbye / farewell all women / is not over, it's forever / From this infamous war / is in Verdun, Fort de Vaux / we risked his skin / we were all doomed, / we were sacrificed. "

This verse expresses a scathing criticism of the officers, absent from other known versions.

It was not until 1917 that the text is stabilized as evidenced by the letters seized during the year.

conditions of transmission of the song certainly explain the multiplicity of versions. learned by heart and transmitted orally, it spreads underground and runs for several months from one sector to another front. Clear in his article (see Sources), Guy Marival cites the letter from Jules Duchesne, soldier in 114th Infantry Regiment, which mixes in his transcription of the lyrics in two different versions the song. It is thus a question of both Champagne and Loreto, two separate locations over 200 miles.

"Thursday, February 15, 1917

My dear little wife

[...] I'll tell you that I tenvois ambush of the song and they all know that the requests jete retained as the only song that knows me pleasure and is raielle you for the rest of profondire yourself that you vaira sai raielle and also received raicri tot me sui me for my milk on you because its what mennuierai itself lost, and tell me if you pleasure. I know not what thou wilt not, [...] knows the new song poillu slices. [...]

Jules Duchesne "

Letter quoted by Guy Marival in his article (see source).

The text transmitted by Jules Duchesne is fairly close to the final the song (below). A few minor differences closely, we find the verse about the ambush and the antiwar chorus.

But Duchesne's letter dated February 15, 1917, two months before the offensive levels and more than three months before the mutiny. This is what allows " challenge the assertion that The Song of Craonne reflect e (...) The state of mind during riots that followed the failure of the Nivelle offensive ' "as evidenced by Guy Marival. This chronology that would ruin the assumption that the third verse (on ambush ) was added after the crisis of spring 1917. " Since its creation in 1915-1916, La Chanson de Lorette is the outlet from fatigue and some fighters revolt. "The Ras-le-bol does not date only the offensive on the Chemin des Dames.

reproduction of a fragment of letter [1917) includes two versions of the song Craonne ( courtesy of CSIR 14-18) .

This song is a document of orality, multiple and malleable. The war diary of Francis Court, recently unearthed, gives a version of the song Craonne much earlier than any that we knew. Her transcript is titled "Song modern sacrificed" and ends thus: " song create [d] 10 April 1917 on the set of Craonne . The first chorus mentions Craonne (for the first time in the state of our knowledge): "It Craonne on the shelf / That will leave her skin . This explicit mention thus places the development of the Song of Craonne before the start of the offensive on the Chemin des Dames. Paid April 12, 1917 a detachment of reinforcements from the 273rd Infantry Regiment in position before the Chemin des Dames, he participated in the offensive of April 16. This regiment was in place since February 1917. Some minor errors of transcription suggest that Francis Court is the receptacle of a song that was already circulating. This version has four verses, chorus and chorus final "Classic". Only the second verse same as the version that is required at the end of the war.

" We're off with a backpack / We can say goodbye to the rest / For us life is tough / It's terrible I swear / A Craonne up there we are going down / Without even able to defend ourselves / For if we have good guns / The Hun meet their own way. / Forced, we forced to land / Waiting for the shells that will kill us. "

The song title will nevertheless continue to fluctuate a missive to the other (three letters written by soldiers of the 89th and I intercepted R. August 16, 1917 by Postal Control of Noisy-le-Sec, in turn evoke Life in the trenches s On the set of Loreto, The Craonne sacrificed, without mention of a song Craonne .



Song Craonne
sent Horadric . - Current time on video.
's Song performed by Marc Craonne Ogeret.

* The Song of ... Craonne.

Why then identify the song with this offensive? As suggested by Andrew
Loez (see Sources), give acuity mutinies additional final chorus strikes (attested since at least February 1917 in the letter from Jules Duchesne). They may be led to associate these words to the locations of the offensive failed, explaining that the title of "Song of Craonne " supplants the other appellations of the song in the aftermath of conflict.

text end of the article is the version of the song that is needed in the aftermath of the Great War, through Vaillant-Couturier. It is referred to the fighting of 1917 the Chemin des Dames (Aisne). This major offensive planned by General Nivelle aims to break the front, to lead a breakthrough in the German lines. The "plateau" in question is California, overlooking the village of Craonne. Fighting of unprecedented violence take place from 16 April to lead to a fiasco . German positions held while nearly 40,000 French soldiers died during the offensive for insignificant territorial gains.

A month later burst of collective refusal to obey, "mutinies" affecting more than half of the combat units. Some soldiers availing itself of the strike vocabulary to describe these mutinies in their letters.

Under these conditions, one understands better than in the minds of many geographical references in this version of the song, the evocation of strikes, were identified retrospectively mutinies in spring 1917. Yet, according to Andre Loez during the mutinies, the allusions to the song proved rare and " its distribution at the event (...) remains extremely limited. [...] It ( ...) the International which is prominent in the song directory mutineers. "

Anyway this gives us the opportunity to take an interest in the phenomenon.

a rereading of the mutinies of 1917.

The traditional historiography of this issue was an event of riots altogether marginal, primarily driven by the senseless attacks of Staff, a single transient in short grunts. In his pioneering book ( "The Mutiny of 1917" in 1967 ) Guy Pedroncini does not consider the mutinies as a "refusal to fight " but " a refusal in some way to do it. " Today, that view is challenged by more recent work [Andre Loez " 14-18. The refusal of the war. A story of the mutineers "2010].

While there are attacks futile and very deadly attacks (such as the Chemin des Dames), but they exist in fact since 1914. During the first three years of conflict, soldiers, plunged into a war that they can not escape, immersed in a society that exalts the courage, can not refuse the war, at one expected the end.

* May 1917. The events of 1917 will change this situation and bring hope to the mutineers. The attempt of the Chemin des Dames, presented by the staff as the decisive offensive could break through the front raises great hope among soldiers. Its failure is even more severely felt. The general context is also upset by the announcement of German strategic withdrawal anxious to shorten the lines in March 1917, the first Russian revolution that is the subject of reporting in the Petit Parisien May 20, by strikes in Paris That same month, with waiting Socialist International conference on peace in Stockholm. Finally doomsday rumors spread by soldiers returning from leave, about Annamites allegedly fired on French women, fueling the impression of instability and provide a context for the refusal of the war. This "beam events" helps to make collective action possible, whereas previously the resignation appeared to be the only consistent attitude. It gives soldiers the feeling of a possible "end". It is in this context a very special collective motion scale fires in the French army. The appointment of Petain as generalissimo, just five months after the inauguration of Nivelle, seems perceived by many soldiers as an admission of failure on the part of an institution weakened.

Old postcard: "THE RUINS OF THE GREAT WAR _ _ Ravine Trail Dames of the Holy Valley and Berte Fin."

* These riots are a movement to reject the war. They occur in May-June 1917, affecting two thirds of the infantry of the French army (With a peak from May 30 to June 7, 1917). Disobedience primarily concerns the back-front, where soldiers refuse to get in the trenches. Practices protesters soldiers are very varied. If the mutinies involve collective action a little bit organized, the refusal of the war are also making many individual events, often furtive. They take the form of desertions, extended permissions ...
Collective actions, rallies, demonstrations, are barely distinguishable from pre-war social movements. The thesis of Andre Loez has however identified a previously unknown collective action. Thus soldiers the most radical attempt to rally several times to Paris to meet with members or the government to stop the war.

For some soldiers, these are riots on the occasion of a "fanfare" apolitical, but that nevertheless expresses the desire to see the end of the war. On this occasion, the officers are taken to task and sometimes abused.
Some fighters develop a discourse on the other hand pacifist or defeatist, and analyze the crisis in accordance with their respective ideologies (pacifism, socialism, revolutionary).

* How mutineers? Tens of thousands of men from a hundred different units refusing to go to the trenches. This count is difficult due to lack of reliable measurements. That is not the essential and Andre Loez demonstrates that the mutinies are the core of a "halo" of indiscipline that crosses the French army in the spring of 1917. If they are not generalized, they nevertheless represent a huge phenomenon, involving more than two thirds of the army. Certainly, mutinies involve a minority of soldiers, because the conditions of an army at war make it difficult and dangerous disobedience. This should not result in a reduced scope This disobedience.

* who are the rebels? Sociology of the mutineers that stands Loez Andre in his work establishes that the soldiers who participate in collective action against war are primarily infantrymen, rather young, rather than urban and more educated than average. Thus we find an overrepresentation of occupations in high skill levels (tradesmen, teachers, employees).

* The demands of the mutineers prove multiple. Andre Loez insists on maintaining the status of "citizen" of the combatants. The soldiers remain in contact through various channels with the inclusive society (correspondence, permissions ...). As soldiers, they yearn for a cessation of fighting, as citizens they reject the most obvious social inequalities. The fighters are waiting for the military keep its commitments to granting permission and also promised that regulations on these licenses are respected. The claims of the soldiers are thus both the "hardware" and "political."

Petain much staged his own image, his tours with Armed where he shows himself talking with the soldiers (here in May 1917).

* Demystifying Petain. The thesis of Andre Loez undermines the traditional image of Petain, in particular its role in resolving the crisis. It is not the human leader knowing his household troops and care about their living conditions. In fact, Pétain led a crackdown that has nothing to light and responsive judicial practices arbitrary beginning of the war (it was during the year 1914 there is the greatest shot). Special courts-martial recovered for several weeks and resulting in the execution of 57 soldiers, while prison sentences and hard labor complete repression. Now it is above all political power, not Petain, who oversees the brakes and repression. Painleve said: " every night via first class mail, arrived at my office the funeral records of death sentences at any military authority did not require switching. "

Petain is not the right man appointed to stop the riots. Painleve the chief means May 15 even though it still ignores the mutinies (Until 26 May). The latter thus develop under his command, well after the sacking of Nivelle.
Petain would also be one that would stop the useless offensives. In reality the scale riots led the commander in chief to adopt a more prudent and not to conduct large infantry attacks until the fall, making the year 1917 under the bloody conflict. For André Loez facing revolt, Petain " orders not stop offensives, prescribing the contrary in his prime wearing a" tireless "the enemy by attacks in width. [...] is widespread disobedience unthinkable that made the continuation of offensive, not the foresight or the thoughtfulness of the leaders. "By providing easier
permissions as desired, Petain is only applying the law. The sending of tens of thousands of men on leave from the month of June is also an obvious concern tactics. The staff considers this a good way to end the movement, by dispersing the disgruntled soldiers.

Chapiteau sculptor's art-deco Gaston Le Bourgeois (circa 1930) depicting a soldier about to be shot, of years the crypt of the Cathedral of Verdun. A big thank you to Philip Pommier, the author of this photograph.

* The resolution of the mutiny. Beyond repression and the regulations adopted by the army as of June several events contribute to the withdrawal of mutinies such as the denial of passports for Stockholm, the rejection of all peace deal made by the Chairman on 1 June The takeover phase of the military finally suffocates the dynamics of mutinies by making unlikely a speedy conflict.
The specific details of the mutiny are not favorable to the mutineers. It is located in a rural area (10km behind the front in barracks, farms isolated from each other). To connect and meet the mutineers have to travel significant distances to get to an event. On arrival, it is very difficult to make a movement like this one in an army at war. He probably missed the mutineers a relay and social policy. The movement is disintegrating as quickly. Further recall that throughout these riots, the war continues, inexorably. For André Loez " is less than voluntary remobilization disintegration explains ordinary resolution of the mutinies. "

"the General Nivelle leveler.

* a sensory evocation of the daily hairy.

The song Craonne is full of the everyday life of soldiers. The piece opens with a return of permission (" where after eight days ") backwards. "Nobody wants walk", yet the resignation prevails again and the soldier " goes up there, looking up .

The chorus reflects the desperate feeling of the soldiers were convinced to be sacrificed for a cause greater than themselves.

The second verse is referring to is awaited by some and feared by those who stand in the forefront "find their graves . The

world behind, glimpsed at the permissions, then spoke. Lyrics slam " ambush," men who escape unduly conflict, who strut on " boulevards. At the sordid lives of trenches, (s) author (s) opposing the celebration of the back where the "big are fair." The lyrics to accuse the opposition of civil purpose (" civelots ") and Foot (" purotin ). While the first risk their lives at any time, others seem to take it easy on the back. The rich, "those there r'viendront ", While soldiers sacrifice themselves and kill each other for them. The idea is hammered forcefully in the last two verses.

The song ends with a kind of subversive vision. The furry threat to quit fighting. He mentioned the strike, which serves to underscore just how hairy are citizens as outlined in the thesis of Andrew Loez the mutineers of 1917. It seems to imagine (dream?) a reversal of roles. " Gentlemen large, "for which" purotin "fighting for months, would finally be sent to the front line to feel the realities of" this infamous war .


Monument California Plateau . Source: JP the Padellec

The song Craonne gradually emerged in the eyes of our contemporaries like the song emblematic of the Great War. She has a special aura and legends still tough to run on its behalf. Some people say, then no source attests that the French military authorities have promised a large reward anyone denounce the author of the song. Another misconception, the Song would have been banned airplay until recently. But this is nothing!

The song is currently experiencing a new awareness. Many performers have tried this piece, including Marc Ogeret, Friends of your wife (1998), Maxime Lefort (2003). Movies (Adaptation of a Long Engagement by JP Jeunet) films devoted to the war of 14-18 use the song.
Finally, let us turn to one of the characters in the novel "Bread Soldier" written by Henry Poulaille in 1937: "Even though we all would die, she resist her, since she had sung alternately trays of Loreto, those of Verdun, those Craonne. This is the song of the people born of war. It is without sham, without art, it is a cry. "


The song sung by Craonne Tichot.

The song Craonne.
Below is the text that is needed to stabilize after the war through Vaillant-Couturier. Today the best known version.

When after eight days, the rest finished
We will resume the trenches
Our place is so useful
Without that we just take the battery.
But it's all over, we had enough,
Person 'does not want to walk,
And a heavy heart, as' a sob
civelots Bye-bye.
Even without drums, without trumpet
We're going up there looking down ...

Chorus: Farewell
life, goodbye love Goodbye
all women.
That's over, it's forever,
In this infamous war. It
Craonne, on the plateau,
That should leave her skin
For we are all doomed, we sacrificed
It! Eight

days in the trenches, eight days of suffering, yet we
al'espérance
That tonight will come r'lève
What we expect no respite.
Suddenly in the night and silence,
We see someone who comes forward,
is an officer of infantry,
Who comes to replace us.
Softly in the dark, the rain that falls,
Small hunters will find their graves ... (in chorus)

is unfortunate to see on the main boulevards
All those who make their big show; If
for them life is pink,
For us it is not the MEM thing.
Instead s'cacher all these shirkers,
F'raient better
up to the trenches to defend 'their property, because we have nothing,
us another's, the poor's purotin.
All comrades are buried there,
to defend 'the property of those gentlemen. (The chorus)

those held by the dough, those r'viendront,
Because for them we die.
But it's over, because the privates
Will all go on strike. This
s'ra your turn, gentlemen wholesale
To mount the shelf,
Because if you want to do war
Give back to your skin!

A very big thank you to Andrew for his patient proofreading and communication items listed below.

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Sources:
- a remarkable development in the book Guy Marival directed by Nicolas Offenstadt, The Way Dames, event in memory , Stock, 2004 (p. 350-359).
- Andre Loez " 14-18. The refusal of the war. A story of the mutineers ", Gallimard, 2010 (p. 310-315). The author gives us a new history of mutinies of 1917. The thoroughness and clarity of the message makes its particularly convincing demonstration.

- Antoine and Jean-Daniel Destemberg Destemberg: "The song Craonne sung before the assault on April 16 ? " The letter in the Chemin des Dames No. 18, Spring 2010 (download PDF here ).

- Damien Becquart: "The song Craonne in letter from the trenches" in The letter from the Chemin des Dames No. 19, Summer 2010 (download PDF here ).
- Section of CSIR 14-18 devoted to this song.
- TV program " Medici Library (Public Sénat) of 19 March 2010.

- "1917 The song Craonne. The cry of the rebels" in Bertrand Dicale: "These songs that make history," Textual, Paris, 2010.
- On Site Around the Chemin des Dames, " song Craonne Then and Now . "

Links:

- a version free legal mp3 found on CRID14-18 (registration by the CM2 School Madame de Sevigne Dieppe during the 2008-2009 school year, in music lessons with Regis Delcroix, musician intervening in schools.)

- Lyrics and sheet music for the song Craonne by Raymond Lefebvre and Paul Vaillant-Couturier.