Where the Sidewalk Ends
There is a place where the sidewalk ends
And before the street begins,
And there the grass grows soft and white,
And there the sun burns crimson bright,
And there the moon-bird rests from his flight
To cool in the peppermint wind.
Let us leave this place where the smoke blows black
And the dark street winds and bends.
Past the pits where the asphalt flowers grow
We shall walk with a walk that is measured and slow,
And watch where the chalk-white arrows go
To the place where the sidewalk ends.
Yes we’ll walk with a walk that is measured and slow,
And we’ll go where the chalk-white arrows go,
For the children, they mark, and the children, they know
The place where the sidewalk ends.
by Shel Silverstein
Eddy Mitchell (born Claude Moine 3 July 1942, Paris) is a French singer and actor. He began his career in the late 1950s, with the group Les Chaussettes Noires (The Black Socks), taking his name from the American expatriate tough-guy actor Eddie Constantine (later the star of Jean-Luc Godard‘s Alphaville). The band performed at the Parisian nightclub Le Golf Drouot before signing to Barclay Records and finding almost instant success; in 1961 it sold two million records.
Heavily influenced by American rock & roll, Mitchell (who went solo in 1963) has often recorded outside France, at first in London, but later in Memphis and Nashville, Tennessee. Guitarist Big Jim Sullivan, Jimmy Page and drummer Bobby Graham were among the British session musicians who regularly supported him in London. For his American recordings he employed session men such as Roger Hawkins, David Hood, Jimmy Johnson, Kenneth Buttrey, Reggie Young, David Briggs, Charlie McCoy and others.
Le Figaro Magazine – By Sylvain Reisser (English Translation)
Sometimes we would like to indulge in the intricacies of the brain of automotive designers. Just to see. Understanding the neurons that allow birth to unbridled creativity and discern the tumult of the mind that leads to move to a particular new form. Trace the source of inspiration and a toboggan down the nervous system’s designer. Would be more advanced so far? Not sure, because the style of a car derived from the maturation and interpretation by designers of applications marketing.
Citroën, a structure “future products”, directed by Bruno half, from time to dissect the behavioral studies and phosphorus on the evolution of society. The observation of trends is reflected in the definition of a need and an architecture automobile. The role of the studies show is just to prepare the drivers for change and project them radically in the car tomorrow. But also to maintain the dream and attract visitors to its stand. “A Study of Living is also involved in stimulating internal and helps to send messages to decision makers of the brand,” admits Thierry Metroz, head of the style of the rafters. Never innocent, a concept gives some ideas about the evolution of the style which is found at one time or another on a model of general circulation.
It fed these thoughts that we were able to get to the other side of the curtain to keep the final stages of the implementation of the concept Citroën Tubik, the general public will discover at the IAA. A unique piece to over 1 million. In early May, the presentation room projects DNA Peugeot Citroën, the centr e of French design group based in Velizy, opens with an indescribable shock. In the middle of the room stands an imposing van immaculate almost as long as C5 Break (4.80 m) and as wide as high (more than 2 m). Although not the magnetism of the body beautiful, this concept captures the eye. Dramatically by his size cabinet Norman Tubik aims nothing less than reinventing the great minivan stalled in recent years. “Today, this type car no longer fulfills its contract. The driver is devalued and the rear space can not accommodate seven people and their luggage in comfort enough, “says Carlo Bonzanigo, head of concept cars. Largely inspired by the great American vans and shuttles to large hotels, Tubik responds to changes in society prognosticated by the team of Bruno Moïta and marked by the proliferation of blended families and travel to tribe. It is a fact, a growing group of friends share the same vehicle to go on a weekend or holiday. “Through this vehicle, we seek to revive the pleasure of traveling and showing that the destination is secondary,” says Thierry Metroz. The Tubik would be the Orient Express of the car. A vehicle traveling at their own pace and emits little CO2 (around 100 g / km) with diesel hybrid technology.
Aesthetically, Tubik does not betray his ancestors but we brought in a new world. Perched on 22-inch wheels, it evokes both the TUB, the utility Citroën produced at the beginning of World War II, his successor, the Type H marketed between 1948 and 1981, with the “nose cone” sheet wavy.
A tailgate covers the entire width of the right flank
The driver enters the cockpit called “cyclotron” through a scissor doors amounting to 2.50 m high. Isolated in its cylinder to which is attached the leather seat, the driver benefits from modern orders. In addition to head-up vision and cameras monitoring the area around the vehicle features such as fingerprint recognition and GPS navigation are controlled via a 7-inch screen located in the center of the steering wheel and via an iPhone. Right side, the originality of this concept rests on the door 4 feet wide and weighing 150 kg articulated with two huge cylinders attached to the pavilion. It goes back to the horizontal in the manner of a canopy vehicle market, while a running board automatically deploys to invite passengers. This cinematic laid the foundation of the most difficult concept that Citroen had to do. “Tubik took nearly a year of gestation, from the choice of style within an internal competition,” explains the head of the concepts.
The complexity of Tubik doubled the number of hours required for the design done by the CAD software CATIA. Just the layout of the interior has held the minds of designers for six months. Is that this vehicle, which can accommodate up to nine people in three rows of sofas draped felt Moroso explores a hitherto unknown feature on a vehicle. The two bench seats in the row turns to be a front or rear facing. The bench of the medium can, depending on the mood of the moment, three people, to withdraw in the portfolio to create a coffee table, disappear under the rank 3 or unfold to form with it a rest area or maybe more! In any case, privacy will be maintained through the glass pan smoke right and left, to the cells forming a latticework.
As the most recent Citroën prototypes, achieving Tubik was outsourced to the company Estech, located near Paris. All trades have been mobilized to study, design and finally assembled by hand parts of this vast unique puzzle. Twenty people in total. According to a static, making and assembling Tubik similar to the haute couture. July 26, last of the four meetings planned with Tubik, Thierry Metroz going a head in the workshop. “In the streets of Frankfurt, Tubik will be talked about, ‘says he, a bit amused. It is a certainty, Tubik is a stone in the garden of the Germans.
Traveling east to west, and moving from one region to another, is no mean feat
El Pais – By PACO NADAL
Some time ago, the editor of a travel magazine gave me an assignment. I’d just published a story about biking across the Transpirenaica, the legendary route that cuts across the Pyrenees from the Mediterranean to the Cantabrian. “Doing the Transpirenaica on a bicycle is fine, but anyone can do that,” said Sergi Ramis. “Would you dare write an article about the Transpirenaica…. by bus?”
Why not, I thought. An adventure of a non-sporting type, from bus station to bus station, to confirm the difficulties of transversal travel in a country whose radial transportation system ignores the small, isolated communities.
There were two rules: I could only use public transportation and I couldn’t drift south to the larger urban hubs, from where it would have been easy to complete the adventure in under 24 hours.
And so I embarked on the most absurd and unlikely trip ever attempted by a human being. It took me six days to cover 760 kilometers. It would have been faster by bike.
Day One: Llança-Puigcerdá (Girona). I fill a bottle with water from the Mediterranean to fulfill the ritual of pouring it out in the Atlantic. The commuter train takes me to Figueres. There are 14 passengers on board the 1.30pm bus to Olot, all retired folks, students under 18 and immigrants – a recurring social mix on every bus I took. The first thing the other social groups in Spain do as soon as they can is to buy themselves a car. In Olot I am told there is a 5.15pm bus to Puigcerdá. One day, three easy connections, 172 kilometers. This trip is going decidedly well.
Day Two: Puigcerdá (Girona)-Puente de Montañana (Huesca). I take the 7.30am bus to La Seu d’Urgell. At 10.15 I take a “taxi on demand,” an efficient, subsidized communications system that solves the problem of isolation in the lonely mountain areas. In Sort I take a bus to Tremp, and that’s where the trouble begins: changing regions in Spain is an unresolved problem for public transportation. There is no bus linking the villages of Catalonia with those of Aragon without descending to one of the provincial capitals. I have no choice but to take a taxi to Puente de Montañana.
Day Three: Puente de Montañana-Barbastro (Huesca). I take the 7.05am bus to Benabarre, and that’s where it all ends. If transportation between the valleys is difficult, on weekends it is simply nonexistent. So I decide to hitchhike. An hour and a half later, two youngsters in a Peugeot 306 pull up: “We’re going to Barbastro, is that OK?” “To the end of the world, as long as you get me out of here,” I reply.
Day Four: Barbastro-Aínsa (Huesca). The only bus to Aínsa leaves at 8.45pm. Oh well, 12 hours should go by fast. Once in Aínsa, I take stock: in 48 hours I’ve done 90 kilometers. It would have been faster on foot.
Day Five: Aínsa (Huesca)-Pamplona (Navarre). I take a 2.30pm bus to Sabiñánigo and get there just in time to change to a coach going to Pamplona.
Day Six: Pamplona (Navarra)-Cabo Higer (Guipúzcoa). The coach crosses Bidasoa Valley and its thick beechwoods lead me towards the Cantabrian sea. In Irún I take a local bus to Hondarribia, where a taxi drives me to the lighthouse at Cabo Higer. There, I pour out the Mediterranean water into the docile sea. The rite is complete. I suppose there’s a spot for me in The Guinness Book of World Records, for I doubt anyone ever before crossed the Pyrenees in such an absurd yet interesting manner.
By Jean-Luc Wachthausen (English Translation)
THE SONGS IN FRANCE (21/41) – For the child of Belleville fed to American cinema, the country ballad marked his return into the spotlight while the Elvis left forever.
It was Tuesday evening. The credits of the show opened with a gentle country ballad. In his deep voice and swaying, Eddy Mitchell sang the final session, which stretched to the familiar melody haunting tones of a pedal steel guitar. So the front of a neon-lit film, the Trianon de Romainville, appeared at the same time as passed in the street a big yellow taxi. Inside the room atmosphere of neighborhood movie with fifties-looking extras, film posters on the walls and eager attendants.
In front of the box, Mr. Eddy, impeccable dress and ticket in hand, told the two films of the evening, often westerns or series B style Creature from the Black Lagoon, to do with 3D glasses. Unbeatable on the trivia or the story of Hollywood stars whose name was dreaming: Gary Cooper, Ava Gardner, Errol Flynn, Burt Lancaster, Robert Mitchum, Kirk Douglas.
Old stories for this issue was born five years after the release of the song, which was a success. It requires the style and easygoing film buff, however, pointed to a retro, for sixteen years, shared his America with him. One of the great outdoors and dreams within reach, the unlikely marriage of auteur cinema and Hollywood. Suddenly, Schmoll has become simply “Mr. Eddy.” A man from the West side of Belleville, who knows his classics and leads from front his career as a singer and actor for Bertrand Tavernier and Jean-Pierre Mocky.
Zoom on the 1970 period in hollow Eddy Mitchell, who lost his way Socks (black) but not his head. It looks and aligns albums undefined style Rock and Roll (1971) Zig Zag (1972) or electrical Ketchup (1973). No inspiration, the void. Ironically, on France Inter, he hosted a show called In the meantime it out. It’ll pass in 1974 with a return to rock and country music in Nashville, Tennessee, where he will record a particular year before the death of the King on the road to Memphis (1976) and especially the following year, The last session. Meanwhile, in England, the Sex Pistols set fire to the rock scene by inventing the punk revolution.
Not enough to move Mr. Eddy. On the back cover of the album, we see a film at the Majestic. On the front it is in a room, surprised by the flashlight of an opener, while Elvis’ face is projected on the screen. Inside, photos of the 1950 film, The Night of the Hunter, Vera Cruz … A drive-rock attitude which opens the way to success. Paradoxically, in this album consists of several adaptations (The voice of Elvis, Charlie Brown is), the last session, written by him and composed his accomplice Papadiamandis Pierre, who will work better.
“It’s funny, says Eddy Mitchell today is that I wrote in 1976 a song gone unnoticed, is OK, that was the B-side of No boogie woogie. And I remember that I mentioned already the closing of a theater of my childhood: “I am amazed / The Belleville Pathé is closed / But it’s my favorite movie / A promoter broke my heart.”
I was a kid from Belleville, a paradise for movie lovers. My father, who worked nights, took me to the movies every day after school. And when I wrote a year later the last session to drive the point home, Peter Papadiamandis said, “But you already told it” No doubt, but I really wanted to come back. We must believe that I was right, but guess not so popular public because it was a very personal song. “
“I extended my dreams of a kid”
In the 1970s, the curtain will fall on the screen in many rooms that close the area after another. In Paris, between Belleville and Menilmontant, there were about thirty movies including the Alcazar, the Alhambra, the Bellevue, Eden Jean-Jaurès, the Fairy-Pathé, the Menil-Palace. All closed. Ditto for the famous Gaumont Palace, boulevard de Clichy, who in 1973 gave way to a resort. For its part, the Kinopanorama, known for its giant screen will be destroyed in 2002.
Meanwhile, it’s the end of a film. In that year, Henri-Georges Clouzot, Jacques Prévert, Roberto Rossellini, Jacques Tourneur and Charlie Chaplin movies disappear, while Rocky and Network triumph at the Oscars.
Yet no nostalgia in Eddy Mitchell, otherwise some regrets about a bygone era. “With” The Last Session, “I extended my dreams of a kid. I think it a good spirit prevailed. When the program stopped in late December 1998, I realized that that was enough. It had been around the subject. Television had changed and turned the tap to films. “
Similarly, he will probably be more in Nashville. The capital of the country-rock has evolved in twenty years. “As elsewhere, the crisis of the disc has been through it and the industry took a hit, says he. So, country music has become very sanitized. “
“His last lap,” as he says, Eddy Mitchell began a year ago during his farewell tour ending at the Olympia. On the evening of September 5, the big red curtain will fall one last time over fifty-year career. Still no nostalgia but a big heart sank for the rocker will continue to make songs. And “film”. After Happiness is in the field, he just re-enlist with Stephen Chatilliez. One way to extend the “Last Session” which became his madeleine.