CLICK ON VIDEO BELOW
CLIQUEZ SUR LA VIDEO CI-DESSOUS
SOURCE : LIKEWORLD
He and Dean Martin were partners as the hit popular comedy duo of Martin and Lewis. Following that success, he was a solo star in film, nightclubs, television, concerts and musicals. Lewis served as national chairman of the Muscular Dystrophy Association and hosted the live Labor Day broadcast of the Jerry Lewis MDA Telethon for 44 years.
Lewis has received several awards for lifetime achievements from the American Comedy Awards, Los Angeles Film Critics Association, Venice Film Festival, Academy of Motion Picture Arts and Sciences and been honored with two stars on the Hollywood Walk of Fame.
Lewis was born on March 16, 1926 in Newark, New Jersey to Russian Jewish parents His father, Daniel Levitch (1902–80), was a master of ceremonies and vaudeville entertainerwho used the professional name Danny Lewis.
His mother, Rachel (“Rae”) Levitch (née Brodsky),was a piano player for a radio station. Lewis started performing at age five and would often perform alongside his parents in the Catskill Mountains in New York State.
By 15, he had developed his “Record Act” in which he exaggeratedly mimed the lyrics to songs on a phonograph.
He used the professional name Joey Lewis but soon changed it to Jerry Lewis to avoid confusion with comedian Joe E. Lewis and heavyweight boxing champion Joe Louis. Lewis then dropped out of Irvington High School in the tenth grade. He was a “character” even in his teenage years pulling pranks in his neighborhood including sneaking into kitchens to steal fried chicken and pies. During World War II, he was rejected for military service because of a heart murmur.
Lewis initially gained attention as part of a double act with singer Dean Martin, who served as straight man to Lewis’ zany antics in the Martin and Lewis comedy team. The performers were different from most other comedy acts of the time because they relied on their interaction instead of planned skits. They quickly rose to national prominence, first with their popular nightclub act, next as stars of their own radio program.
The two men made many appearances on early live television, their first on the June 20, 1948, debut broadcast of Toast of the Town on CBS (later as The Ed Sullivan Show). This was followed on October 3, 1948, by an appearance on the NBC series Welcome Aboard, then a stint as the first of a series of hosts of The Colgate Comedy Hour in 1950.
The duo began their Paramount film careers as ensemble players in My Friend Irma (1949), based on the popular radio series of the same name. This was followed by a sequel My Friend Irma Goes West (1950).
Starting with At War with the Army (1950), Martin and Lewis were the stars of their own vehicles in fourteen additional titles, That’s My Boy (1951), Sailor Beware (1952), Jumping Jacks (1952), (plus appearing in the Crosby and Hope film, Road to Bali (1952) as cameos) The Stooge (1952), Scared Stiff (1953), The Caddy (1953), Money from Home (1953), Living It Up (1954), 3 Ring Circus (1954), You’re Never Too Young (1955), Artists and Models (1955) and Pardners (1956) at Paramount, ending with Hollywood or Bust (1956).
All sixteen movies were produced by Hal B. Wallis. Attesting the comedy team’s popularity, DC Comics published the best-selling The Adventures of Dean Martin and Jerry Lewis comics from 1952 to 1957. As Martin’s roles in their films became less important over time the partnership came under strain. Martin’s participation became an embarrassment in 1954 when Look magazine used a publicity photo of the team for the magazine cover but cropped Martin out of the photo.The partnership ended on July 24, 1956.
While both Martin and Lewis went on to successful solo careers, neither would comment on the split nor consider a reunion. They did however make occasional public appearances together up until 1961, but were not seen together again until a surprise television appearance by Martin on a Muscular Dystrophy Telethon in 1976, arranged by Frank Sinatra.
The pair eventually reconciled in the late 1980s after the death of Martin’s son, Dean Paul Martin, in 1987.
The two men were seen together on stage for the last time when Martin was making what would be his final live performance at Bally’s Hotel and Casino in Las Vegas. Lewis pushed out a birthday cake for Martin’s 72nd birthday in 1989 and sang “Happy Birthday” to him, and joking, “why we broke up, I’ll never know.”
After the split from Martin, Lewis remained at Paramount and became a comedy star in his own right with his first film as a solo comic, The Delicate Delinquent (1957). Meanwhile, DC Comics published a new comic book series The Adventures of Jerry Lewis from 1957 to 1971. Teaming with director Frank Tashlin, whose background as a Warner Bros. Looney Tunes cartoon director suited Lewis’s brand of humor, he starred in five more films, The Sad Sack (1957), Rock-A-Bye Baby (1958), The Geisha Boy (1958), Don’t Give Up The Ship (1959) and even appeared uncredited as Itchy McRabbitt in Li’l Abner (1959).
Lewis tried his hand at releasing music during the 1950s, having a chart hit with the song “Rock-a-Bye Your Baby with a Dixie Melody” (a song largely associated with Al Jolson and later re-popularized by Judy Garland) as well as the song, “It All Depends on You” in 1958. He eventually released his own album titled, Jerry Lewis Just Sings.
By the end of his contract with producer Hal B. Wallis, Lewis had several productions of his own under his belt. In 1959, a contract between Paramount Pictures and Jerry Lewis Productions was signed specifying a payment of $10 million plus 60% of the profits for 14 films over a seven-year period.
In 1960, Lewis finished his contract with Wallis with Visit to a Small Planet (1960), and wrapped up work on his own production, Cinderfella, which was postponed for a Christmas 1960 release, and Paramount, needing a quickie feature film for its summer 1960 schedule, held Lewis to his contract to produce one. Lewis came up with The Bellboy (1960). Using the Fontainebleau Hotel in Miami as his setting—and on a small budget, with a very tight shooting schedule, and no script—Lewis shot the film by day and performed at the hotel in the evenings. Bill Richmond collaborated with him on the many sight gags. Lewis later revealed that Paramount was not happy financing a ‘silent movie’ and withdrew backing. Lewis used his own funds to cover the $950,000 budget.
During production Lewis developed the technique of using video cameras and multiple closed circuit monitors, which allowed him to review his performance instantly.
His techniques and methods, documented in his book and his USC class, enabled him to complete most of his films on time and under budget.
Lewis followed The Bellboy by directing several more films that he co-wrote with Richmond while some were directed by Tashlin, including The Ladies Man (1961), The Errand Boy (1961), It’s Only Money (1962) and The Nutty Professor (1963). Lewis did a cameo in It’s a Mad, Mad, Mad, Mad World (1963).
Lewis directed and co-wrote The Family Jewels (1965) about a young heiress who must choose among six uncles, one of whom is up to no good and out to harm the girl’s beloved bodyguard who practically raised her. Lewis played all six uncles and the bodyguard. On television, Lewis hosted two different programs called The Jerry Lewis Show. The first was a two-hour Saturday night variety show on ABC in the fall of 1963. The lavish, big-budget production failed to find an audience and was canceled after 13 weeks. His second program was a one-hour variety show on NBC from 1967 to 1969.
By 1966, Lewis, then 40, was no longer an angular juvenile, his routines seemed more labored and his box office appeal waned to the point where Paramount Pictures new executives felt no further need for the Lewis comedies and did not wish to renew his 1959 profit sharing contract. Undaunted, Lewis packed up and went to Columbia Pictures, where he made Three On A Couch (1966), then appeared in Way…Way Out (1966) for 20th Century Fox followed by The Big Mouth (1967), Don’t Raise the Bridge, Lower the River (1968) and Hook, Line & Sinker (1969).
In 1968, he screened Spielberg’s early film, Amblin’ and told his students, “That’s what filmmaking is all about.”
Lewis directed and made his first offscreen voice performance as a bandleader in One More Time (1970), which starred Sammy Davis Jr. (a friend of Lewis). He then produced, directed and starred in Which Way to the Front? (1970).
He would then make and star in the unreleased The Day the Clown Cried (1972), a drama set in a Nazi concentration camp.
Lewis rarely discusses the film, but once suggested that litigation over post-production finances prevented the film’s completion and release. However, he admitted during his book tour for Dean and Me that a major factor for the film’s burial is that he is not proud of the effort. In 1976, Lewis appeared in a revival of Hellzapoppin’ with Lynn Redgrave, but it closed on the road before reaching Broadway.
After an absence of 11 years, Lewis returned to film in Hardly Working (1981), a movie in which he both directed and starred.
Despite being panned by critics, the movie eventually earned $50 million. Lewis next appeared in Martin Scorsese‘s film The King of Comedy (1983), in which he portrayed a late-night television host plagued by two obsessive fans, played by Robert De Niro and Sandra Bernhard. Lewis also appeared in Cracking Up (1983) and Slapstick (Of Another Kind) (1984).
In France, Lewis starred in both To Catch a Cop a.k.a. “The Defective Detective” (1984) and How Did You Get In?, We Didn’t See You Leave (1984). Lewis has stated that as long as he has control over distribution of those movies, they will never have an American release. Meanwhile, a syndicated talk show Lewis hosted for Metromedia in 1984 was not continued beyond the scheduled five shows. Lewis starred in the ABC televised drama movie Fight For Life (1987) with Patty Duke, then appeared in Cookie (1989).
Lewis had a cameo in Mr. Saturday Night (1992) while guest appearing in an episode of Mad About You as an eccentric billionaire. Lewis made his Broadway debut, as a replacement cast member playing the devil in a revival of Damn Yankees, choreographed by future movie director Rob Marshall (Chicago) while also starring in the film Arizona Dream (1994), as a car salesman uncle. Lewis then starred as a father of a young comic in Funny Bones (1995).
In March 2006, the French Minister of Culture awarded Lewis the Légion d’honneur, calling him the “French people’s favorite clown” Lewis has remained popular in the country, evidenced by consistent praise by French critics in the influential magazine Cahiers du Cinéma for his absurd comedy, in part because he had gained respect as an auteur who had total control over all aspects of his films, comparable to Howard Hawks and Alfred Hitchcock.
Liking Lewis has long been a common stereotype about the French in the minds of many English-speakers, and is often the object of jokes in English-speaking world pop culture.
“That Americans can’t see Jerry Lewis’s genius is bewildering,” says N. T. Binh, a French film magazine critic. Such bewilderment was the basis of the book Why the French Love Jerry Lewis, by Rae Beth Gordon
In 2012, Lewis directed a musical theatre version of The Nutty Professor (with score by Marvin Hamlisch) at the Tennessee Performing Arts Center in Nashville from July 31 to August 19 over the summer. Lewis appeared in the Brazilian film Till Luck Do Us Part 2 (2013), then next in a small role in the crime drama The Trust (2016). Lewis made a comeback in a lead role in Max Rose (2016).
In an October 6, 2016 interview with Inside Edition, Lewis acknowledged that he may not star in any more films given his advanced age, while admitting, through tears, that he was afraid of dying as it would leave his wife and daughter alone.] In December of that year, he expressed interest in making another film.
Lewis has been married twice:
He has six sons (one adopted) and one daughter (adopted):
Lewis has suffered from a number of illnesses and addictions related both to aging and a back injury sustained in a comedic pratfall from a piano while performing at the Sands Hotel on the Las Vegas Strip on March 20, 1965.
The accident almost left him paralyzed. In its aftermath, Lewis became addicted to the painkiller Percodan for thirteen years
He says he has been off the drug since 1978.] In April 2002, Lewis had a Medtronic “Synergy” neurostimulator implanted in his back which has helped reduce the discomfort. He is now one of the company’s leading spokesmen.
In the 2011 documentary Method to the Madness of Jerry Lewis, Lewis said he suffered his first heart attack while filming Cinderfella in 1960.
In December 1982, Lewis suffered another heart attack. En route to San Diego from New York City on a cross-country commercial airline flight on June 11, 2006, he sustained a minor heart attack .
It was discovered that he had pneumonia as well as a severely damaged heart. He underwent a cardiac catheterization and two stents were inserted into one of his coronary arteries, which was 90% blocked. The surgery resulted in increased blood flow to his heart and has allowed him to continue his rebound from earlier lung problems. Having the cardiac catheterization meant canceling several major events from his schedule, but Lewis fully recuperated in a matter of weeks.
In 1999, Lewis’ Australian tour was cut short when he had to be hospitalized in Darwin with viral meningitis. He was ill for more than five months. It was reported in the Australian press that he had failed to pay his medical bills. However, Lewis maintained that the payment confusion was the fault of his health insurer. The resulting negative publicity caused him to sue his insurer for US$100 million
Lewis has had prostate cancer, diabetes, pulmonary fibrosis and a decades-long history of heart disease. Prednisone treatment in the late 1990s for pulmonary fibrosis resulted in weight gain and a noticeable change in his appearance.
In September 2001, Lewis was unable to perform at a planned London charity event at the London Palladium.
He was the headlining act, and he was introduced, but did not appear. He had suddenly become unwell, apparently with heart problems. He was subsequently taken to the hospital. Some months thereafter, Lewis began an arduous, months-long therapy that weaned him off prednisone and enabled him to return to work. On June 12, 2012, he was treated and released from a hospital after collapsing from hypoglycemia at a New York Friars’ Club event. This latest health issue forced him to cancel a show in Sydney.
Throughout his entire life and prolific career, Lewis was a world renowned humanitarian who has supported fundraising for research into muscular dystrophy. Until 2011, he served as national chairman of and spokesman for the Muscular Dystrophy Association (MDA) (formerly, the Muscular Dystrophy Associations of America).
Lewis began hosting telethons to benefit the company from 1952 to 1959, then every Labor Day weekend from 1966 to 2010, he hosted the live annual Jerry Lewis MDA Telethon. Over nearly half a century, he raised over $2.6 billion in donations for the cause.
On August 3, 2011, it was announced that Lewis would no longer host the MDA telethons and is no longer associated with the Muscular Dystrophy Association
On May 1, 2015, it was announced that in view of “the new realities of television viewing and philanthropic giving”, the telethon was being discontinued.
] In early 2016, Lewis made an online video statement for the organization on its website, in honor of its rebranding, marking his first appearance in support of the Muscular Dystrophy Association since his final Labor Day Telethon in 2010 and the ending of his tenure as national chairman in 2011.
In 1969, Lewis agreed to lend his name to “Jerry Lewis Cinemas”, offered by National Cinema Corporation as a franchise business opportunity for those interested in theatrical movie exhibition. Jerry Lewis Cinemas stated that their theaters could be operated by a staff of as few as two with the aid of automation and support provided by the franchiser in booking films and in other aspects of film exhibition.
A forerunner of the smaller rooms typical of later multi-screen complexes, a Jerry Lewis Cinema was billed in franchising ads as a “mini-theatre” with a seating capacity of between 200 and 350. In addition to Lewis’s name, each Jerry Lewis Cinema bore a sign with a cartoon logo of Lewis in profile.
Initially 158 territories were franchised, with a buy-in fee of $10,000 or $15,000 depending on the territory, for what was called an “individual exhibitor”. For $50,000, the Jerry Lewis Cinemas offered an opportunity known as an “area directorship”, in which investors controlled franchising opportunities in a territory as well as their own cinemas.
The success of the chain was hampered by a policy of only booking second-run, family-friendly films. Eventually the policy was changed, and the Jerry Lewis Cinemas were allowed to show more competitive films, but after a decade the chain failed. Both Lewis and National Cinema Corp. declared bankruptcy in 1980.
In 2010, Lewis met with 7-year-old Lochie Graham who shared his idea for “Jerry’s House”, a place for vulnerable and traumatized children. The Australian charity hope2Day is raising funds to build the facility in Melbourne, Australia.
SOURCES : WIKIPEDIA
You can read also
A lire aussi
Source : JOHN WAYNE La légende
Her career spanning six decades, she has become an icon in multiple fields of entertainment, and has been recognized with two Academy Awards, ten Grammy Awards including the Grammy Lifetime Achievement Award and the Grammy Legend Award, five Emmy Awards including one Daytime Emmy, a Special Tony Award, an American Film Institute award, a Kennedy Center Honors prize, four Peabody Awards, the Presidential Medal of Freedom, and nine Golden Globes.
She is among a small group of entertainers who have been honored with an Emmy, Grammy, Oscar, and Tony Award, and is one of only two artists who have also won a Peabody.
Streisand is one of the best-selling music artists of all time, with more than 68.5 million albums in the United States and with a total of 145 million records sold worldwide, (The only female in the top ten, and the only artist outside of the rock ‘n’ roll genre.) making her the best-selling female artist among the top-selling artists recognized by the Recording Industry Association of America
After beginning a successful recording career in the 1960s, Streisand ventured into film by the end of that decade. She starred in the critically acclaimed Funny Girl, for which she won the Academy Award and Golden Globe Award for Best Actress.
Her other films include The Owl and the Pussycat, The Way We Were, and A Star Is Born, for which she received her second Academy Award, composing music for the love theme “Evergreen”, the first woman to be honored as a composer.
With the release of Yentl in 1983, Streisand became the first woman to write, produce, direct, and star in a major studio film.
The film won an Oscar for Best Score and a Golden Globe for Best Motion Picture Musical; Streisand received the Golden Globe Award for Best Director, the first (and to date only) woman to win that award.
The RIAA and Billboard recognize Streisand as holding the record for the most top 10 albums of any female recording artist: a total of 34 since 1963. According to Billboard, Streisand holds the record for the female with the most number one albums .
Billboard also recognizes Streisand as the greatest female of all time on its Billboard 200 chart and one of the greatest artists of all time on its Hot 100 chart.
Streisand is the only recording artist to have a number-one album in each of the last six decades, having released 53 gold albums, 31 platinum albums, and 14 multi-platinum albums in the United States.
Barbara Joan Streisand was born on April 24, 1942, in Brooklyn, New York, the daughter of Diana (born Ida Rosen) and Emanuel Streisand. Her mother had been a soprano singer in her youth and considered a career in music, but later became a school secretary.
Her father was a high school teacher at the same school, where they first met. Her paternal grandparents emigrated from Galicia (Poland–Ukraine) and her maternal grandparents from the Russian Empire, where her grandfather had been a cantor.
Her father earned a master’s degree from City College of New York in 1928 and was considered athletic and handsome. As a student, he spent his summers outdoors, once working as a lifeguard and another hitchhiking through Canada. “He’d try anything,” his sister Molly said. “He wasn’t afraid of anything.” He married Ida in 1930, two years after graduating, and became a highly respected educator with a focus on helping underprivileged and delinquent youth.
In August 1943, a few months after Streisand’s first birthday, her father died suddenly at age 34 from complications from an epileptic seizure, possibly the result of a head injury years earlier.
The family fell into near-poverty, with her mother working as a low-paid bookkeeper.
As an adult, Streisand remembered those early years as always feeling like an “outcast,” explaining, “Everybody else’s father came home from work at the end of the day. Mine didn’t.”
Her mother tried to pay their bills but could not give her daughter the attention she craved: “When I wanted love from my mother, she gave me food,” Streisand says.
Streisand recalls that her mother had a “great voice” and sang semi-professionally on occasion, in her operatic soprano voice. During a visit to the Catskills when Streisand was thirteen, she told Rosie O’Donnell, she and her mother recorded some songs on tape. That session was the first time Streisand ever asserted herself as an artist, which also became her “first moment of inspiration” as an artist.
She has an older brother, Sheldon, and a half-sister, the singer Roslyn Kind, from her mother’s remarriage to Louis Kind in 1949. Roslyn is nine years younger than Streisand.
Streisand began her education at the Jewish Orthodox Yeshiva of Brooklyn when she was five. There, she was considered to be bright and extremely inquisitive about everything; however, she lacked discipline, often shouting answers to questions out of turn.
She next entered Public School 89 in Brooklyn, and during those early school years began watching television and going to movies. Watching the glamorous stars on the screen, she was soon entranced by acting and now hoped someday to become an actress, partly as a means of escape: “I always wanted to be somebody, to be famous . . .You know, get out of Brooklyn.
Streisand became known by others in the neighborhood for her voice. With the other kids she remembers sitting on the stoop in front of their flat and singing: “I was considered the girl on the block with the good voice.” That talent became a way for her to gain attention. She would often practice her singing in the hallway of her apartment building which gave her voice an echoing quality.
She made her singing debut at a PTA assembly, where she became a hit to everyone but her mother, who was mostly critical of her daughter. Young Streisand was invited to sing at weddings and summer camp, along with having an unsuccessful audition at MGM records when she was nine. By the time she was thirteen, her mother began supporting her talent, helping her make a four-song demo tape, including “Zing! Went the Strings of My Heart,” and “You’ll Never Know.”
Although she knew her voice was good and she liked the attention, becoming an actress was her main objective. That desire was made stronger when she saw her first Broadway play, The Diary of Anne Frank, when she was fourteen. The star in the play was Susan Strasberg, whose acting she wanted to emulate if ever given the chance.
To help achieve that goal, Streisand began spending her spare time in the library, studying the biographies of various stage actresses such as Eleanora Duse and Sarah Bernhardt. In addition, she began reading novels and plays, including some by Shakespeare and Ibsen, and also on her own, studied the acting theories of Konstantin Stanislavski and Michael Chekhov.
She attended Erasmus Hall High School in Brooklyn in 1955 where she became an honor student in modern history, English, and Spanish. She also joined the Freshman Chorus and Choral Club, where she sang with another choir member and classmate, Neil Diamond.
Diamond recalls, “We were two poor kids in Brooklyn. We hung out in the front of Erasmus High and smoked cigarettes.” The school was near an art-movie house, and he recalls that she was always aware of the films they were showing, while he wasn’t as interested.
During the summer of 1957 she got her first stage experience as a walk-on at the Playhouse in Malden Bridge, New York. That small part was followed by a role as the kid sister in Picnic and one as a vamp in Desk Set.
She returned to school in Brooklyn but never took dramatic arts classes, preferring instead to gain some real-world stage experience. To that end, in her sophomore year, she took a night job at the Cherry Lane Theater in Greenwich Village helping backstage. When she was a senior, she rehearsed for a small part in Driftwood, a play staged in a midtown attic space.
Her co-star in Driftwood was Joan Rivers.
At age sixteen, she graduated from Erasmus Hall in January 1959, and despite her mother’s pleas that she stay out of show business, she immediately set out trying to get roles on the New York City stage.
After renting a small apartment on 48th street, in the heart of the theater district, she accepted any job she could involving the stage, and at every opportunity, she “made the rounds” of the casting offices.
At sixteen, then living on her own, Streisand’s youth and ambition worked in her favor, but she lacked a mature woman’s physical features which were needed for serious female roles. She therefore took various menial jobs to have some income.
At one period, she lacked a permanent address, and found herself sleeping at the home of friends or anywhere else she could set up the army cot she carried around to save on rent expense. When desperate, she would return to her mother’s flat in Brooklyn for a home-cooked meal.
However, her mother would be horrified by her daughter’s “gypsy-like lifestyle,” wrote biographer Karen Swenson, and again begged her to give up trying to get into show business;
but Streisand took her mother’s pleadings as even more reason to keep trying: “My desires were strengthened by wanting to prove to my mother that I could be a star.”
She took a job as an usher at the Lunt-Fontanne Theater for The Sound of Music, early in 1960. During the run of the play, she heard that the casting director was auditioning for more singers, and it marked the first time she sang in pursuit of a job.
Although the director felt she was not right for the part, he encouraged her to begin including her talent as a singer on her résumé when looking for other work.
That suggestion prodded Streisand to think seriously about a singing career, in addition to acting. She asked her boyfriend, Barry Dennen, to tape her singing, copies of which she could then give out to possible employers. Dennen had acted with her briefly in an off-Broadway play, but had no reason to think she had any talent as a singer, and she never mentioned it. Nevertheless, he agreed and found a guitarist to accompany her:
We spent the afternoon taping, and the moment I heard the first playback I went insane. . . . This nutty little kook had one of the most breathtaking voices I’d ever heard . . . when she was finished and I turned off the machine, I needed a long moment before I dared look up at her.
Dennen grew enthusiastic and he convinced her to enter a talent contest at the Lion, a gay nightclub in Manhattan’s Greenwich Village. She performed two songs, after which there was a “stunned silence” from the audience, followed by “thunderous applause” when she was pronounced the winner.
She was invited back and sang at the club for several weeks.
It was during this time that she dropped the second “a” from her first name, switching from “Barbara” to “Barbra”, due to her dislike of her original name.
Streisand was next asked to audition at the Bon Soir nightclub, after which she was signed up at $125 a week. It became her first professional engagement, in September 1960, where she was the opening act for comedian Phyllis Diller. She recalls it was the first time she had been in that kind of upper-scale environment: “I’d never been in a nightclub until I sang in one.”
Dennen now wanted to expose Streisand to his vast record collection of female singers, including Billie Holiday, Mabel Mercer, Ethel Waters, and Édith Piaf. His effort made a difference in her developing style, as she gained new respect for the art of popular singing. She also realized that she could still become an actress by first gaining recognition as a singer.
According to biographer Christopher Nickens, hearing other great female singers benefited her style, as she began creating different emotional characters when performing, which gave her singing a greater range.
This range allowed her to sing with a dramatic voice or a lighthearted, and playful one. Feeling more self-confident, she improved her stage presence when speaking to the audience between songs. She discovered that her Brooklyn-bred style of humor was received quite favorably.
During the next six months appearing at the club, some began comparing her singing voice to famous names such as Judy Garland, Lena Horne and Fanny Brice. Her conversational ability to charm an audience with spontaneous humor during performances became more sophisticated and professional.
Theater critic Leonard Harris, in one of his reviews, could already envision her future success: “She’s twenty; by the time she’s thirty she will have rewritten the record books.”
Streisand, however, never lost her desire to be a stage actress, and accepted her first role on the New York stage in Another Evening with Harry Stoones, a satirical comedy play in which she acted and sang two solos. The show received terrible reviews and closed the next day.
With the help of her new personal manager, Martin Erlichman, she had successful shows in Detroit and St. Louis.
Erlichman then booked her at an even more upscale nightclub in Manhattan, the Blue Angel, where she became an even bigger hit during the period of 1961 to 1962. Streisand once told Jimmy Fallon, whom she sang a duet with, on the Tonight Show, that Erlichman was a “fantastic manager” and still managed her career after 50 years.
While appearing at the Blue Angel, theater director and playwright Arthur Laurents asked her to audition for a new musical comedy he was directing, I Can Get It for You Wholesale. She got the part of secretary to the lead actor businessman, played by then unknown Elliott Gould.
They fell in love during rehearsals and eventually moved into a small apartment together above a seafood restaurant on Third Avenue. The show opened on March 22, 1962, at the Shubert Theater, and received rave reviews. Her performance “stopped the show cold,” writes Nickens, and she became Broadway’s most exciting and youngest new star.
Groucho Marx, while hosting the Tonight Show, told her that twenty was an “extremely young age to be a success on Broadway.”
Streisand received a Tony nomination and a New York Drama Critic’s prize for Best Supporting Actress.
The show was recorded and it was the first time the public could purchase an album of her singing.
Streisand’s first television appearance was on The Tonight Show, then credited to its usual host Jack Paar. She was seen during an April 1961 episode on which Orson Bean substituted for Paar. She sang Harold Arlen’s “A Sleepin’ Bee”.
During her appearance, Phyllis Diller, also a guest on the show, called her “one of the great singing talents in the world.”
Later in 1961, before she was cast in Another Evening With Harry Stoones, she became a semi-regular on PM East/PM West, a talk/variety series hosted by Mike Wallace and Joyce Davidson.
Her appearance with Orson Bean and his other guest Phyllis Diller on The Tonight Show was preserved by kinescope and has been viewed online by many people who were not alive in 1961. None of the video of Streisand on PM East/PM West was preserved for posterity.
In May 1962, Streisand appeared on The Garry Moore Show, where she sang “Happy Days Are Here Again” for the first time. Her sad, slow version of the 1930s upbeat Democratic Party theme song became her signature song during this early phase of her career.
Johnny Carson had her on the Tonight Show half a dozen times in 1962 and 1963, and she became a favorite of his television audience and himself personally. He described her as an “exciting new singer.”
During one show she joked with Groucho Marx, who liked her style of humor.
In December 1962 she made the first of a number of appearances on the Ed Sullivan Show, was later a cohost on the Mike Douglas Show, and made an impact on a number of Bob Hope specials. Performing with her on the Ed Sullivan Show was Liberace who became an instant fan of the young singer. Liberace invited her to Las Vegas, Nevada to perform as his opening act at the Riviera Hotel.
Liberace is credited with introducing Barbara to Western American audiences.
The following September, during her ongoing shows at Harrah’s Hotel in Lake Tahoe, she and Elliott Gould took time off to get married in Carson City, Nevada. With her career and popularity rising so quickly, she saw her marriage to Gould as a “stabilizing influence.”
Her first album, The Barbra Streisand Album in early 1963, made the top 10 on the Billboard chart and won three Grammy Awards.
The album made her the best-selling female vocalist in the country.
That summer she also released The Second Barbra Streisand Album, which established her as the “most exciting new personality since Elvis Presley.”
She ended that breakthrough year of 1963 by performing one-night concerts in Indianapolis, San Jose, Chicago, Sacramento, and Los Angeles.
Streisand returned to Broadway in 1964 with an acclaimed performance as entertainer Fanny Brice in Funny Girl at the Winter Garden Theatre. The show introduced two of her signature songs, “People” and “Don’t Rain on My Parade.”
Because of the play’s overnight success, she appeared on the cover of Time. In 1964 Streisand was nominated for a Tony Award for Best Actress in a Musical but lost to Carol Channing in Hello, Dolly! Streisand received an honorary “Star of the Decade” Tony Award in 1970.
In 1966, she repeated her success with Funny Girl in London’s West End at the Prince of Wales Theatre. From 1965 to 1967 she appeared in her first four solo television specials.
Streisand has recorded 50 studio albums, almost all with Columbia Records.
Her early works in the 1960s (her debut The Barbra Streisand Album, The Second Barbra Streisand Album, The Third Album, My Name Is Barbra, etc.) are considered classic renditions of theatre and cabaret standards, including her pensive version of the normally uptempo “Happy Days Are Here Again”.
She performed this in a duet with Judy Garland on The Judy Garland Show. Garland referred to her on the air as one of the last great belters. They also sang “There’s No Business Like Show Business” with Ethel Merman joining them.
Beginning with My Name Is Barbra, her early albums were often medley-filled keepsakes of her television specials. Starting in 1969, she began attempting more contemporary material, but like many talented singers of the day, she found herself out of her element with rock.
Her vocal talents prevailed, and she gained newfound success with the pop and ballad-oriented Richard Perry-produced album Stoney End in 1971. The title track, written by Laura Nyro, was a major hit for Streisand.
During the 1970s, she was also highly prominent on the pop charts, with Top 10 recordings such as “The Way We Were” (US No. 1),
“Evergreen (Love Theme from A Star Is Born)” (US No. 1),
“No More Tears (Enough Is Enough)” (1979, with Donna Summer), which as of 2010 is reportedly still the most commercially successful duet, (US No. 1),
“You Don’t Bring Me Flowers” (with Neil Diamond) (US No. 1)
and “The Main Event” (US No. 3), some of which came from soundtrack recordings of her films.
As the 1970s ended, Streisand was named the most successful female singer in the U.S. — only Elvis Presley and The Beatles had sold more albums.
In 1980, she released her best-selling effort to date, the Barry Gibb-produced Guilty. The album contained the hits “Woman in Love” (which spent several weeks on top of the pop charts in the fall of 1980), “Guilty”, and “What Kind of Fool”.
After years of largely ignoring Broadway and traditional pop music in favor of more contemporary material, Streisand returned to her musical-theatre roots with 1985’s The Broadway Album, which was unexpectedly successful, holding the coveted No. 1 Billboard position for three straight weeks, and being certified quadruple platinum.
The album featured tunes by Rodgers and Hammerstein, George Gershwin, Jerome Kern, and Stephen Sondheim, who was persuaded to rework some of his songs especially for this recording.
The Broadway Album was met with acclaim, including a Grammy nomination for album of the year and, ultimately, handed Streisand her eighth Grammy as Best Female Vocalist.
After releasing the live album One Voice in 1986, Streisand was set to release another album of Broadway songs in 1988.
She recorded several cuts for the album under the direction of Rupert Holmes, including “On My Own” (from Les Misérables),
a medley of “How Are Things in Glocca Morra?”
and “Heather on the Hill” (from Finian’s Rainbow and Brigadoon, respectively),
“All I Ask of You” (from The Phantom of the Opera), “Warm All Over” (from The Most Happy Fella) and an unusual solo version of “Make Our Garden Grow” (from Candide).
Streisand was not happy with the direction of the project and it was ultimately scrapped.
Only “Warm All Over” and a reworked, lite FM-friendly version of “All I Ask of You” were ever released, the latter appearing on Streisand’s 1988 effort, Till I Loved You.
At the beginning of the 1990s, Streisand started focusing on her film directorial efforts and became almost inactive in the recording studio. In 1991, a four-disc box set, Just for the Record, was released.
A compilation spanning Streisand’s entire career to date, it featured over 70 tracks of live performances, greatest hits, rarities and previously unreleased material.
The following year, Streisand’s concert fundraising events helped propel former Pres. Bill Clinton into the spotlight and into office.
Streisand later introduced Clinton at his inauguration in 1993. Streisand’s music career, however, was largely on hold. A 1992 appearance at an APLA benefit as well as the aforementioned inaugural performance hinted that Streisand was becoming more receptive to the idea of live performances.
A tour was suggested, though Streisand would not immediately commit to it, citing her well-known stage fright as well as security concerns. During this time, Streisand finally returned to the recording studio and released Back to Broadway in June 1993.
The album was not as universally lauded as its predecessor, but it did debut at No. 1 on the pop charts (a rare feat for an artist of Streisand’s age, especially given that it relegated Janet Jackson’s Janet to the No. 2 spot).
One of the album’s highlights was a medley of “I Have A Love” / “One Hand, One Heart”, a duet with Johnny Mathis, who Streisand said is one of her favorite singers.
In 1993, New York Times music critic Stephen Holden wrote that Streisand “enjoys a cultural status that only one other American entertainer, Frank Sinatra, has achieved in the last half century”.
In September 1993, Streisand announced her first public concert appearances in 27 years (if one does not count her Las Vegas nightclub performances between 1969 and 1972).
What began as a two-night New Year’s event at the MGM Grand Las Vegas eventually led to a multi-city tour in the summer of 1994. Tickets for the tour were sold out in under one hour.
Streisand also appeared on the covers of major magazines in anticipation of what Time magazine named “The Music Event of the Century.”
The tour was one of the biggest all-media merchandise parlays in history. Ticket prices ranged from US$50 to US$1,500 – making Streisand the highest-paid concert performer in history. Barbra Streisand:
The Concert went on to be the top-grossing concert of the year and earned five Emmy Awards and the Peabody Award, while the taped broadcast on HBO is, to date, the highest-rated concert special in HBO’s 30-year history.
Following the tour’s conclusion, Streisand once again kept a low profile musically, instead focusing her efforts on acting and directing duties as well as a burgeoning romance with actor James Brolin.
In 1996, Streisand released “I Finally Found Someone” as a duet with Canadian singer and songwriter Bryan Adams. The song was nominated for an Oscar as it was part of the soundtrack of Streisand’s self-directed movie The Mirror Has Two Faces. It reached #8 on the Billboard Hot 100, and was her first significant hit in almost a decade and her first top 10 hit on the Hot 100 (and first gold single) since 1981.
In 1997, she finally returned to the recording studio, releasing Higher Ground, a collection of songs of a loosely inspirational nature which also featured a duet with Céline Dion.
The album received generally favorable reviews and, remarkably, once again debuted at No. 1 on the pop charts. Following her marriage to Brolin in 1998, Streisand recorded an album of love songs entitled A Love Like Ours the following year.
Reviews were mixed, with many critics complaining about the somewhat syrupy sentiments and overly-lush arrangements; however, it did produce a modest hit for Streisand in the country-tinged “If You Ever Leave Me”, a duet with Vince Gill.
On New Year’s Eve 1999, Streisand returned to the concert stage, selling out in the first few hours, eight months before her return.
At the end of the millennium, she was the number one female singer in the U.S., with at least two No. 1 albums in each decade since she began performing.
A two-disc live album of the concert entitled Timeless: Live in Concert was released in 2000. Streisand performed versions of the Timeless concert in Sydney and Melbourne, Australia, in early 2000. In advance of four concerts (two each in Los Angeles and New York) in September 2000, Streisand announced that she was retiring from playing public concerts. Her performance of the song “People” was broadcast on the Internet via America Online.
Streisand’s most recent albums have been Christmas Memories (2001), a somewhat somber collection of holiday songs (which felt entirely —albeit unintentionally— appropriate in the early post-9/11 days), and The Movie Album (2003), featuring famous film themes and backed by a large symphony orchestra. Guilty Pleasures (called Guilty Too in the UK), a collaboration with Barry Gibb and a sequel to their Guilty, was released worldwide in 2005.
In February 2006, Streisand recorded the song “Smile” alongside Tony Bennett at Streisand’s Malibu home.
The song is included on Bennett’s 80th birthday album, Duets. In September 2006, the pair filmed a live performance of the song for a special directed by Rob Marshall entitled Tony Bennett: An American Classic.
The special aired on NBC November 21, 2006, and was released on DVD the same day. Streisand’s duet with Bennett opened the special. In 2006, Streisand announced her intent to tour again, in an effort to raise money and awareness for multiple issues.
After four days of rehearsal at the Sovereign Bank Arena in Trenton, New Jersey, the tour began on October 4 at the Wachovia Center in Philadelphia, continued with a featured stop in Fort Lauderdale, Florida, (this was the concert Streisand chose to film for a TV special), and concluded at Staples Center in Los Angeles on November 20, 2006. Special guests Il Divo were interwoven throughout the show.
The show was known as Streisand: The Tour.
Streisand’s 20-concert tour set box-office records.
At the age of 64, well past the prime of most performers, she grossed $92,457,062 and set house gross records in 14 of the 16 arenas played on the tour.
She set the third-place record for her October 9, 2006 show at Madison Square Garden, the first- and second-place records of which are held by her two shows in September 2000.
She set the second-place record at the MGM Grand Garden Arena, with her December 31, 1999 show being the house record and the highest-grossing concert of all time.
This led many people to openly criticize Streisand for price gouging, as many tickets sold for upwards of $1,000.
A collection of performances culled from different stops on this tour, Live in Concert 2006, debuted at No. 7 on the Billboard 200, making it Streisand’s 29th Top 10 album.
In the summer of 2007, Streisand gave concerts for the first time in continental Europe. The first concert took place in Zürich (June 18), then Vienna (June 22), Paris (June 26), Berlin (June 30), Stockholm (July 4, canceled), Manchester (July 10) and Celbridge, near Dublin (July 14), followed by three concerts in London (July 18, 22 and 25), the only European city where Streisand had performed before 2007.
Tickets for the London dates cost between £100.00 and £1,500.00 and for the Ireland date between €118 and €500.
The Ireland date was marred by problems, with serious parking and seating problems leading to the event’s being dubbed a fiasco by Hot Press. The tour included a 58-piece orchestra.
In February 2008, Forbes listed Streisand as the No.-2-earning female musician, between June 2006 and June 2007, with earnings of about $60 millions.
On November 17, 2008, Streisand returned to the studio to begin recording what would be her sixty-third album and it was announced that Diana Krall was producing the album.
Streisand is one of the recipients of the 2008 Kennedy Center Honors. On December 7, 2008, she visited the White House as part of the ceremonies.
On April 25, 2009, CBS aired Streisand’s latest television special, Streisand: Live in Concert, highlighting the aforementioned featured stop from her 2006 North American tour, in Fort Lauderdale, Florida.
On September 26, 2009, Streisand performed a one-night-only show at the Village Vanguard in New York City’s Greenwich Village.
This performance was later released on DVD as One Night Only: Barbra Streisand and Quartet at The Village Vanguard.
On September 29, 2009, Streisand and Columbia Records released her newest studio album, Love is the Answer, produced by Diana Krall.
On October 2, 2009, Streisand made her British television performance debut with an interview on Friday Night with Jonathan Ross to promote the album.
This album debuted at No. 1 on the Billboard 200 and registered her biggest weekly sales since 1997, making Streisand the only artist in history to achieve No. 1 albums in five different decades.
On February 1, 2010, Streisand joined over eighty other artists in recording a new version of the 1985 charity single “We Are the World”. Quincy Jones and Lionel Richie planned to release the new version to mark the 25th anniversary of its original recording.
These plans changed, however, in view of the devastating earthquake that hit Haiti on January 12, 2010, and on February 12, the song, now called “We Are the World 25 for Haiti”, made its debut as a charity single to support relief aid for the beleaguered island nation.
In 2011, she sang Somewhere from the Broadway musical West Side Story, with child prodigy Jackie Evancho, on Evancho’s album Dream with Me.
Streisand was honored as MusiCares Person of the Year on February 11, 2011, two days prior to the 53rd Annual Grammy Awards.
On October 11, 2012, Streisand gave a three-hour concert performance before a crowd of 18,000 as part of the ongoing inaugural events of Barclays Center (and part of her current Barbra Live tour) in her native Brooklyn (her first-ever public performance in her home borough). Streisand was joined onstage by trumpeter Chris Botti, Italian operatic trio Il Volo, and her son Jason Gould. The concert included musical tributes by Streisand to Donna Summer and Marvin Hamlisch, both of whom had died earlier in 2012.
Confirmed attendees included Barbara Walters, Jimmy Fallon, Sting, Katie Couric, Woody Allen, Michael Douglas and New York City mayor Michael Bloomberg, as well as designers Calvin Klein, Donna Karan, Ralph Lauren and Michael Kors.
In June 2013 she gave two concerts in Bloomfield Stadium, Tel Aviv.
Streisand is one of many singers who use teleprompters during their live performances. Streisand has defended her choice in using teleprompters to display lyrics and, sometimes, banter.
In September 2014, she released Partners, a new album of duets that features collaborations with Elvis Presley, Andrea Bocelli, Stevie Wonder, Lionel Richie, Billy Joel, Babyface, Michael Bublé, Josh Groban, John Mayer, John Legend, Blake Shelton and Jason Gould. This album topped the Billboard 200 with sales of 196,000 copies in the first week, making Streisand the only recording artist to have a number-one album in each of the last six decades.
It was also certified gold in November 2014 and platinum in January 2015, thus becoming Streisand’s 52nd gold and 31st Platinum album, more than any other female artist in history.
In May 2016, Streisand announced the upcoming album Encore: Movie Partners Sing Broadway to be released in August following a nine-city concert tour, Barbra: The Music, The Mem’ries, The Magic, including performances in Los Angeles, Las Vegas, Philadelphia, and a return to her hometown of Brooklyn.
Her first film was a reprise of her Broadway hit, Funny Girl (1968), an artistic and commercial success directed by Hollywood veteran William Wyler. Streisand won the 1968 Academy Award for Best Actress for the role, sharing it with Katharine Hepburn (The Lion in Winter), the only time there has been a tie in this Oscar category.
Her next two movies were also based on musicals, Jerry Herman’s Hello, Dolly!, directed by Gene Kelly (1969); and Alan Jay Lerner’s and Burton Lane’s On a Clear Day You Can See Forever, directed by Vincente Minnelli (1970); while her fourth film was based on the Broadway play The Owl and the Pussycat (1970).
During the 1970s, Streisand starred in several screwball comedies, including What’s Up, Doc? (1972) and The Main Event (1979), both co-starring Ryan O’Neal, and For Pete’s Sake (1974) with Michael Sarrazin. One of her most famous roles during this period was in the drama The Way We Were (1973) with Robert Redford, for which she received an Academy Award nomination as Best Actress. She earned her second Academy Award for Best Original Song (with lyricist Paul Williams) for the song “Evergreen”, from A Star Is Born in 1976, in which she also starred.
Along with Paul Newman, Sidney Poitier and later Steve McQueen, Streisand formed First Artists Production Company in 1969, so that the actors could secure properties and develop movie projects for themselves. Streisand’s initial outing with First Artists was Up the Sandbox (1972).
From a period beginning in 1969 and ending in 1980, Streisand appeared in Top Ten Money Making Stars Poll, the annual motion picture exhibitors poll of Top 10 Box Office attractions a total of 10 times, often as the only woman on the list. After the commercially disappointing All Night Long in 1981, Streisand’s film output decreased considerably. She has acted in only eight films since.
Streisand produced a number of her own films, setting up Barwood Films in 1972. For Yentl (1983), she was producer, director, and star, an experience she repeated for The Prince of Tides (1991) and The Mirror Has Two Faces (1996).
There was controversy when Yentl received five Academy Award nominations, but none for the major categories of Best Picture, Actress, or Director. The Prince of Tides received even more Oscar nominations, including Best Picture and Best Screenplay, although not for director. Upon completion of the film, its screenwriter, Pat Conroy, who also authored the novel, called Streisand “a goddess who walks upon the earth.”
Streisand also scripted Yentl, something for which she is not always given credit. According to The New York Times editorial page editor Andrew Rosenthal in an interview with Allan Wolper, “The one thing that makes Barbra Streisand crazy is when nobody gives her the credit for having written Yentl.”
In 2004, Streisand made a return to film acting after an eight-year hiatus, in the comedy Meet the Fockers (a sequel to Meet the Parents), playing opposite Dustin Hoffman, Ben Stiller, Blythe Danner and Robert De Niro.
In 2005, Streisand’s Barwood Films, Gary Smith, and Sonny Murray purchased the rights to Simon Mawer’s book Mendel’s Dwarf.
In December 2008, she stated that she was considering directing an adaptation of Larry Kramer’s play The Normal Heart, a project she has worked on since the mid-1990s.
In December 2010, Streisand appeared in Little Fockers, the third film from the Meet the Parents trilogy. She reprised the role of Roz Focker alongside Dustin Hoffman.
On January 28, 2011, The Hollywood Reporter announced that Paramount Pictures had given the green light to begin shooting the road-trip comedy My Mother’s Curse, with Seth Rogen playing Streisand’s character’s son.
Anne Fletcher directed the project with a script by Dan Fogelman, produced by Lorne Michaels, John Goldwyn, and Evan Goldberg. Executive producers included Streisand, Rogen, Fogelman, and David Ellison, whose Skydance Productions co-financed the road movie.
Shooting began in spring 2011 and wrapped in July; the film’s title was eventually altered to The Guilt Trip, and the movie was released in December 2012.
It’s confirmed that Streisand has been set to star in a new feature film adaptation of the musical Gypsy – featuring music by Jules Styne, a book by Arthur Laurents and lyrics by Stephen Sondheim – with Richard LaGravenese reportedly attached to the project as screenwriter. In April 2016, it was reported that Streisand was in advanced negotiations to star in and produce the film, which will be directed by Barry Levinson and distributed by STX Entertainment.
Two months later, it was reported that the film’s script had been completed and that production is aiming to begin in early 2017.
Barbra Streisand is set to direct the historical drama Catherine the Great, a feature biopic about the 18th-century Russian empress, based on the top 2014 Black List script, produced by Gil Netter.
Streisand is a mezzo-soprano who has a range consisting of three octaves and 2 notes from B2 to a D6.
However, she has been identified by Whitney Balliett of The New Yorker as “a contralto with a couple of octaves at her command, and she wows her listeners with her shrewd dynamics (in-your-ear soft here, elbowing-loud there), her bravura climbs, her rolling vibrato, and the singular Streisand-from-Brooklyn nasal quality of her voice — a voice as immediately recognizable in its way as Louis Armstrong’s.
Music writer Allegra Rossi adds that Streisand creates complete compositions in her head:
Even though she can’t read or write music, Barbra hears melodies as completed compositions in her head. She hears a melody and takes it in, learning it quickly. Barbra developed her ability to sustain long notes because she wanted to. She can mold a tune that others cannot; she’s able to sing between song and speech, keeping in tune, carrying rhythm and meaning.
While she is predominantly a pop singer, Streisand’s voice has been described as “semi-operatic” due to its strength and quality of tone. According to Adam Feldman of Time Out, Streisand’s “signature vocal style” is “a suspension bridge between old-school belting and microphone pop.”
She is known for her ability to hold relatively high notes, both loud and soft, with great intensity, as well as for her ability to make slight but unobtrusive embellishments on a melodic line. The former quality led classical pianist Glenn Gould to call himself “a Streisand freak”.
In recent years, critics and audiences have noted that her voice has “lowered and acquired an occasionally husky edge”. However, New York Times music critic Stephen Holden noted that her distinctive tone and musical instincts remain, and that she still “has the gift of conveying a primal human longing in a beautiful sound”.
Paul Taylor of The Independent wrote that Streisand “has sounded a little scratchy and frayed, though the stout resolve and superb technique with which Streisand manages to hoist it over these difficulties has come to seem morally as well aesthetically impressive.”
Reviewing Streisand’s most recent studio effort Partners, Gil Naveh of Haaretz described Streisand’s voice as “velvety, clear and powerful … and the passing years have given it a fascinating depth and roughness.
Streisand has been married twice. Her first husband was actor Elliott Gould, to whom she was married from 1963 until 1971. They had one child, Jason Gould, who appeared as her on-screen son in The Prince of Tides. In 1969 and 1970, Streisand dated Canadian Prime Minister Pierre Trudeau.
She started a relationship with hairdresser/producer Jon Peters in 1974. He went on to be her manager and producer. She is the godmother of his daughters, Caleigh Peters and Skye Peters.
Streisand dated tennis champion Andre Agassi in the early 1990s. Writing about the relationship in his 2009 autobiography, Agassi said: “We agree that we’re good for each other, and so what if she’s twenty-eight years older? We’re simpatico, and the public outcry only adds spice to our connection. It makes our friendship feel forbidden, taboo – another piece of my overall rebellion. Dating Barbra Streisand is like wearing Hot Lava.”
Her second husband is actor James Brolin, whom she married on July 1, 1998.
While they have no children together, Brolin has two children from his first marriage, including actor Josh Brolin, and one child from his second marriage.
Streisand changed her name from Barbara to Barbra because, she said, “I hated the name, but I refused to change it.”
Streisand further explained, “Well, I was 18 and I wanted to be unique, but I didn’t want to change my name because that was too false. You know, people were saying you could be Joanie Sands, or something like that. (My middle name is Joan.) And I said, ‘No, let’s see, if I take out the ‘a,’ it’s still ‘Barbara,’ but it’s unique.”
A 1967 biography with a concert program said, “the spelling of her first name is an instance of partial rebellion: she was advised to change her last name and retaliated by dropping an “a” from the first instead.”
Streisand has long been an active supporter of the Democratic Party and many of its causes.
In 1971, Streisand was one of the celebrities listed on President Richard Nixon’s infamous Enemies List.
Streisand is a supporter of gay rights, and in 2007 helped raise funds in an unsuccessful attempt to defeat Proposition 8 in California.
In June 2013 she helped celebrate the 90th birthday of Shimon Peres held at Jerusalem’s international convention center.
She also performed at two other concerts in Tel Aviv that same week, part of her first concert tour of Israel.
In August 2016 she stated that if Donald Trump is elected President that she will either move to Australia or Canada.
In 1984, Streisand donated the Emanuel Streisand Building for Jewish Studies to the Hebrew University of Jerusalem, in the Mount Scopus campus, in memory of her father, an educator and scholar who died when she was young.
Streisand has personally raised $25 millions for organizations through her live performances. The Streisand Foundation, established in 1986, has contributed over $16 million through nearly 1,000 grants to “national organizations working on preservation of the environment, voter education, the protection of civil liberties and civil rights, women’s issues and nuclear disarmament”.
In 2006, Streisand donated $1 million to the William J. Clinton Foundation in support of former President Bill Clinton’s climate change initiative.
In 2009, Streisand gifted $5 million to endow the Barbra Streisand Women’s Cardiovascular Research and Education Program at Cedars-Sinai Medical Center’s Women’s Heart Center.
In September that year, Parade magazine included Streisand on its Giving Back Fund’s second annual Giving Back 30 survey, “a ranking of the celebrities who have made the largest donations to charity in 2007 according to public records”, as the third most generous celebrity. The Giving Back Fund claimed Streisand donated $11 million, which The Streisand Foundation distributed.
In 2012 she raised $22 million to support her women’s cardiovascular center, bringing her own personal contribution to $10 million.
The program was officially named the Barbra Streisand Women’s Heart Center.
At Julien’s Auctions in October 2009, Streisand, a longtime collector of art and furniture, sold 526 items, with all the proceeds going to her foundation. Items included a costume from Funny Lady and a vintage dental cabinet purchased by the performer at 18 years old. The sale’s most valuable lot was a painting by Kees van Dongen.
In December 2011, she appeared at a fundraising gala for Israel Defense Forces charities.
Streisand was presented Distinguished Merit Award by Mademoiselle in 1964, and selected as Miss Ziegfeld in 1965.
In 1968, she received the Israel Freedom Medal, the highest civilian award of Israel, and she was awarded Pied Piper Award by ASCAP and Prix De L’Academie Charles Cros in 1969, Crystal Apple by her hometown City of New York, Woman of Achievement in the Arts by Anti-Defamation League in 1978.
In 1984, Streisand was awarded the Women in Film Crystal Award for outstanding women who, through their endurance and the excellence of their work, have helped to expand the role of women within the entertainment industry.
She received the Woman of Courage Award by the National Organization for Women (NOW), the Ordre des Arts et des Lettres and Scopus Award by American Friends of The Hebrew University.
She received Breakthrough Awards for “making films that portray women with serious complexity” at the Women, Men and Media symposium in 1991.
In 1992, she was given the Commitment to Life Award by AIDS Project Los Angeles(APLA), and the Bill of Rights Award by the American Civil Liberties Union of Southern California, the Dorothy Arzner Special Recognition by Women in Film, and the Golden Plate by the Academy of Achievement.
She was honored with the Harry Chapin Humanitarian Award from the ASCAP in 1994 and the Peabody Award in 1995, the same year she was accorded an Honorary Doctorate In Arts and Humanities by Brandeis University.
She was also awarded Filmmaker of the Year Award for “lifetime achievement in filmmaking” by ShowEast and Peabody Award in 1996, Christopher Award in 1998.
In 2000, President Bill Clinton presented Streisand with the National Medal of Arts,the highest honor specifically given for achievement in the arts and Library of Congress Living Legend
she also received the highest honor for a career in film AFI Life Achievement Award from American Film Institute and Liberty and Justice Award from Rainbow/PUSH Coalition, Gracie Allen Award，First Annual Jewish Image Awards in 2001, and Humanitarian Award “for her years of leadership, vision, and activism in the fight for civil liberties, including religion, race, gender equality and freedom of speech, as well as all aspects of gay rights” from Human Rights Campaign in 2004.
In 2007, French President Nicolas Sarkozy presented Streisand with Legion of Honour, the highest decoration in France, and President George W. Bush presented her Kennedy Center Honors, the highest recognition of cultural achievement.
In 2011, she was given Board of Governors Humanitarian Award for her efforts on behalf of women’s heart health and her many other philanthropic activities.” by Cedars-Sinai Heart Institute. She received the L’Oréal Paris Legend Award in 18th Elle Magazine Women in Hollywood. In 2012, she received a Lifetime Achievement Award from the Women Film Critics Circle.
She was accorded an Honorary Doctorate of Philosophy by the Hebrew University of Jerusalem in 2013.
In that year, she was also recipient of the Charlie Chaplin Award for Lifetime Achievement by the Film Society of Lincoln Center as the only female artist to direct, write, produce and star in the same major studio film, Yentl
along with a Lifetime Achievement Glamour Awards.
In 2014, Streisand was on one of eight different New York Magazine covers celebrating the magazine’s “100 Years, 100 Songs, 100 Nights: A Century of Pop Music in New York”. She also received the American Society of Cinematographers (ASC) Board of Governors Award, the Sherry Lansing Leadership Award at The Hollywood Reporter’s annual Women in Entertainment Breakfast, and came first in the 1010 Wins Iconic Celebrity Poll by CBS in 2015.
In November 2015, President Barack Obama announced that Streisand would receive the Presidential Medal of Freedom, the highest civilian award of the United States.
Streisand was inducted into and Hollywood Walk of Fame in 1976, Goldmine Hall of Fama in 2002, Long Island Music Hall of Fame in 2007, the Hit Parade Hall of Fame in 2009, National Museum of American Jewish History and California Hall of Fame in 2010.
In 1970, she received a Special Tony Award named Star of the Decade,and selected as Star of the Decade by the National Association of Theatre Owners (NATO) in 1980, Star of Decade by NATO/ShowWest and President’s Award by NARM in 1988.
That year she was also named as All-Time Favorite Musical Performer by People’s Choice Awards. In 1986, Life named her as one of Five Hollywood’s Most Powerful Women.
In 1998, Harris Poll reported that she is the “Most Popular Singer Among Adult Americans of All Ages.”
She was also featured on VH1’s 100 Greatest Women of Rock N Roll, the Top 100 Singers of all time by Mojo magazine, named the century’s best female singer in a Reuters/Zogby poll and “Top Female Artist of the Century” by Recording Industry Association of America in 1999.
In 2006, Streisand was one of honorees at Oprah Winfrey’s white-tie Legends Ball.
In 2011, the British tabloid The Sun ranked Streisand as “The 50 female singers who will never be forgotten”.
The Daily Telegraph ranked Streisand as the 10 top female singer-songwriters of all time.
A&E’s Biography magazine ranked Streisand as one of their favorite leading actress of all time,[she was also featured on the Voices of the Century list by BBC, the “100 Greatest Movie Stars of Time” list compiled by People,
VH1’s list of the “200 Greatest Pop Culture Icons of All Time”,
the “100 Greatest Entertainers of All Time”（ranked at #13） and the “Greatest Movie Star of all time list” by Entertainment Weekly, “The 50 Greatest Actresses of All Tim” by AMC, and Billboard Hot 100 All-Time Top Artists.
Billboard also ranked Streisand as the top female Jewish musician of all time. As a gay icon, Streisand was named by The Advocate as one of the “25 Coolest Women” and the “9 Coolest Women Appealing to Both Lesbians and Gay Men”, and was also placed among the “12 Greatest Female Gay Icons of All Time” by Out magazine.
She was recognized as one of the top gay icons of the past three decades by Gay Times.
During the first decade of the 21st century, the American Film Institute celebrated 100 years of the greatest films in American cinema. Four of Streisand’s songs were represented on AFI’s 100 Years…
100 Songs, which highlighted “America’s Greatest Music in the Movies”: “The Way We Were” at
“Evergreen (Love Theme From A Star Is Born)” , “People” , and “Don’t Rain On My Parade” . Many of her films were represented on AFI’s 100 Years… series. AFI’s 100 Years…100 Laughs, highlighting “the films and film artists that have made audiences laugh throughout the century,” ranked What’s Up, Doc? . AFI’s 100 Years…
100 Passions highlighted the top 100 greatest love stories in American cinema and placed The Way We Were at, Funny Girl at, and What’s Up, Doc? at . AFI’s Greatest Movie Musicals highlighted the 25 greatest American movie musicals, ranking Funny Girl at
As one of the most acclaimed actresses, singers, directors, writers, composers, producers, designers, photographers, and activists in every medium that she’s worked in, Barbra is the only artist who is concurrently a member of the American Society of Composers, Authors and Publishers, the Screen Actors Guild, the American Federation of Television and Radio Artists, the Academy of Motion Pictures Arts and Sciences, and Actors’ Equity Association, as well as the honorary chairwoman of the board of directors of Hadassah’s International Research Institute on Women.
On the sketch comedy show Saturday Night Live, in the recurring skit “Coffee Talk”, character Linda Richman, played by Mike Myers, hosts a talk show dedicated to, among other things, the adoration of Streisand. Streisand, in turn, made an unannounced guest appearance on the show, surprising Myers and his guests Madonna and Roseanne Barr. Myers also appeared as the Linda Richman character on stage with Streisand at her 1994 MGM Grand concert, as well as a few of the 1994 Streisand tour shows.
Sound clips of Streisand’s heated exchange with a supporter of former U.S. president George W. Bush were sampled in the 2009 Lucian Piane dance song “Bale Out”, making it sound as if she were arguing with actor Christian Bale (whose recorded outbursts during the filming of Terminator Salvation were the centerpiece of the song).
“Barbra Streisand” is a disco house song by American-Canadian DJ duo Duck Sauce (Armand Van Helden & A-Trak). It was released on September 10, 2010. The song peaked at number one in Poland, Belgium, the Netherlands, Finland, Switzerland and Austria. It became a top ten hit in Australia, the United Kingdom, France, Germany, Ireland, and Italy.
Daniel Stern’s 2003 Off-Broadway play Barbra’s Wedding was set against the backdrop of Streisand’s 1998 wedding to James Brolin.
The 2013 comedy play Buyer & Cellar, written by Jonathan Tolins, is set in Streisand’s Malibu house cellar. A struggling actor finds a job there and one day meets the star. It is a one-man show starring Michael Urie that premiered at Rattlestick Playwrights Theatre in April 2013.
In 1972, the modern hair crimping iron was invented by Geri Cusenza, the original founder of Sebastian, for Streisand’s hair.
In 1977, Streisand become the first woman celebrity to be on the cover of Playboy who was interviewed inside.
In 2011, Jennifer Aniston paid tribute to Streisand in a series of poses that recreated some of Streisand’s classic looks on the cover of Harper’s Bazaar.
In 2013, Victoria Beckham revealed that Streisand was her own style icon. “She is the epitome of chic. She looked magnificent. She wears lots of Donna Karan, and she had on this fabulous Donna Karan dress that just draped perfectly. She had this gorgeous hair. She was just beautiful. I love her.”.
The A-Team was created by writers and producers Stephen J. Cannell and Frank Lupo at the behest of Brandon Tartikoff, NBC’s Entertainment president. Cannell was fired from ABC in the early 1980s, after failing to produce a hit show for the network, and was hired by NBC;
His first project was The A-Team. Brandon Tartikoff pitched the series to Cannell as a combination of The Dirty Dozen, Mission Impossible, The Magnificent Seven, Mad Max and Hill Street Blues, with “Mr. T driving the car”.
The A-Team was not generally expected to become a hit, although Stephen J. Cannell has said that George Peppard suggested it would be a huge hit “before we ever turned on a camera”.
The show became very popular; the first regular episode, which aired after Super Bowl XVII on January 30, 1983, reached 26.4% of the television audience, placing fourth in the top 10 Nielsen-rated shows.
The A-Team was always portrayed as acting on the side of good and helping the oppressed. Cannell was known for having a particular skill at capitalizing on momentary cultural trends, such as the helicopters, machine guns, cartoonish violence, and joyful militarism of this series, which are now recognizable as trademarks of popular entertainment in the 1980s as seen in the TV shows Magnum, P.I. and Airwolf as well as the films Rambo: First Blood Part II and Top Gun.
The show remains prominent in popular culture for its cartoonish, over-the-top violence (in which people were seldom seriously hurt), formulaic episodes, its characters’ ability to form weaponry and vehicles out of old parts, and its distinctive theme tune.
The show boosted the career of Mr. T, who portrayed the character of B. A. Baracus, around whom the show was initially conceived. Some of the show’s catchphrases, such as “I love it when a plan comes together”, “Hannibal’s on the jazz”, and “I ain’t gettin’ on no plane!” have also made their way onto T-shirts and other merchandise.
The show’s name comes from the “A-Teams”, the nickname coined for U.S. Special Forces’ Operational Detachments Alpha (ODA) during the Vietnam War, although this connection was never referenced on-screen.
In a 2003 Yahoo! survey of 1,000 television viewers, The A-Team was voted the one “oldie” television show viewers would most like to see revived, beating out such popular television series from the 1980s as The Dukes of Hazzard and Knight Rider.
“In 1972, a crack commando unit was sent to prison by a military court for a crime they didn’t commit. These men promptly escaped from a maximum security stockade to the Los Angeles underground. Today, still wanted by the government, they survive as soldiers of fortune. If you have a problem, if no one else can help, and if you can find them, maybe you can hire… the A-Team.”
The A-Team is a naturally episodic show, with few overarching stories, except the characters’ continuing motivation to clear their names, with few references to events in past episodes and a recognizable and steady episode structure.
In describing the ratings drop that occurred during the show’s fourth season, reviewer Gold Burt points to this structure as being a leading cause for the decreased popularity “because the same basic plot had been used over and over again for the past four seasons with the same predictable outcome”.
Similarly, reporter Adrian Lee called the plots “stunningly simple” in a 2006 article for The Express (UK newspaper), citing such recurring elements “as BA’s fear of flying, and outlandish finales when the team fashioned weapons from household items”.
The show became emblematic of this kind of “fit-for-TV warfare” due to its depiction of high-octane combat scenes, with lethal weapons, wherein the participants (with the notable exception of General Fulbright) are never killed and rarely seriously injured (see also On-screen violence section).
As the television ratings of The A-Team fell dramatically during the fourth season, the format was changed for the show’s final season in 1986–87 in a bid to win back viewers.
After years on the run from the authorities, the A-Team is finally apprehended by the military. General Hunt Stockwell, a mysterious CIA operative played by Robert Vaughn, propositions them to work for him, whereupon he will arrange for their pardons upon successful completion of several suicide missions. In order to do so, the A-Team must first escape from their captivity.
With the help of a new character, Frankie “Dishpan Man” Santana, Stockwell fakes their deaths before a military firing squad. The new status of the A-Team, no longer working for themselves, remained for the duration of the fifth season while Eddie Velez and Robert Vaughn received star billing along with the principal cast.
The missions that the team had to perform in season five were somewhat reminiscent of Mission: Impossible, and based more around political espionage than beating local thugs, also usually taking place in foreign countries, including successfully overthrowing an island dictator, the rescue of a scientist from East Germany, and recovering top secret Star Wars defense information from Soviet hands.
These changes proved unsuccessful with viewers, however, and ratings continued to decline. Only 13 episodes aired in the fifth season. In what was supposed to be the final episode, “The Grey Team” (although “Without Reservations” was broadcast on NBC as the last first-run episode in March 1987), Hannibal, after being misled by Stockwell one time too many, tells him that the team will no longer work for him.
At the end, the team discusses what they were going to do if they get their pardon, and it is implied that they would continue doing what they were doing as the A-Team. The character of Howling Mad Murdock can be seen in the final scene wearing a T-shirt that says, “fini”.
During the Vietnam War, the A-Team were members of the 5th Special Forces Group (see Season 1, Episode 10, “West Coast Turnaround”).
In Season 2, Episode 4, “Bad Time on the Border”, Colonel John “Hannibal” Smith, portrayed by George Peppard, indicated that the A-Team were “ex–Green Berets”.
During the Vietnam War, the A-Team’s commanding officer, Colonel Morrison, gave them orders to rob the Bank of Hanoi to help bring the war to an end. They succeeded in their mission, but on their return to base four days after the end of the war, they discovered that Morrison had been killed by the Viet Cong, and that his headquarters had been burned to the ground.
This meant that the proof that the A-Team members were acting under orders had been destroyed. They were arrested, and imprisoned at Fort Bragg, from which they quickly escaped before standing trial.
The origin of the A-Team is directly linked to the Vietnam War, during which the team formed.
The show’s introduction in the first four seasons mentions this, accompanied by images of soldiers coming out of a helicopter in an area resembling a forest or jungle.
Besides this, The A-Team would occasionally feature an episode in which the team came across an old ally or enemy from those war days.
For example, the first season’s final episode “A Nice Place To Visit” revolved around the team traveling to a small town to honor a fallen comrade and end up avenging his death, and in season two’s “Recipe For Heavy Bread”, a chance encounter leads the team to meet both the POW cook who helped them during the war, and the American officer who sold his unit out.
An article in the New Statesman (UK) published shortly after the premiere of The A-Team in the United Kingdom, also pointed out The A-Team’s connection to the Vietnam War, characterizing it as the representation of the idealization of the Vietnam War, and an example of the war slowly becoming accepted and assimilated into American culture.
One of the team’s primary antagonists, Col. Roderick Decker (Lance LeGault), had his past linked back to the Vietnam War, in which he and Hannibal had come to fisticuffs in “the DOOM Club” (Da Nang Open Officers’ Mess).
At other times, members of the team would refer back to a certain tactic used during the War, which would be relevant to the team’s present predicament. Often, Hannibal would refer to such a tactic, after which the other members of the team would complain about its failure during the War. This was also used to refer to some of Face’s past accomplishments in scamming items for the team, such as in the first season episode “Holiday In The Hills”, in which Murdock fondly remembers Face being able to secure a ’53 Cadillac while in the Vietnam jungle.
The team’s ties to the Vietnam War were referenced again in the fourth season finale, “The Sound of Thunder”, in which the team is introduced to Tia (Tia Carrere), a war orphan and daughter of fourth season antagonist General Fulbright. Returning to Vietnam, Fulbright is shot in the back and gives his last words as he dies.
The 2006 documentary Bring Back The A-Team joked that the scene lasted seven and a half minutes, but his death actually took a little over a minute. His murderer, a Vietnamese colonel, is killed in retaliation. Tia then returns with the team to the United States (see also: casting).
This episode is notable for having one of the show’s few truly serious dramatic moments, with each team member privately reminiscing on their war experiences, intercut with news footage from the war with Barry McGuire’s Eve of Destruction playing in the background.
The show’s ties to the Vietnam War are fully dealt with in the opening arc of the fifth season, dubbed “The Revolution”/”The Court-Martial”, in which the team is finally court-martialed for the robbery of the bank of Hanoi.
The character of Roderick Decker makes a return on the witness stand, and various newly introduced characters from the A-Team’s past also make appearances. The team, after a string of setbacks, decides to plead guilty to the crime and they are sentenced to be executed. They escape this fate and come to work for a General Hunt Stockwell, leading into the remainder of the fifth season.
The A-Team revolves around the four members of a former commando outfit, now mercenaries.
Their leader is Lieutenant Colonel/Colonel John “Hannibal” Smith (George Peppard), whose plans tend to be unorthodox but effective.
Lieutenant Templeton Peck (Dirk Benedict; Tim Dunigan appeared as Templeton Peck in the pilot), usually called “Face” or “Faceman”, is a smooth-talking con man who serves as the team’s appropriator of vehicles and other useful items, as well as the team’s second-in-command.
The team’s pilot is Captain H.M. “Howling Mad” Murdock (Dwight Schultz), who has been declared insane and lives in a Veterans’ Administration mental institution for the show’s first four seasons.
Finally, there is the team’s strong man, mechanic and Sergeant First Class Bosco Albert “B.A.”, or “Bad Attitude”, Baracus (Mr. T).
It is unclear to which U.S. Army unit the four belonged. A patch on Hannibal’s uniform in the season 1 episode “A Nice Place To Visit” indicates they belonged to the 101st Airborne division in Vietnam, but the patch was replaced by the 1st Air Cavalry Division patch in the Season 5 episode “Trial by Fire”. In the Season 1 episode “West Coast Turnaround”, Hannibal stated they were with the 5th Special Forces Group.
Then, in Season 2 episode “Bad Time on the Border”, Hannibal refers to his friends as “ex-Green Berets”. Though the name they have adopted comes from the “A-Teams”, the nickname coined for Special Forces Operational Detachments Alpha, these detachments usually consisted of twelve members; whether the four were considered a “detachment” of their own or had once had eight compatriots who were killed in action was never revealed.
For its first season and the first half of the second season, the team was assisted by reporter Amy Amanda Allen (Melinda Culea).
In the second half of the second season, Allen was replaced by fellow reporter Tawnia Baker (Marla Heasley). The character of Tia (Tia Carrere), a Vietnam war orphan now living in the United States, was meant to join the Team in the fifth season, but she was replaced by Frankie Santana (Eddie Velez), who served as the team’s special effects expert. Velez was added to the opening credits of the fifth season after its second episode.
During their adventures, the A-Team was constantly met by opposition from the Military Police. In the show’s first season, the MPs were led by Colonel Francis Lynch (William Lucking), but he was replaced for the second, third, and earlier fourth season by Colonel Roderick Decker (Lance LeGault) and his aide Captain Crane (Carl Franklin).
Lynch returned for one episode in the show’s third season (“Showdown!”) but was not seen after. Decker was also briefly replaced by a Colonel Briggs (Charles Napier) in the third season for one episode (“Fire!”) when LeGault was unavailable, but returned shortly after. For the latter portion of the show’s fourth season, the team was hunted by General Harlan “Bull” Fulbright (Jack Ging), who would later hire the A-Team to find Tia in the season four finale, during which Fulbright was killed.
The fifth season introduced General Hunt Stockwell (Robert Vaughn) who, while serving as the team’s primary antagonist, was also the team’s boss and joined them on several missions. He was often assisted by Carla (Judith Ledford, sometimes credited as Judy Ledford).
John “Hannibal” Smith: Master of Disguise. His most used disguise (although not onscreen) is Mr. Lee, the dry cleaner. This is one of the final parts of the client screening process, as he tells the client where to go in order to make full contact with the A-Team. He dresses most often in a white safari jacket and black leather gloves. He also is constantly seen smoking a cigar. Hannibal carries either a Browning Hi-Power, Colt M1911A1 or a Smith & Wesson Model 39 as a sidearm, most often “Mexican Carried” although he uses a holster when on missions. His catchphrase is “I love it when a plan comes together”. Often said, usually by B.A., to be “on the jazz” when in the fury of completing a mission.
Templeton “Faceman” Peck: Master of the Persuasive Arts. The team’s scrounger, he can get virtually anything he sets his mind to, usually exploiting women with sympathy-appeal and flirtation. However, he is not without integrity, as stated by Murdock in the episode “Family Reunion”: “He would rip the shirt off his back for you, and then scam one for himself.” Faceman is also the A-Team’s accountant. He dresses suavely, often appearing in suits. Faceman carries a Colt Lawman Mk III revolver for protection, and drives a white Corvette with orange trim.
Bosco Albert “B.A.” (Bad Attitude) Baracus: The muscle for the A-Team, Able to perform amazing feats of strength. He is also the team’s mechanic. B.A. affects a dislike for Murdock, calling him a “crazy fool”, but his true feelings of friendship are revealed when he prevents Murdock from drowning in his desire to live like a fish. B.A. also has a deep fear of flying, and the others usually have to trick and/or knock him out in order to get him on a plane.
It is very rare that B.A is awake while flying, and even rarer for him actually to consent to it. However, he then goes into a catatonic state. B.A generally wears overalls and leopard or tiger print shirts in the early seasons, then later wears a green jumpsuit in the later seasons.
He is almost always seen with about 50 pounds of gold necklaces and rings on every finger, and also wears a weightlifting belt. Baracus’s hair is always styled in a mohawk-like cut. He drives a customized black GMC van, which is the team’s usual mode of transport.
H.M “Howling Mad” Murdock: The A-Team’s pilot, he can fly any kind of aircraft with extreme precision. However, due to a helicopter crash in Vietnam, Murdock apparently went insane. He lives in a Veterans’ Hospital in the mental wing. Whenever the rest of the team requires a pilot, they have to break him out of the hospital, generally using Faceman to do so. In Seasons 1-4, Murdock has a different pet, imaginary friend, or persona in each episode. Whenever one of his pets or imaginary friends is killed by an enemy, Murdock snaps and takes revenge (but never kills).
Many times, when B.A is mad at Murdock for being crazy, Hannibal will side with Murdock in a sympathetic way. Once he is discharged from the hospital in Season 5, Murdock has a different job each episode. Essentially, B.A. and Murdock get on each other’s nerves. Murdock usually wears a leather flight jacket, a baseball cap, and basketball sneakers.
Although the part of Face was written by Frank Lupo and Stephen J. Cannell with Dirk Benedict in mind, NBC insisted that the part should be played by another actor, instead.
Therefore, in the pilot, Face was portrayed by Tim Dunigan, who was later replaced by Dirk Benedict, with the comment that Dunigan was “too tall and too young”.
According to Dunigan: “I look even younger on camera than I am. So it was difficult to accept me as a veteran of the Vietnam War, which ended when I was a sophomore in high school.”
Carrere was intended to join the principal cast of the show in its fifth season after appearing in the season four finale, providing a tie to the team’s inception during the war. Unfortunately for this plan, Carrere was under contract to General Hospital, which prevented her from joining The A-Team. Her character was abruptly dropped as a result.
According to Mr. T’s account in Bring Back… The A-Team in 2006, the role of B. A. Baracus was written specifically for him. This is corroborated by Stephen J. Cannell’s own account of the initial concept proposed by Tartikoff.
James Coburn, who co-starred in The Magnificent Seven, was considered for the role of Hannibal in The A-Team, while George Peppard (Hannibal) was the original consideration for the role of Vin (played by Steve McQueen instead) in The Magnificent Seven.
Robert Vaughn, of course, actually appeared in the film.
According to Dirk Benedict, Robert Vaughn was actually added to the cast in season 5 because of his friendship with the notoriously difficult George Peppard. It was hoped that Vaughn would help ease worsening tensions between Peppard and Mr. T.
L’Agence tous risques (The A-Team) est une série télévisée américaine en 98 épisodes de 45 minutes, créée par Frank Lupo et Stephen J. Cannell, diffusée entre le 23 janvier 19831 et le 8 mars 1987 sur le réseau NBC.
En France, les saisons 1 à 4 ont été diffusées à partir du 1er juillet 1984 sur TF12. Diffusion de la saison 5 inédite du 5 février 19963 au 16 février 19964 sur TF1. Rediffusion intégrale du 6 juillet 20025 au 8 mai 20046 sur M6. Puis en 20037 sur 13e rue, de juin 2010 à août 2013 sur TMC ainsi qu’à partir du 16 décembre 2013 jusqu’en juillet 2014 sur HD1 et depuis le 19 février 2015 sur Paris Première.
Le 16 juin 2010, un film du même nom est commercialisé par 20th Century Fox8.
Pendant la guerre du Viêt Nam, le chef hiérarchique de l’Agence tous risque, le général Morrison, leur a donné l’ordre de voler la banque de Hanoï afin de précipiter la fin de la guerre. La mission est un succès, mais quatre jours après la fin de la guerre, ils retrouvent le général assassiné par les Viet Cong, le quartier général étant entièrement brûlé. Par conséquent, aucune preuve indiquant que l’Agence tous risques agissait sur ordre n’existe. Les membres passent alors devant une cour de justice militaire, celle-ci les condamnant à la prison. Incarcérés aux États-Unis, ils s’évadent rapidement et mènent désormais une vie de mercenaires au service « de la veuve et de l’orphelin », combattant les injustices locales.
George Peppard : colonel John « Hannibal » Smith
Dirk Benedict : lieutenant Peck « Futé » Templeton (VO : « Face ») (à partir de l’épisode 2)
Dwight Schultz : capitaine Henry « Looping » Murdock (VO : « Howling Mad »)
Mister T. : sergent Bosco Albert « Barracuda » Baracus (VO : « B. A. »
Melinda Culea : Amy Amanda « Triple A » Allen (saisons 1 et 2)
Robert Vaughn : général Hunt Stockwell (saison 5)
Eddie Velez : Frankie Santana (saison 5)
Tim Dunigan : lieutenant Templeton « Futé » Peck (VO : « Face ») (épisode pilote uniquement)
L’Agence tous risques a été créée par les producteurs américains Stephen J. Cannell et Frank Lupo à la demande du président du réseau NBC, Brandon Tartikoff.
Stephen J. Cannell a été renvoyé de chez ABC au début des années 1980, après avoir échoué dans sa tentative de produire une émission à succès pour la chaîne. Cannell est engagé à la NBC et son premier projet était de créer L’Agence tous risques.
Brandon Tartikoff considère l’émission comme un mélange de Les Douze Salopards, Mission Impossible, Les Sept Mercenaires, Mad Max et Capitaine Furillo, avec « Mr. T conduisant l’engin. »
L’Agence tous risques n’était, au départ, pas considérée comme une future série à succès, mais Stephen J. Cannell explique que George Peppard était persuadé qu’elle deviendrait un succès « avant même que l’on allume la caméra »13. L’émission se popularise ; le premier épisode, diffusée juste après le Super Bowl XVII le 30 janvier 1983, atteint 26,4 % de l’audience sur la chaîne, le classant ainsi quatrième sur l’Échelle de Nielsen.
Le titre original de la série vient des « Special Forces » (SF, « forces spéciales »), que les américains surnomment A-Teams et populairement connues sous le surnom des « bérets verts » (green berets), qui sont une des forces spéciales de l’US Army.
Spécialisées dans la guerre non conventionnelle, les actions commandos et la formation de troupes alliées, elles ont, depuis leur création au début des années 1950, été engagées dans la plupart des conflits impliquant les États-Unis.
La série s’inscrit dans un contexte particulier aux États-Unis, qui voit apparaître divers avatars de vétérans de la guerre du Viêt Nam, comme le détective privé Thomas Magnum ou le sergent T.J. Hooker.
Rapatriés après la fin officielle de la guerre, en 1975, de très nombreux vétérans américains ont éprouvé de grandes difficultés à se réintégrer dans une société qui ne les reconnaissait plus.
D’une part, les traumatismes physiques et psychologiques des soldats les rendaient extrêmement fragiles, d’autre part, à la frustration patriotique de la population s’est ajouté le rejet de soldats dont l’opinion publique découvrit brusquement les techniques de combat.
En effet, si l’Amérique moyenne soutenait la guerre au début des années 1960, dans un contexte de guerre froide, il en allait tout autrement quinze ans plus tard.
Les milliers de morts et de blessés dans le camp américain ne trouvaient plus aucun sens dans l’opinion publique, tandis que de nombreux journalistes révélaient la nature des combats, opposant des soldats lourdement armés à des combattants mêlés à la population.
Des photos d’enfants brûlés au napalm ont tôt fait de retourner le peuple américain contre une guerre jugée mal préparée, idéologiquement discutée et grande consommatrice d’hommes et d’argent public.
Dans ce contexte d’après-guerre, la société américaine rejette les vétérans du Viêt Nam, une attitude illustrée notamment par la chanson Born in the USA de Bruce Springsteen, le film Rambo ou plus tard le film Né un 4 juillet avec Tom Cruise.
L’Agence tous risques en est une autre illustration, puisque des soldats ayant agi sur ordre de la hiérarchie se retrouvent face à la justice de leur pays, pour un délit qu’ils n’ont commis que dans le cadre de leur fonction.
Évadés, ils seront pourchassés pour ce délit, ne parvenant pas à faire reconnaître par le département de la Défense le contexte dans lequel les faits reprochés ont été commis.
Par ailleurs, d’un point de vue plus strictement formel, la série marque une évolution (ou du moins y participe) dans la structure des personnages. Autrefois seul, tel un Colombo ou une Arabesque, le héros se multiplie, ici par quatre, offrant plus de possibilités d’identification au spectateur.
Chaque personnage est nettement marqué dans ses singularités, l’ensemble formant une équipe hétérogène mais néanmoins soudée, où tous les grands types de caractères se reconnaîtront.
Cette formule d’écriture des séries coexistera néanmoins avec d’autres personnages isolés, tels Magnum ou MacGyver, mais elle continuera de se développer pour atteindre un casting étendu dans des séries comparable à Jump Street, Beverly Hills ou Urgences. Dans ces derniers exemples, il est possible de voir apparaître une nébuleuse de personnages, chacun développant une histoire parallèle ou imbriquée avec celle des autres protagonistes.
De multiples spectateurs peuvent désormais s’identifier à un personnage en particulier, peu importe leur race, sexe, religion ou orientation sexuelle dans certains cas.
Enfin, pour les séries plus récentes, une telle évolution correspond peut-être aussi aux plans de carrière des acteurs, qui profitent des séries pour développer une carrière au cinéma (tels Johnny Depp) ou pas (Jason Priestley).
Dans une telle perspective, les producteurs de la série ne peuvent se permettre d’interrompre une saison à cause du départ du rôle-titre. La multiplication des héros offre une solution à ce problème, puisqu’une série peut se passer d’un personnage dont l’histoire dira qu’il est parti à l’étranger, décédé ou quoi que ce soit qui explique son absence au générique.
Les épisodes sont en général construits sur des schémas très semblables. Le début de l’épisode correspond à la prise de contact entre un client qui est terrorisé par une association de malfaiteurs ou un potentat local.
La manière classique de cette rencontre est que le client entre en contact alors qu’Hannibal Smith est déguisé, afin de vérifier que le client n’est pas en réalité à la solde des militaires.
Dans d’autres cas, l’Agence est en train de rouler et tombe sur quelqu’un qui a besoin d’aide. La plupart du temps, les honoraires pour l’intervention de l’Agence ne sont soit pas demandés, soit pas perçus ou sont récupérés d’une autre manière (en prélevant sur l’argent des malfaiteurs par exemple).
Généralement, Looping n’est pas présent dans l’équipe car il est interné dans un hôpital psychiatrique, et l’Agence utilise en général Futé pour aller le récupérer grâce à divers stratagèmes.
Ou alors il s’évade de lui-même pour aller rejoindre l’Agence. Dans beaucoup d’épisodes, il aime avoir un objet ou un animal qui ne le quitte pas jusqu’à la fin, tel qu’un cafard, un homard, une chaussette, avec lequel il agace généralement Barracuda avec ses facéties.
Ensuite, l’Agence qui doit se rendre sur le lieu des crimes et délits des malfaiteurs emprunte parfois l’avion, ce que Barracuda déteste particulièrement auquel cas ils doivent l’endormir.
Une fois sur les lieux, il y a souvent une annonce d’Hannibal aux malfaiteurs indiquant qu’ils doivent désormais compter avec eux. Cela produit en général une bagarre sans armes que l’Agence gagne facilement, tout en laissant curieusement leurs ennemis s’échapper.
Peut-être dans l’espoir que ces derniers, impressionnés par les membres de l’Agence, abandonnent leurs entreprises malhonnêtes et s’en aillent.
Les antagonistes reviennent et au lieu de tuer les membres de l’Agence, les laissent (souvent, sans même les ligoter et/ou les bâillonner) dans une grange, un garage ou un entrepôt, voire une mine.
Privés de leurs armes, ils ont néanmoins à leur disposition du matériel tel que de l’acétylène, de la poudre, des tôles et des tubes d’acier permettant à Barracuda de bricoler des armes ou de refaire fonctionner un engin (voiture, tracteur…) ce qui leur permet de s’échapper, et d’arriver à arrêter les malfaiteurs.
Dans d’autres cas, Looping arrive à prendre le contrôle d’un hélicoptère, souvent sous le nez de son propriétaire, ce qui permet de constituer un appui aérien non négligeable.
L’arrestation finale des méchants se fait parfois par un combat à mains nues, qui oppose toujours les méchants à l’agence en respectant la hiérarchie (Hannibal contre le chef de l’équipe, Barracuda contre le noir ou le plus costaud des méchants), ou alors au terme d’une des innombrables poursuites homériques de la série, qui permettent à chaque fois d’admirer les talents de pilote de Barracuda au volant de sa camionnette ou d’un bolide étrange bricolé par l’agence.
Ils doivent souvent partir rapidement après l’arrestation des méchants pour échapper aux colonels Lynch ou Decker. Dans tous les cas, il n’y a en général, même avec l’utilisation d’armes de guerres mortelles, pas de personnes qui soient tuées, voire sérieusement blessées.
La plupart du temps, les ennemis sont sonnés, ou très légèrement blessés (une douleur à un membre ou à la tête). Il n’y a eu, en tout et pour tout, que deux morts dans toute la série. Cette série est devenue pour cette raison un genre à part entière dans la télévision, puisque c’est la première série violente à avoir été diffusée aux heures de grande écoute aux États-Unis justement en raison de l’absence, ou presque, de morts.
À ce titre, la série apparaît quelquefois peu crédible, notamment dans l’épisode Tirez sur le Cheik, où l’hélicoptère des méchants s’écrase contre une falaise et que leurs occupants en ressortent indemnes.
L’avant-dernière saison perdant en popularité[réf. nécessaire], le format de la série a été changé pour la dernière saison (1986-1987).
Après avoir échappé pendant des années aux militaires, l’Agence tous risques est finalement arrêtée. Ils ont le choix entre retourner en prison, être exécutés ou être affectés à une agence gouvernementale dirigée par le général Hunt Stockwell qui réalise des missions secrètes. Ils choisissent de travailler avec Stockwell.
Selon le producteur Stephen J. Cannell, la série s’est arrêtée au bout de cinq ans parce qu’elle devenait de plus en plus chère à produire. Qui plus est, les acteurs George Peppard, Dirk Benedict et Mr. T étaient de plus en plus démotivés (ce dernier avait d’ailleurs sa propre série, de 1988 à 1990).
L’Agence tous risques bénéficie de génériques différents à chaque saison, avec une accroche commune : « Il y a dix ans (en 1972), une unité de commando d’élite stationnée au Viêt Nam fut envoyée en prison par un tribunal militaire, pour un crime qu’ils n’avaient pas commis.
Ces hommes s’évadèrent rapidement de leur prison militaire de haute sécurité, se réfugiant dans les bas-fonds de Los Angeles. Aujourd’hui, encore recherchés par le gouvernement, ils fuient encore et toujours devant leurs poursuivants et survivent comme des mercenaires.
Si vous avez un problème, si vous êtes seul, si personne ne peut vous aider, si vous êtes acculé, si la justice ne peut plus rien pour vous, il vous reste un recours, un seul : l’Agence tous risques. »
Plus tard, au cours de la saison 2, l’accroche fut modifiée : « accusés d’un vol qu’ils n’ont pas commis, n’ayant aucun moyen d’en faire la preuve, ils fuient sans cesse devant leurs poursuivants. Pour subsister, ils emploient leurs compétences. Si la loi ne peut plus rien pour vous, il vous reste un recours, un seul : l’Agence tous risques. »
#Share this post..reblog it… Just share to your contacts…
Partagez cet article
dele denne artikel
이 문서를 공유
Episodes typically feature a primary storyline in Storybrooke, as well as a secondary storyline from another point in a character’s life before the curse was enacted.
It borrows elements and characters from Disney films, including Snow White and the Seven Dwarfs, Pinocchio, Alice in Wonderland, Peter Pan, Sleeping Beauty, 101 Dalmatians, The Sword in the Stone, Robin Hood, The Little Mermaid, Beauty and the Beast, Hercules, Mulan, Tangled, Brave, Oz the Great and Powerful, and Frozen.
Once Upon a Time was created by Lost and Tron: Legacy writers Edward Kitsis and Adam Horowitz. The series was renewed for a fifth season in May 2015. A spin-off series, Once Upon a Time in Wonderland, consisting of 13 episodes, premiered on October 10, 2013, and concluded on April 3, 2014.
The series takes place in the fictional seaside town of Storybrooke, Maine, in which the residents are actually characters from various fairy tales and other stories that were transported to the “real world” town and robbed of their original memories by the Evil Queen Regina (Lana Parrilla), using a powerful curse obtained from Rumplestiltskin (Robert Carlyle).
The residents of Storybrooke, where Regina is mayor, have lived an unchanging existence for 28 years, unaware of their own lack of aging.
The town’s only hope lies with a bounty hunter named Emma Swan (Jennifer Morrison), the daughter of Snow White (Ginnifer Goodwin) and Prince Charming (Josh Dallas), who was transported from the Enchanted Forest to our world as an infant before she could be cursed.
As such, she is the only person who can break the curse and restore the characters’ lost memories. She is aided by her son, Henry (Jared S. Gilmore), with whom she has recently reunited after giving him up for adoption upon his birth, and his Once Upon a Time book of fairy tales that holds the key to breaking the curse.
Henry is also the adopted son of Regina, providing a source of both conflict and common interest between the two women.
Episodes usually have one segment that details the characters’ past lives that, when serialized, adds a piece to the puzzle about the characters and their connection to the events that preceded the curse and its consequences.
The other, set in the present day, follows a similar pattern with a different outcome but also offers similar insights.
ARTICLE IN FRENCH
En Belgique, la série est diffusée depuis le 6 août 2012 sur BeTV3 ainsi que depuis le 29 juin 2013 sur RTL-TVI4
En France, depuis le 1er décembre 2012 sur M65 puis à partir du 19 août 2014 sur 6ter6,
En Suisse, depuis le 31 octobre 2013 sur RTS Deux7
Au Québec, depuis le 6 janvier 2014 sur AddikTV8 puis à partir du 1er avril 2015 sur le réseau TVA.
Le jour du mariage de Blanche-Neige et du Prince Charmant, la méchante Reine fait irruption et lance une malédiction.
Tout le monde est inquiet et les jeunes mariés craignent pour leur enfant à venir. Ils décident de consulter Rumplestiltskin / le Ténébreux, un étrange et dangereux personnage.
Ce dernier les informe que l’enfant qu’ils attendent viendra les sauver lors de son 28e anniversaire.
La petite Emma naît et la malédiction se rapproche. Le prince réussit à envoyer sa fille dans un endroit sûr.
Cependant, la Reine arrive et tous sont envoyés dans un monde sans magie, où ils ne se souviennent pas de leur véritable identité.
À Boston, Emma Swan vit une existence solitaire.
Le jour de son 28e anniversaire, Henry, le petit garçon qu’elle a abandonné 10 ans auparavant, lui rend visite.
Elle ne souhaite pas reprendre contact avec son fils, mais accepte de le ramener chez lui. Sur le chemin, Henry lui montre un livre de contes de fées et explique à Emma que toutes les histoires sont réelles et que les personnages qui y figurent habitent en réalité à Storybrooke dans le Maine, la ville où il vit.
Il ajoute aussi qu’elle est la seule à pouvoir vaincre la malédiction qui règne sur la ville, car elle est la fille de Blanche-Neige et du Prince Charmant. Emma découvre qu’Henry a été adopté par Regina Mills, le maire de la ville qui, d’après Henry, est la méchante Reine.
Emma est sceptique, mais décide finalement de rester quelque temps pour s’assurer que son fils va bien. L’horloge de la ville se remet alors en marche, ainsi que le temps jusqu’alors arrêté.
Jennifer Morrison : Emma Swan
Lana Parrilla : Regina Mills / la Méchante Reine
Ginnifer Goodwin : Mary Margaret Blanchard / Blanche-Neige
Josh Dallas : David Nolan / le Prince Charmant
Jared S. Gilmore : Henry Mills
Robert Carlyle : M. Gold / Rumplestiltskin / La Bête / Le Ténébreux / Le Crocodile
Émilie de Ravin : Belle French / Lacey French (invitée saison 1, principale depuis la saison 2)
Colin O’Donoghue : Killian Jones / Capitaine Crochet (principal depuis la saison 2)
Sean Maguire : Robin des Bois (récurrent saisons 3 et 4, principal saison 5)
Rebecca Mader : Zelena, la Méchante Sorcière de l’Ouest (récurrente saisons 3 et 4, principale saison 5)
ALSO ON OUR WEBSITE / AUSSI SUR NOTRE SITE: LANA PARILLA
PERSON OF INTEREST est diffusée en simultané depuis le 22 septembre 2011 sur CBS aux États-Unis et sur Citytv pour les deux premières saisons, puis sur le réseau CTV au Canada.
En Belgique, la série est diffusée depuis le 28 août 2012 sur La Une, chaîne du groupe de la RTBF, au Québec, depuis le 5 septembre 2012 sur le réseau V, en France, depuis le 6 mars 2013 sur TF1 et en Suisse, depuis le 30 juin 2013 sur RTS Un.
La série est aussi rediffusée dans le cadre d’une syndication sur la chaîne du câble américaine WGN America et également sur Netflix États-Unis, depuis l’automne 2015.
Person of Interest est souvent citée comme étant une des meilleures séries diffusées sur une grande chaîne américaine.
Les critiques soulignent entre autres la capacité que la série a à s’améliorer saison après saison, ses personnages très travaillés ou encore son ambiance réaliste d’une Amérique post-11 septembre.
Si la série est parfois désignée comme étant « la meilleure série de science-fiction actuellement diffusée », Person of Interest s’inscrit dans une thématique bien réelle, notamment depuis les révélations d’Edward Snowden sur la surveillance globale mise en place par les États-Unis, et soulève de nombreuses questions quant au respect de la vie privée. Elle a été nommée pour un Primetime Emmy Awards en 201211, 2012, 2013,2014.
John Reese, un ex-agent paramilitaire de la CIA présumé mort, est engagé par le mystérieux milliardaire Harold Finch. Dans le passé, ce dernier a conçu un système de surveillance de masse pour le gouvernement voulant éviter un nouveau 11 septembre. Le système est capable de prédire les actes terroristes dans le monde, en s’appuyant sur de nombreuses données comme les enregistrements des caméras de surveillance et des appels téléphoniques, ou les antécédents judiciaires.
Cependant, la Machine repère aussi les crimes entre citoyens ordinaires considérés comme mineurs par le gouvernement. Les autorités ayant décidé de ne pas tenir compte de ces données, Finch s’est laissé une porte de sortie et reçoit chaque jour les numéros de sécurité sociale des personnes impliquées à New York ou dans ses environs. C’est avec l’aide de Reese qu’il va tenter de retrouver ces « Persons of Interest » (trad. litt. : « Personnes d’intérêt ») et de découvrir si elles ont le rôle de victime ou de coupable dans l’affaire concernée.
Traqués par le lieutenant de police Jocelyn « Joss » Carter, ils sont aidés par un autre lieutenant, anciennement véreux, Lionel Fusco, qui leur fournit des informations et garde un œil sur sa collègue policière. Mais l’arrivée dans New York de deux justiciers va également contrarier plusieurs organisations criminelles.
Jim Caviezel: John Reese
Michael Emerson: Harold Finch
Kevin Chapman: le lieutenant Lionel Fusco
Amy Acker: Samantha « Sam » Groves alias « Root » (invitée saison 1, récurrente saison 2, principale à partir de la saison 3)
Sarah Shahi : Sameen Shaw (récurrente saison 2 , principale à partir de la saison 3)
It is produced by Nolan, alongside J.J. Abrams, Bryan Burk, and Greg Plageman. It stars Jim Caviezel as John Reese, a former CIA agent who is presumed dead.
He is approached by a mysterious billionaire named Harold Finch (Michael Emerson) who is trying to prevent violent crimes before they happen by using an advanced surveillance system dubbed “The Machine”, which turns out to have evolved into a sentient AI.
Their unique brand of vigilante justice attracts the attention of two NYPD officers, Jocelyn “Joss” Carter (Taraji P. Henson) and Lionel Fusco (Kevin Chapman), whom Reese uses to his advantage as he investigates persons of interest.
Reese and Finch are later aided by Samantha “Root” Groves (Amy Acker), a highly intelligent computer hacker and contract killer whom the Machine later identifies as its “analog interface”, and Sameen Shaw (Sarah Shahi), a former ISA assassin who unknowingly dealt with the “relevant” numbers found by the Machine.
From season 3, the series sees the advent of a new rival AI called “Samaritan”, which is brought into existence by Decima Technologies. Much of season 4 is centered on the struggle between the two competing AIs and their human agents.
The series was renewed for a fifth season to debut mid-season during the 2015–16 television season.
The fifth season, which consists of 13 episodes, is expected to premiere in spring 2016.
CBS has yet to announce whether it is the final season or not, although the writers have written it as a final season.
The series has received generally positive reception from critics, including an increase in acclaim when the series introduced more serialized storylines and its exploration of artificial intelligence.
John Reese, a former Green Beret/Delta Force operator and CIA operative, is burnt out and living as a vagrant in New York City after the death of the woman he loved; he is presumed dead.
He is approached by Harold Finch, a reclusive billionaire software genius who is living under an assumed identity.
Finch explains that, after September 11, 2001, he built a computer system for the government that uses information gleaned from omnipresent surveillance to predict future terrorist attacks.
However, Finch discovered that the computer was predicting ordinary crimes as well.
The government is not interested in these results, but Finch is determined to stop the predicted crimes.
He hires Reese to conduct surveillance and intervene as needed, using the repertoire of skills he gained in the military and the CIA.
Through a back door built into the system, Finch receives the Social Security number of someone who will be involved in an imminent crime, at which point he contacts Reese. Without knowing what the crime will be, when it will occur, or even if the person they were alerted to is a victim or perpetrator, Reese and Finch must try to stop the crime from occurring.
They are helped by NYPD Detectives Lionel Fusco, a corrupt officer whom Reese coerces into helping them, and Joss Carter, who in early episodes investigates Reese for his vigilante activities.
Although Reese arranges for Carter and Fusco to be partners in the NYPD early in the series, for the entirety of season one neither is aware that the other is also working with Finch and Reese. Periodically, the team enlists the aid of Zoe Morgan, a professional “fixer” who applies her skills to particularly difficult tasks.
The series features several subplots. One significant story arc involves “HR”, an organization of corrupt NYPD officers who are initially in league with budding mob boss Carl Elias and later with the Russian mafia; in earlier parts of this arc, Fusco is forced to go undercover. Another important story line revolves around Root, a psychopathic hacker who is determined to gain access to The Machine. During season two, another organization of powerful business figures, Decima Technologies, is revealed to be attempting to gain access to the Machine.
Carter vows vengeance against HR after they have her boyfriend, Detective Cal Beecher, murdered. Reese and Finch encounter Sameen Shaw, an ISA assassin, on the run after being betrayed by her employers. Shaw learns about The Machine in the season two finale and subsequently becomes a member of Reese and Finch’s team. In Season three, Carter delves deeper into her investigation of HR, eventually uncovering its leader; but she is killed. In his grief, Reese briefly leaves the team. The team also battles Vigilance, a violent anti-government organization devoted to securing people’s privacy.
During the second half of season 3, Decima Technologies starts to acquire hardware to bring to life a new artificial intelligence called Samaritan, using the codes from Harold’s old college classmate, Arthur Claypool. In the season 3 finale, it is revealed that Vigilance was created by Decima to make them appear as domestic terrorists. This allowed Decima to obtain all the NSA feeds to make Samaritan operational.
The Machine creates new identities for the Team so that they can fly beneath Samaritan’s radar.
The Machine is an artificially intelligent mass surveillance system that is able to accurately predict premeditated violent crime by monitoring and analyzing all surveillance cameras and electronic communications worldwide.
It divides those crimes based on whether they are relevant to national security; those relevant cases are handled by the U.S. government, while the non-relevant cases in New York City are the focus of the show.
Built by Harold Finch following the events of 9/11, it was originally housed in two unoccupied floors of IFT, the company run by Harold and Nathan Ingram (his best friend from college).
When Finch discovered that the Machine was tracking all premeditated crimes (Episode 2, “Ghosts”), he programmed it to delete the personal, non-relevant cases every night at midnight, explaining to Ingram that the Machine is not built “to save somebody, we built it to save everybody.”
When delivered to the government, the finished Machine was installed in a fake nuclear reactor in Washington State.
During season two, it moved itself, piece by piece, to an unknown location or locations, and by the end of season four it is shown to have distributed itself to control boxes on utility poles.
An intense believer in privacy rights, Finch originally programmed the Machine so that it would be a complete black box, able to provide only the Social Security Number of people involved with the crime.
While this meant that the government was not able to use it without regard for privacy, it means that numbers Finch and his associates received could belong to a victim or a perpetrator.
Originally unknown to Finch, however, Nathan Ingram created a routine called “Contingency”, on the eve of the government handover, to access the non-relevant data (shown accessed in the Season 2 episode “Zero Day”). Finch is appalled that Ingram has the data sent directly to him and shuts down the routine, before reactivating it after Ingram’s death. To minimize detectability, The Machine feeds him numbers in coded messages through public telephones.
Within the ISA, the program responsible for The Machine was known as Northern Lights before—after being leaked to the public, Northern Lights was shut down.
The private technology firm Decima Technologies steals some of the Machine’s original code and builds Samaritan, in season three, and replaces Northern Lights in supplying information to the government. Samaritan takes a much more active role in shaping society, and The Machine and its human associates go underground, spending season four under cover.
Much of the series is from the point of view of The Machine, with flashbacks framed as The Machine reviews past tapes in real time.
Over the course of the series, the internal workings of The Machine are shown, including the prediction models and probability trees it uses. In the Machine-generated perspective, individuals are marked by dashed boxes with different colors indicating, for example, what the person’s status is in relation to The Machine and whether they pose a threat. Season four features Samaritan’s point of view, using a different UI—though some episodes jump back and forth between the two UIs.
The Machine in its current iteration started running on January 1, 2002, following 42 failed attempts. During the season 4 episode “Prophets”, a previous generation of The Machine’s source code was shown on screen, which was that of the Stuxnet worm. It generated the first relevant number on February 8, 2005, following three years of training by Finch.
Jim Caviezel: John Reese
Michael Emerson: Harold Finch
Kevin Chapman: Lt Lionel Fusco
Amy Acker: Samantha « Sam » Groves Aka « Root »
Sarah Shahi : Sameen Shaw
The film is an adaptation of the 1959 Broadway musical The Sound of Music, composed by Richard Rodgers with lyrics by Oscar Hammerstein II. The film’s screenplay was written by Ernest Lehman, adapted from the stage musical’s book by Howard Lindsay and Russel Crouse.
Based on the memoir The Story of the Trapp Family Singers by Maria von Trapp, the film is about a young Austrian woman studying to become a nun in Salzburg in 1938 who is sent to the villa of a retired naval officer and widower to be governess to his seven children.
After bringing love and music into the lives of the family through kindness and patience, she marries the officer and together with the children they find a way to survive the loss of their homeland through courage and faith.
The original Rodgers and Hammerstein stage musical score was enhanced by two new songs by Richard Rodgers.
Arranger and conductor Irwin Kostal prerecorded the songs with a large orchestra and singers on a stage prior to the start of filming, and later adapted instrumental underscore passages based on the songs.
Choreographers Marc Breaux and Dee Dee Wood, who had worked with Andrews on Mary Poppins, worked out all new choreography sequences that incorporated many of the Salzburg locations and settings. The Sound of Music was filmed from March 26 through September 1, 1964, with external scenes shot on location in Salzburg, Austria, and the surrounding region, and interior scenes filmed at the 20th Century Fox studios in California.
The movie was photographed in 70 mm Todd-AO by Ted McCord and produced with DeLuxe Color processing and six-track sound recording.
The film was released on March 2, 1965 in the United States, initially as a limited roadshow theatrical release. The critical response to the film was widely mixed, with Bosley Crowther of The New York Times calling it “romantic nonsense and sentiment”, and Philip K. Scheuer of the Los Angeles Times describing it as “three hours of visual and vocal brilliance”.
The film was a major commercial success, becoming the number one box office movie after four weeks, and the highest-grossing film of 1965.
By November 1966, The Sound of Music became the highest-grossing film of all-time—surpassing Gone with the Wind—and held that distinction for five years. The film was just as popular throughout the world, breaking previous box-office records in twenty-nine countries.
Following an initial theatrical release that lasted four and a half years, and two successful re-releases, the film sold 283.3 million admissions worldwide and earned a total worldwide gross of $286,214,076. Adjusted for inflation, the film earned $2.366 billion at 2014 prices—the fifth highest grossing film of all time.
The Sound of Music received five Academy Awards, including Best Picture and Best Director.
The film also received two Golden Globe Awards, for Best Motion Picture and Best Actress, the Directors Guild of America Award for Outstanding Directorial Achievement, and the Writers Guild of America Award for Best Written American Musical.
In 1998, the American Film Institute (AFI) listed The Sound of Music as the fifty-fifth greatest American movie of all time, and the fourth greatest movie musical.
In 2001, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it “culturally, historically, or aesthetically significant”.
Listen to the best music on RS2 : This music is played on RS2 : RADIO SATELLITE2 WEBRADIO
on Internet (Apps, Computors, TV… For the FREE APPS to install ….Details are on our website : here => FOR INSTALLING FREE APPS TO LISTEN ON YOUR SMARTPHONES OR TABLETS
Shortly before his father’s death in a 1973 plane crash, Croce’s family moved west to San Diego, California, where he was raised by his mother, Ingrid Croce.
At the age of four Croce was completely blinded as the result of serious physical abuse by his mother’s boyfriend. Between the ages of four and ten, Croce gradually regained vision in his left eye. It was during this difficult time in Croce’s life that he began to play the piano. “I learned to play music by listening and playing along to the radio and to records…” Croce says, “At some point I was given the music of Ray Charles and Stevie Wonder as inspiration, which it was, and has been ever since.”
Croce’s first paying gig was at the age of 12, when he was paid $20 to perform at a Bar Mitzvah party. By the age of 16, Croce was performing regularly at San Diego nightclubs as a sideman and band leader. Croce reflected, “I was into every kind of music… you might say I was unfocused, but I consider an eclectic taste in music to be the foundation of versatility.” His house burned down when he was age 15.
Croce and his wife Marlo have two children, daughter Camille and son Elijah.
Ron Goldstein and Peter Bauman of Private Music signed Croce to his first recording contract at age 19.
He recorded two albums for Private Music: his self-titled debut, A. J. Croce, produced by T-Bone Burnett and John Simon, and That’s Me in the Bar, produced by Jim Keltner, and featuring artists such as Ry Cooder, David Hidalgo, and Keltner himself. Croce is also the owner/operator of his own record label, Seedling Records.
Croce’s third release, Fit to Serve, was recorded in Memphis, and produced by Jim Gaines, who had previously produced Van Morrison, Santana, and The Steve Miller Band. Croce then took a musical turn with the release of his album Transit. He explained, “I had been playing blues-based music for a long time, and I was ready to try something new.
“Transit was compared by critics to the work of John Lennon, Elvis Costello, Bob Dylan, and Van Morrison. Glen Starkey of New Times labeled Croce “a song crafter of the first order”.
Croce’s next three albums were self-produced. Adrian James Croce (Croce’s only pop-oriented album) was the only independently produced album of 2004 to chart in Top 40 charts in America. In Europe it was on the charts for six months, sitting in between songs by U2 and Coldplay. That same year Adrian James Croce won Best Pop album at the San Diego Music Awards.
His 2006 release Cantos on his own label Seedling Records notably features Ben Harper. In 2009, his album Cage of Muses was released on Seedling Records, garnering a 4-start review from Rolling Stone Magazine.
In 2013, Croce signed with Compass Records and has since released his latest album, Twelve Tales. Croce considers Twelve Tales to be his most ambitious recording project to date. He recorded two songs with each of six legendary producers in five U.S. cities throughout a year long period, at the same time releasing one song per month exclusively on iTunes in 2013.
The full album was released on CD and LP in 2014. The album’s producers are: the late ‘Cowboy’ Jack Clement, famous for his work with Elvis Presley and Johnny Cash; Rock n’ Roll Hall of Famer Allen Toussaint, notable producer of classic New Orleans recordings by artists such as Dr. John and Irma Thomas; Golden Globe-nominated Mitchell Froom, whose work includes Randy Newman and Crowded House; Grammy winning engineer and producer Kevin Killen, who has produced multiple albums by Elvis Costello; Notable A&R executive and record producer Tony Berg whose sessions have included Bob Dylan and Fiona Apple; and Greg Cohen, avant-garde bass player and producer, known for his work with Tom Waits.
Croce co-wrote a few of the songs on Twelve Tales, including one song with legendary songwriter Leon Russell. Croce’s albums have charted on eight radio charts including AAA, Blues, College, Jazz, and Americana.
He has performed as an opening act for artists such as Carlos Santana, Rod Stewart, Aretha Franklin, Dr. John, Lyle Lovett, James Brown, B.B. King, Dave Matthews, Earth, Wind and Fire, Rod Stewart and Ray Charles. Croce has sat in with many notable artists live, including Willie Nelson, Ben Harper, Ry Cooder, the Neville Brothers, Waylon Jennings, and David Hidalgo (Los Lobos). He has also performed on national television, on shows including The Tonight Show with Jay Leno, Late Show with David Letterman, Late Night with Conan O’Brien, The Today Show, Good Morning America, MTV, CNN, and Austin City Limits.
In 2015 Croce’s performance on the show “Music City Roots” began airing nationwide on PBS, including in Los Angeles and Nashville. It will air on 85 stations across the country 2015. It was announced that later this year Compass Records will release a re-issue of Croce’s highly regarded sophomore album, “That’s Me In the Bar” for its 20th anniversary. All of Croce’s 2015 concerts will feature a set from that album.
J. Croce (1993)
Fit to Serve (1998)
Adrian James Croce (2004)
Early On – The American Recordings 1993–1998 (2005)
Cage of Muses (2009)
Twelve Tales (2014)
Her sound is solid; without a lot of vocal gymnastics in the Jazz Standards she covers. She inhabits the songs and makes them her own – feeling happiness, anger, joy, sorrow, love and hate. She draws listeners in and allows them to relate to these songs all over again. Dena was named “Best Female Jazz Artist of the Year” by Indie Music Channel in 2014. Her album “The Nearness of You” showcases her vocal talents and reminds us that even though she is a “seasoned” artist singing Standards, these songs don’t lose their ability to move and touch the audience just because they may have fallen out of vogue.
Dena is so full of passion for these songs that her jovial attitude can’t help but be contagious. An engaging personality, Dena wants to share her love of Jazz Standards and the American Songbook with her audience. She has honed her craft over the years – spending 12 years abroad serving her country in the US military and, whenever possible, performing with touring USO shows. Then, upon her return, Dena settled in Florida where she took to the stage as a member of the prestigious Cocoa Village Playhouse “Gold Star” company. She also began to reestablish her solo career and released her cd “Round Midnight” in 2008. With a voice that contains a bit of a knowing edge reminiscent of Gladys Knight in her prime, Dena became a “go to” vocalist for national Jazz and Blues groups touring in Florida.
After relocating to Austin, TX, Dena continued her collaboration with some of the best musicians in the jazz and blues genres including GRAMMY® Award Winners guitarist Redd Volkaert and keyboardist Floyd Domino and Gold Record drummer Ernie Durawa. Volkaert and Durawa both worked on her second album, “Certitude” in 2010. One of the tracks from this effort, “Song for My Father,” was rewarded with an IAIRA Certification of “International Top 100 Hit” shortly after its release.The team worked so well together that Dena chose to work with them for her next record in 2014, “The Nearness of You.” She was subsequently named one of the Top Five Vocalists in the SingersUniverse ” Best Vocalist Of The Month” Competition, in addition to the aforementioned IMC 2014 Best Female Jazz Artist of the Year Award.
CLICK , WATCH LISTEN and ENJOY :
The path to success hasn’t been an easy one for Dena. In 1999 she suffered a horrific car crash, resulting in a traumatic brain injury. The damage was so severe that it took Dena two years to learn to speak and walk again. She persevered through that and a battle with breast cancer to come out on the other side with an outlook on life that allows her to pursue her music with even more zeal. Learning not to be paralyzed by the fear of what “might happen” has kept Dena moving forward and gives her vocals a ripened maturity that just isn’t found in the pop stars of today.
And, in advance of some serious surgery on her throat, Dena joined forces with Austin powerhouse friends to take a musical walk from her beginnings in country and ending where she most happily lives and that is tucked inside the American Songbook. No last minute throw-together, “You’ve Changed” (scheduled release is January 2016) is a carefully thought out project and, whether it’s the last music she records or not .. it will certainly be one of her best.
In a pre-release review, Bree Noble (CEO of Women of Substance Radio) said, “With the opening notes of “You’ve Changed,” it’s clear that what has changed is that Dena Taylor has confidently taken the reins of her music career and is making bold, risky decisions that are paying off.”
While she was initially going to keep her most recent health challenge to herself, she decided to share the journey to her “new” normal through a blog in the hopes that it will encourage others!
Dena continues to share her musical gifts and donates her time to various charities that are close to her heart including her own charity, The Lullaby Project. This charity is supported by the beautiful album, Lullabies, recorded and released in 2015.
Website: DENA TAYLOR
BLOG VOYAGE D'UNE EXPATRIEE EN ASIE
Voyage à durée indéterminé
Online Marketing with Marc Gray!
news, tips , tricks , advices
news from around
ou les tribulations d'Agathe Balboa de Kwacha
My experiences in Italy and the world
Just another WordPress.com site
Le ciné-journal du Dr. Gonzo et Mr. Haydenncia
J'ai, sur le bout de la langue ...
Claire Bou Nassif Chahine (كبنش)
Education aux médias et à l'information : animations enseignement catholique du Finistère