CARY GRANT : On PARAMOUNT CHANNEL


PARAMOUNT CHANNEL : CARY GRANT

Image

 

 

 

Wikipedia sources:聽

Cary Grant聽(born聽Archibald Alexander Leach; January 18, 1904 鈥 November 29, 1986) was an English stage and Hollywood film actor who became an American citizen in 1942. Known for his聽transatlantic accent, debonair demeanor and “dashing good looks”, Grant is considered one of聽classic Hollywood‘s definitive聽leading men.

Image

Notorious聽(1946),聽The Bishop’s Wife聽(1947),聽To Catch a Thief聽(1955),聽An Affair to Remember聽(1957),聽North by Northwest聽(1959), and聽Charade聽(1963).

Nominated twice for the聽Academy Award for Best Actor聽(Penny Serenade聽and聽None But the Lonely Heart) and five times for a聽Golden Globe Award for Best Actor, Grant was continually passed over. In 1970, he was presented an聽Honorary Oscar聽at the聽42nd Academy Awards聽by聽Frank Sinatra聽“for his unique mastery of the art of screen acting with the respect and affection of his colleagues

Early life and career

Archibald Alexander Leach was born at 15 Hughenden Road,聽Horfield,聽Bristol,聽England, to Elsie Maria (n茅e Kingdon) Leach (1877鈥1973) and Elias James Leach (1873鈥1935).聽An only child, Leach had an unhappy upbringing, attending聽Bishop Road Primary School.

Image

CARY GRANT WITH AUDREY HEPBURN

His mother had suffered from聽clinical depression聽since the death of a previous child. Her husband placed her in a聽mental institution聽and told his 9-year-old son only that she had gone away on a “long holiday”. Believing she was dead, Leach did not learn otherwise until he was 31 and discovered her alive in a care facility.聽聽When Leach was 10, his father abandoned him after remarrying and having a baby with his new young wife.聽

Leach was expelled from the聽Fairfield Grammar School聽in Bristol in 1918. After joining the “Bob Pender Stage Troupe”, Leach performed as a聽stilt walker聽and traveled with the group to the United States in 1920 at the age of 16 on the聽RMS聽Olympic, on a two-year tour of the country. He was processed at聽Ellis Island聽on July 28, 1920.

When the troupe returned to the UK, he decided to stay in the U.S. and continue his stage career. During this time, he became a part of thevaudeville聽world and toured with Parker, Rand, and Leach.

Image

Still using his birth name, he performed on the stage at聽The Muny聽in聽St. Louis,Missouri, in such shows as聽Irene聽(1931),聽Music in May聽(1931),聽Nina Rosa聽(1931),聽Rio Rita聽(1931),聽Street Singer聽(1931),聽The Three Musketeers聽(1931), and聽Wonderful Night聽(1931). Leach’s experience on stage as a stilt walker, acrobat, juggler, and聽mime聽taught him “phenomenal physical grace and exquisite comic timing” and the value of teamwork, skills which would benefit him in Hollywood.

Leach became a naturalized United States citizen on June 26, 1942, at which time he also legally changed his name from “Archibald Alexander Leach” to “Cary Grant”.

After appearing in several musicals on聽Broadway聽under the name Archie Leach,聽Leach went to Hollywood in 1931.聽聽When told to change his name, he proposed “Cary Lockwood”, the name of the character he had played in the Broadway show聽Nikki, based upon the recent film聽The Last Flight.

Image

He signed with聽Paramount Pictures, where studio bosses decided that the name “Cary” was acceptable but that “Lockwood” was too similar to another actor’s surname. Paramount gave their new actor a list of surnames to choose from, and he selected “Grant” because the initials C and G had already proved lucky for聽Clark Gable聽and聽Gary Cooper, two of Hollywood’s biggest film stars.

Grant appeared as a leading man opposite聽Marlene Dietrich聽in聽Blonde Venus聽(1932), and his stardom was given a further boost by聽Mae Westwhen she chose him for her leading man in two of her most successful films,聽She Done Him Wrong聽and聽I’m No Angel聽(both 1933).聽聽

I’m No Angel聽was a tremendous financial success and, along with聽She Done Him Wrong, which was nominated for an聽Academy Award for Best Picture, saved Paramount from bankruptcy. Paramount put Grant in a series of unsuccessful films until 1936, when he signed with聽Columbia Pictures. His first major comedy hit was when he was loaned to聽Hal Roach‘s studio for the 1937聽Topper聽(which was distributed by聽MGM).

The Awful Truth聽(1937) was a pivotal film in Grant’s career, establishing for him a screen persona as a sophisticated light comedy leading man. As Grant later wrote, “I pretended to be somebody I wanted to be and I finally became that person. Or he became me. Or we met at some point.”聽聽Grant is said to have based his characterization in聽The Awful Truth聽on the mannerisms and intonations of the film’s director,聽Leo McCarey, whom he resembled physically. As writer/director聽Peter Bogdanovich聽noted, “After聽The Awful Truth, when it came to light comedy, there was Cary Grant and then everyone else was an also-ran.”

Image

CARY GRANT and GRACE KELLY

The Awful Truth聽began what聽The Atlantic聽later called “the most spectacular run ever for an actor in American pictures”. 聽聽During the next four years, Grant appeared in several classic聽romantic comedies聽and聽screwball comedies, including聽Holiday聽(1938) and聽Bringing Up Baby聽(1938), both opposite聽Katharine Hepburn;聽The Philadelphia Story聽(1940) with Hepburn and聽James Stewart;聽His Girl Friday聽(1940) with聽Rosalind Russell; and聽My Favorite Wife聽(1940), which reunited him with聽Irene Dunne, his co-star in聽The Awful Truth. During this time, he also made the adventure films聽Gunga Din聽(1939) with聽Douglas Fairbanks, Jr.聽and聽Only Angels Have Wings聽(1939) with聽Jean Arthur聽and聽Rita Hayworth聽and dramas聽Penny Serenade聽(1941), also with Dunne, and聽Suspicion聽(1941), the first of Grant’s four collaborations with聽Alfred Hitchcock.

Grant remained one of Hollywood’s top box-office attractions for almost 30 years.聽聽Howard Hawks聽said that Grant was “so far the best that there isn’t anybody to be compared to him”.[15]David Thomson聽called him “the best and most important actor in the聽history of the cinema“.

Grant was a favorite of Hitchcock, who called him “the only actor I ever loved in my whole life”. 聽

Image

Besides聽Suspicion, Grant appeared in the Hitchcock classics聽Notorious聽(1946),聽To Catch a Thief(1955), and聽North by Northwest聽(1959). Biographer Patrick McGilligan wrote that in 1965 Hitchcock asked Grant to star in聽Torn Curtain聽(1966) only to learn that Grant had decided to retire after making one more film,聽Walk, Don’t Run聽(1966);聽

Paul Newman聽was cast instead, oppositeJulie Andrews. 聽聽Producers Broccoli and Saltzman originally sought Cary Grant for the role of聽James Bond聽in聽Dr. No聽but discarded the idea as Grant would be committed to only one feature film and the producers decided to go after someone who could be part of a franchise.

In the mid-1950s, Grant formed his own production company, Granart Productions, and produced a number of films distributed by聽Universal, such as聽Operation Petticoat聽(1959),聽Indiscreet聽(1958),That Touch of Mink聽(co-starring with聽Doris Day, 1962), and聽Father Goose聽(1964). In 1963, he appeared opposite聽Audrey Hepburn聽in聽Charade. His last feature film was聽Walk, Don’t Run聽three years later, with聽Samantha Eggar聽and聽Jim Hutton.

Grant was the first actor to “go independent” by not renewing his studio contract, effectively leaving the聽studio system,聽聽which almost completely controlled what an actor could or could not do. In this way, Grant was able to control every aspect of his career, at the risk of not working because no particular studio had an interest in his career long term.

He decided which films he was going to appear in, often had personal choice of directors and co-stars, and at times even negotiated a share of the gross revenue, something uncommon at the time. Grant received more than $700,000 for his 10% of the gross for聽To Catch a Thief聽while Hitchcock received less than $50,000 for directing and producing it.

Image

Grant was nominated for two聽Academy Awards, for聽Penny Serenade聽(1941) and聽None But the Lonely Heart聽(1944), but never won a competitive Oscar; he received a special聽Academy Award for Lifetime Achievement聽in 1970. Accepting the聽Best Original Screenplay聽Oscar in 1965,聽Father Goose聽co-writer Peter Stone had quipped, “My thanks to Cary Grant, who keeps winning these things for other people.” In 1981, Grant was accorded the聽Kennedy Center Honors.

Grant poked fun at himself with statements such as “Everyone wants to be Cary Grant鈥攅ven I want to be Cary Grant”,聽and in ad-lib lines鈥攕uch as in the film聽His Girl Friday, saying, “I never had so much fun since Archie Leach died”. In聽Arsenic and Old Lace聽(1944), a gravestone is seen bearing the name Archie Leach. According to a famous story now believed to be apocryphal, after seeing a聽telegram聽from a magazine editor to his agent asking “How old Cary Grant?” Grant reportedly responded with “Old Cary Grant fine. How you?

Cary Grant retired from the screen at 62 when his daughter Jennifer was born, in order to focus on bringing her up and to provide a sense of permanency and stability in her life.

While bringing up his daughter, he archived artifacts of her childhood and adolescence in a bank-quality room-sized vault he had installed in the house.

His daughter attributed this meticulous collection to the fact that artifacts of his own childhood had been destroyed during the聽Luftwaffe’s bombing of Bristol聽in the聽Second World War聽(an event that also claimed the lives of his uncle, aunt, and cousin as well as the cousin’s husband and grandson), and he may have wanted to prevent her from experiencing a similar loss.

Although Grant had retired from the screen, he remained active.

CARY GRANT - MARTIN LANDAU

CARY GRANT – MARTIN LANDAU

In the late 1960s, he accepted a position on the board of directors at聽Faberg茅. By all accounts this position was not honorary, as some had assumed; Grant regularly attended meetings and his mere appearance at a product launch would almost certainly guarantee its success. The position also permitted use of a private plane, which Grant could use to fly to see his daughter wherever her mother,聽Dyan Cannon, was working.

Image

He later joined the boards of聽Hollywood Park, the Academy of Magical Arts (The Magic Castle, Hollywood, California), Western Airlines (now聽Delta Air Lines), andMGM.

He was a keen motoring enthusiast and, like many other Hollywood stars of the era, owned many notable cars. One of the first he owned was a 1929 Cadillac Cabriolet. His love of Cadillacs never waned and he later purchased a聽Cadillac Eldorado Biarritz. Other cars that he owned included an聽MG Magnette聽and a聽Sunbeam Alpine聽series one roadster.

In the last few years of his life, Grant undertook tours of the United States in a one-man show,聽A Conversation with Cary Grant, in which he would show clips from his films and answer audience questions. Grant was preparing for a performance at the聽Adler Theatre聽in聽Davenport,聽Iowa, on the afternoon of November 29, 1986, when he sustained a聽cerebral hemorrhage聽(he had previously suffered a stroke in October 1984). His wife did not know what was going on and she went to a local pharmacy to get aspirin. He died at 11:22聽p.m.聽聽in聽St. Luke’s Hospital聽at the age of 82.

The bulk of his estate, worth millions of dollars, went to his fifth wife, Barbara Harris, and his daughter, Jennifer Grant

In 2001, a statue of Grant was erected in Millennium Square, a regenerated area next to聽Bristol Harbour聽in his city of birth, Bristol.

In November 2005, Grant came in first in the “The 50 Greatest Movie Stars of All Time” list by聽Premiere聽magazine. 聽Richard Schickel, the film critic, said about Grant: “He’s the best star actor there ever was in the movies.

Image

CARY GRANT – ROGER MOORE

Filmography[edit]

Year Film Role Notes
1932 This Is the Night Stephen With聽Lili Damita,聽Charles Ruggles, and聽Thelma Todd
Sinners in the Sun Ridgeway With聽Carole Lombard聽and聽Chester Morris
Singapore Sue First Sailor Musical Comedyshort subject
Merrily We Go to Hell Charlie Baxter UK title:聽Merrily We Go to _____With聽Sylvia Sidney聽and聽Fredric March
Devil and the Deep Lieutenant Jaeckel With聽Tallulah Bankhead聽and聽Gary Cooper
Blonde Venus Nick Townsend With聽Marlene Dietrich
Hot Saturday Romer Sheffield With聽Nancy Carroll聽and聽Edward Woods
Madame Butterfly Lieutenant B.F. Pinkerton With聽Sylvia Sidney聽and聽Charles Ruggles
1933 She Done Him Wrong Capt. Cummings With聽Mae West聽and聽Noah Beery, Sr.
The Woman Accused Jeffrey Baxter With聽Nancy Carroll
The Eagle and the Hawk Henry Crocker With聽Fredric March聽and聽Carole Lombard
Gambling Ship Ace Corbin With聽Jack La Rue聽and聽Glenda Farrell
I’m No Angel Jack Clayton With聽Mae West
Alice in Wonderland The Mock Turtle With聽W. C. Fields聽and聽Gary Cooper
1934 Thirty-Day Princess Porter Madison III With聽Sylvia Sidney聽and聽Edward Arnold
Born to Be Bad Malcolm Trevor With聽Loretta Young(Heavily censored by the聽Hayes Office)
Kiss and Make-Up Dr. Maurice Lamar With聽Helen Mack聽and the聽WAMPAS Baby Stars聽of 1934
Ladies Should Listen Julian De Lussac With聽Frances Drake聽and聽Edward Everett Horton
1935 Enter Madame Gerald Fitzgerald With top-billed聽Elissa Landi
Wings in the Dark Ken Gordon With top-billed聽Myrna Loy
The Last Outpost Michael Andrews With聽Claude Rains
Sylvia Scarlett Jimmy Monkley Directed by聽George CukorWith聽Katharine Hepburn
1936 Big Brown Eyes Det. Sgt. Danny Barr With聽Joan Bennett聽and聽Walter Pidgeon
Suzy Andre With聽Jean Harlow聽and聽Franchot Tone
The Amazing Quest of Ernest Bliss Ernest Bliss US title:聽Romance and RichesAlt title:聽The Amazing Adventure
Wedding Present Charlie With聽Joan Bennett
1937 When You’re in Love Jimmy Hudson UK title:聽For You AloneWith聽Grace Moore
Topper George Kerby With聽Constance Bennett
The Toast of New York Nicholas “Nick” Boyd With聽Edward Arnold聽and聽Jack Oakie
The Awful Truth Jerry Warriner Directed by聽Leo McCarey
With聽Irene Dunne聽and聽Ralph Bellamy
Introduced the “Cary Grant persona”
1938 Bringing up Baby Dr. David Huxley Directed by聽Howard Hawks
With聽Katharine Hepburn聽and聽Charles Ruggles
Holiday John “Johnny” Case Directed by George Cukor
With聽Katharine Hepburn
UK title:聽Free to Live
1939 Gunga Din Sgt. Archibald Cutter Directed by聽George Stevens
With聽Victor McLaglen聽and聽Douglas Fairbanks, Jr.
Only Angels Have Wings Geoff Carter Directed by聽Howard Hawks
With聽Jean Arthur,聽Thomas Mitchell聽and聽Rita Hayworth
In Name Only Alec Walker With聽Carole Lombard聽and聽Charles Coburn
1940 His Girl Friday Walter Burns Directed by聽Howard Hawks
Remake of聽The Front Page
With聽Rosalind Russell聽and聽Ralph Bellamy
My Favorite Wife Nick Co-written by聽Leo McCarey
Directed by聽Garson Kanin
With聽Irene Dunne聽and聽Gail Patrick
The Howards of Virginia Matt Howard UK title:聽The Tree of Liberty
With聽Martha Scott
The Philadelphia Story C.K. Dexter Haven With聽Katharine Hepburn聽and聽James Stewart
1941 Penny Serenade Roger Adams Nominated鈥Academy Award for Best Actor
Directed by聽George Stevens
With聽Irene Dunne聽and聽Edgar Buchanan
Suspicion Johnnie Directed by聽Alfred Hitchcock
With聽Joan Fontaine
1942 The Talk of the Town Leopold Dilg聽aka聽Joseph With聽Ronald Colman聽and聽Jean Arthur
Once Upon a Honeymoon Patrick “Pat” O’Toole Directed by聽Leo McCarey
With聽Ginger Rogers
1943 Mr. Lucky Joe Adams/Joe Bascopolous With聽Laraine Day聽and聽Charles Bickford
Destination Tokyo Capt. Cassidy With聽John Garfield聽and聽Dane Clark
1944 Once Upon a Time Jerry Flynn With聽Janet Blair
Arsenic and Old Lace Mortimer Brewster With聽Priscilla Lane聽and聽Peter Lorre
None But the Lonely Heart Ernie Mott Nominated鈥Academy Award for Best ActorWritten and directed by聽Clifford Odets
With聽Ethel Barrymore
1946 Without Reservations Himself (cameo) With聽Claudette Colbert聽and聽John Wayne
Night and Day Cole Porter Directed by聽Michael Curtiz
Notorious T.R. Devlin Directed by Alfred Hitchcock
With聽Ingrid Bergman聽and聽Claude Rains
1947 The Bachelor and the Bobby-Soxer Dick UK title:聽Bachelor KnightWith聽Myrna Loy聽and聽Shirley Temple
The Bishop’s Wife Dudley With聽Loretta Young聽and聽David Niven
1948 Mr. Blandings Builds His Dream House Jim Blandings With聽Myrna Loy聽and聽Melvyn Douglas
Every Girl Should Be Married Dr. Madison W. Brown With聽Betsy Drake
1949 I Was a Male War Bride Capt. Henri Rochard UK title:聽You Can’t Sleep Here
With聽Ann Sheridan
1950 Crisis Dr. Eugene Norland Ferguson With聽Jose Ferrer
1951 People Will Talk Dr. Noah Praetorius With聽Jeanne Crain
1952 Room for One More George “Poppy” Rose With聽Betsy Drake
Monkey Business Dr. Barnaby Fulton Directed by聽Howard Hawks
With聽Ginger Rogers聽and聽Marilyn Monroe
1953 Dream Wife Clemson Reade With聽Deborah Kerr聽and聽Walter Pidgeon
1955 To Catch a Thief John Robie Directed by聽Alfred Hitchcock
With聽Grace Kelly
1957 The Pride and the Passion Anthony With聽Frank Sinatra聽and聽Sophia Loren
An Affair to Remember Nickie Ferrante A same-script remake of聽Love Affair (1939 film), both directed by聽Leo McCareyWith聽Deborah Kerr
Kiss Them for Me Cmdr. Andy Crewson Directed by聽Stanley Donen
With聽Jayne Mansfield聽and聽Suzy Parker
1958 Indiscreet Philip Adams Nominated鈥Golden Globe Award for Best Actor 鈥 Motion Picture Musical or Comedy
Directed by聽Stanley Donen
With聽Ingrid Bergman
Houseboat Tom Winters With聽Sophia Loren
1959 North by Northwest Roger O. Thornhill Directed by Alfred HitchcockWith聽Eva Marie Saint,聽James Mason聽and聽Martin Landau
Famous scene of Grant being chased by a聽biplane
Operation Petticoat Lt. Cmdr. Matt T. Sherman Nominated鈥Golden Globe Award for Best Actor 鈥 Motion Picture Musical or Comedy
With聽Dina Merrill聽and聽Arthur O’Connell
1960 The Grass Is Greener Victor Rhyall, Earl Nominated鈥Golden Globe Award for Best Actor 鈥 Motion Picture Musical or ComedyDirected by聽Stanley Donen
With聽Deborah Kerr,聽Robert Mitchum聽and聽Jean Simmons
1962 That Touch of Mink Philip Shayne Nominated鈥Golden Globe Award for Best Actor 鈥 Motion Picture Musical or Comedy
Directed by聽Delbert Mann
With聽Doris Day聽and聽Gig Young
1963 Charade Peter Joshua / Alexander Dyle / Adam Canfield / Brian Cruikshank Nominated鈥BAFTA Award for Best Foreign Actor
Nominated鈥Golden Globe Award for Best Actor 鈥 Motion Picture Musical or Comedy
Directed by聽Stanley Donen
With聽Audrey Hepburn,聽Walter Matthau聽and聽James Coburn
1964 Father Goose Walter Christopher Eckland Directed by聽Ralph Nelson
With聽Leslie Caron聽and聽Trevor Howard
1966 Walk, Don’t Run Sir William Rutland With聽Samantha EggarRemake聽of聽The More the Merrier

聽CARY GRANT : Here also another article

A lire aussi ( A french article)

http://www.radiosatellite2.com/archives/2014/07/06/30199855.html

 

GOOGLE SEARCH OF FUTURE

ERIC CLAPTON

Single Or Married

AMERICAN GRAFFITI


American Graffiti is a 1973 American coming-of-age comedy-drama film directed and co-written by George Lucas starring Richard Dreyfuss, Ron Howard, Paul Le Mat, Harrison Ford, Charles Martin Smith, Cindy Williams, Candy Clark, Mackenzie Phillips, Bo Hopkins, and Wolfman Jack. Suzanne Somers and Joe Spano also appear in the film.

 

Set in Modesto, California in 1962, the film is a study of the cruising and rock and roll cultures popular among the post鈥揥orld War II baby boom generation. The film is told in a series of vignettes, telling the story of a group of teenagers and their adventures over a single night.

The genesis of American Graffiti was in Lucas‘ own teenage years in early 1960s Modesto. He was unsuccessful in pitching the concept to financiers and distributors but found favor at Universal Pictures after United Artists, 20th Century Fox, Columbia Pictures, Metro-Goldwyn-Mayer, Warner Bros., and Paramount Pictures turned him down. Filming was initially set to take place in San Rafael, California, but the production crew was denied permission to shoot beyond a second day.

 

American Graffiti premiered on August 2, 1973 at the Locarno International Film Festival in Switzerland and was released on August 11, 1973 in the United States. The film received widespread critical acclaim and was nominated for the Academy Award for Best Picture. Produced on a $777,000 budget, it has become one of the most profitable films of all time. Since its initial release, American Graffiti has garnered an estimated return of well over $200 million in box office gross and home video sales, not including merchandising. In 1995, the United States Library of Congress deemed the film “culturally, historically, or aesthetically significant” and selected it for preservation in the National Film Registry.

 

In early September 1962 in Modesto, California, on the last evening of summer vacation, recent high school graduates and longtime friends, Curt Henderson and Steve Bolander, meet John Milner, the drag-racing king of the town, and Terry “The Toad” Fields in the parking lot of the local Mel’s Drive-In diner. Curt and Steve are scheduled to travel the next morning to Northeastern United States to start college. Despite receiving a $2,000 scholarship from the local Moose Lodge, Curt has second thoughts about leaving Modesto. Steve gives Toad his 1958 Chevrolet Impala to watch while he’s away at college until he returns at Christmas. Steve’s girlfriend, Laurie, who is also Curt’s sister, arrives in her car. Steve suggests to Laurie, who is already glum about him going to college, that they see other people while he is away in order to “strengthen” their relationship. Though not openly upset, she is displeased with his proposal which affects their interactions the rest of the evening.

 

Curt accompanies Steve, last year’s high school student class president, and Laurie, the current head cheerleader, to the back-to-high-school sock hop. In one story line, Curt is desperate to find a beautiful blonde girl driving a white 1956 Ford Thunderbird that he sees en route to the dance: at a stoplight, she appears to say “I love you” before disappearing around the corner. After leaving the hop, Curt is coerced by a group of greasers (“The Pharaohs”) to participate in an initiation rite that involves hooking a chain to a police car and ripping out its back axle. The Pharaohs tell Curt that “The Blonde” is a trophy wife or prostitute, but he refuses to believe either.

Determined to get a message to the blonde girl, Curt drives to the local radio station to ask DJ Wolfman Jack, who is omnipresent on the car radios, to announce a message for the blonde girl. Inside the radio station, Curt encounters a bearded man who tells him that the voice of The Wolfman is pre-taped from afar.

The man still accepts the message from Curt to see what he could do. As he is leaving the station, Curt sees the man talking into the microphone and hears the voice of The Wolfman, and realizes the man is the actual DJ himself.

 

Sure enough, The Wolfman eventually reads the message on the radio for “The Blonde” to meet Curt or call him at a number which happens to be a telephone booth. Curt waits by the telephone booth and early the next morning, he is awakened by the phone ringing. It turns out to be “The Blonde” who says she knows him and maybe she would see him cruising the coming night. Curt replies probably not, intimating that he decided to go to college and will be leaving that morning.

The Toad, in Steve’s car, and John, in his yellow 1932 Ford Deuce Coup茅 hot rod, cruise the strip of Modesto. Toad, who is normally socially inept with girls, successfully picks up a flirtatious, and somewhat rebellious, girl named Debbie. John inadvertently picks up Carol, an annoying 12-year-old who seems fond of him. Another drag racer, the handsome and arrogant Bob Falfa, is searching out John in order to challenge him to a race.

Steve and Laurie have a series of arguments and make-ups through the evening. They finally split and, as the story lines intertwine, Bob Falfa picks up Laurie in his black 1955 Chevrolet One-Fifty Coup茅. Bob finally finds John and goads him into racing. A parade of cars follow them to “Paradise Road” to watch the race. Laurie rides shotgun with Bob as Toad starts the race. As Bob begins taking a lead in the race, he loses control of the car when a front tire blows, and the car plunges into a ditch and rolls over. Steve and John leap out of their cars and rush to the wreck as a dazed Bob and Laurie stagger out of the car before it explodes. Distraught, Laurie grips Steve tightly and begs him not to leave her. He assures her that he will stay in Modesto.

At the airfield in the morning, Curt says goodbye to his parents, his sister Laurie, Steve, John and The Toad. As the plane takes off, Curt, gazing out of the window, sees the white Ford Thunderbird belonging to the mysterious blonde driving down a country road.

An on-screen epilogue reveals that

John is killed by a drunk driver in December 1964,

Toad is reported missing in action near An L峄檆 in December 1965,

Steve is an insurance agent in Modesto, California,

and

Curt is a writer living in Canada.

 

Richard Dreyfuss as Curt Henderson

Ron Howard as Steve Bolander

Paul Le Mat as John Milner

Charles Martin Smith as Terry “The Toad” Fields

Cindy Williams as Laurie Henderson

Candy Clark as Debbie Dunham

Mackenzie Phillips as Carol Morrison

Wolfman Jack as himself

Bo Hopkins as Joe Young

Manuel Padilla, Jr. as Carlos

Harrison Ford as Bob Falfa

Lynne Marie Stewart as Bobbie Tucker

Terry McGovern as Mr. Wolfe

Kathleen Quinlan as Peg

Scott Beach as Mr. Gordon

Susan Richardson as Judy

Kay Lenz as Jane

Joe Spano as Vic

Debralee Scott as Falfa’s Girl

Suzanne Somers as “The Blonde” in T-Bird

American Graffiti

 

This slideshow requires JavaScript.

Sources : Wikipedia / YouTube/Pinterest/Google/Tumblr/various

Befikre : great Indian movie


Befikre (English: Carefree) is a 2016 Indian Hindi-language romantic drama film written, directed, and produced by Aditya Chopra under his Yash Raj Films banner.

 

befikre

It features Ranveer Singh and Vaani Kapoor in the lead roles. 聽The film was shot over a period of 50 days in Paris and Mumbai. 聽It released worldwide on 9 December 2016.

 

The film’s songs has been composed by Vishal-Shekhar and produced by Mikey McCleary. Mikey McCleary also composed the background score of the movie.

Befikre is a story that celebrates being carefree in love. A quintessential Delhi boy Dharam (Ranveer Singh) comes to Paris for work in search of an adventure.

Just when he was about to embark on this journey of his life he bumps into a wild, free spirited, French born Indian girl Shyra (Vaani Kapoor).

A feisty romance ensues between the two in which both of their personalities- one being an equal match for the other are tested to the limit. Battling their ups and downs, both realize that love is a leap of faith that can only be taken by those who dare to love.

 

 

 

Sources Wikipedia

 

Those great songs / Musics are played on Radio Satellite2 ( Internet radio covering all planets around the world )

Our apps are available ( Apple / Android / BBerry ) : Check our website please.

Some videos


Some videos for you dear listeners of RadioSatellite2

Don’t hesistate to listen to our Internet Radio : You have Internet? So you can listen 馃檪

 

 

Enjoy

 

THE A TEAM & GEORGE PEPPARD


ARTICLE IN ENGLISH FIRST

ARTICLE IN FRENCH AFTER

The A-Team is an American action-adventure television series that ran from 1983 to 1987 about a fictitious former United States Army Special Forces unit whose members, after being court-martialed “for a crime they didn’t commit”, escaped from military prison and, while still on the run, worked as soldiers of fortune. A feature film based on the series was released by 20th Century Fox in June 2010.

 

THE A TEAM 1

 

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. 聽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鈥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.

 

Mister T

Mr T

Premiere Of Walt Disney Animation Studios' "Bolt" - Arrivals

Mr T

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鈥揋reen 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.

This slideshow requires JavaScript.

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).

Character traits

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.

Casting

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 s茅rie t茅l茅vis茅e am茅ricaine en 98 茅pisodes de 45 minutes, cr茅茅e par Frank Lupo et Stephen J. Cannell, diffus茅e entre le 23 janvier 19831 et le 8 mars 1987 sur le r茅seau NBC.

En France, les saisons 1 脿 4 ont 茅t茅 diffus茅es 脿 partir du 1er juillet 1984 sur TF12. Diffusion de la saison 5 in茅dite du 5 f茅vrier 19963 au 16 f茅vrier 19964 sur TF1. Rediffusion int茅grale du 6 juillet 20025 au 8 mai 20046 sur M6. Puis en 20037 sur 13e rue, de juin 2010 脿 ao没t 2013 sur TMC ainsi qu’脿 partir du 16 d茅cembre 2013 jusqu’en juillet 2014 sur HD1 et depuis le 19 f茅vrier 2015 sur Paris Premi猫re.

Le 16 juin 2010, un film du m锚me nom est commercialis茅 par 20th Century Fox8.

 

 

 

 

Pendant la guerre du Vi锚t Nam, le chef hi茅rarchique de l’Agence tous risque, le g茅n茅ral Morrison, leur a donn茅 l’ordre de voler la banque de Hano茂 afin de pr茅cipiter la fin de la guerre. La mission est un succ猫s, mais quatre jours apr猫s la fin de la guerre, ils retrouvent le g茅n茅ral assassin茅 par les Viet Cong, le quartier g茅n茅ral 茅tant enti猫rement br没l茅. Par cons茅quent, 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 脿 la prison. Incarc茅r茅s aux 脡tats-Unis, ils s’茅vadent rapidement et m猫nent d茅sormais une vie de mercenaires au service 芦 de la veuve et de l’orphelin 禄, combattant les injustices locales.

Distribution

Acteurs principaux

George Peppard 聽: colonel John 芦 Hannibal 禄 Smith

Dirk Benedict 聽: lieutenant Peck 芦 Fut茅 禄 Templeton (VO : 芦 Face 禄) (脿 partir de l’茅pisode 2)

Dwight Schultz 聽: capitaine Henry 芦 Looping 禄 Murdock (VO : 芦 Howling Mad 禄)

Mister T. 聽: sergent Bosco Albert 芦 Barracuda 禄 Baracus (VO : 芦 B. A. 禄

Melinda Culea 聽: Amy Amanda 芦 Triple A 禄 Allen (saisons 1 et 2)

Robert Vaughn 聽: g茅n茅ral Hunt Stockwell (saison 5)

Eddie Velez 聽: Frankie Santana (saison 5)

Tim Dunigan 聽: lieutenant Templeton 芦 Fut茅 禄 Peck (VO : 芦 Face 禄) (茅pisode pilote uniquement)

 

 

L’Agence tous risques a 茅t茅 cr茅茅e par les producteurs am茅ricains Stephen J. Cannell et Frank Lupo 脿 la demande du pr茅sident du r茅seau NBC, Brandon Tartikoff.

Stephen J. Cannell a 茅t茅 renvoy茅 de chez ABC au d茅but des ann茅es 1980, apr猫s avoir 茅chou茅 dans sa tentative de produire une 茅mission 脿 succ猫s pour la cha卯ne. Cannell est engag茅 脿 la NBC et son premier projet 茅tait de cr茅er L’Agence tous risques.

Brandon Tartikoff consid猫re l’茅mission comme un m茅lange de Les Douze Salopards, Mission Impossible, Les Sept Mercenaires, Mad Max et Capitaine Furillo, avec 芦 Mr. T conduisant l’engin. 禄

L’Agence tous risques n’茅tait, au d茅part, pas consid茅r茅e comme une future s茅rie 脿 succ猫s, mais Stephen J. Cannell explique que George Peppard 茅tait persuad茅 qu’elle deviendrait un succ猫s 芦 avant m锚me que l’on allume la cam茅ra 禄13. L’茅mission se popularise ; le premier 茅pisode, diffus茅e juste apr猫s le Super Bowl XVII le 30 janvier 1983, atteint 26,4 % de l’audience sur la cha卯ne, le classant ainsi quatri猫me sur l’脡chelle de Nielsen.

Le titre original de la s茅rie vient des 芦 Special Forces 禄 (SF, 芦 forces sp茅ciales 禄), que les am茅ricains surnomment A-Teams et populairement connues sous le surnom des 芦 b茅rets verts 禄 (green berets), qui sont une des forces sp茅ciales de l’US Army.

Sp茅cialis茅es dans la guerre non conventionnelle, les actions commandos et la formation de troupes alli茅es, elles ont, depuis leur cr茅ation au d茅but des ann茅es 1950, 茅t茅 engag茅es dans la plupart des conflits impliquant les 脡tats-Unis.

La s茅rie s’inscrit dans un contexte particulier aux 脡tats-Unis, qui voit appara卯tre divers avatars de v茅t茅rans de la guerre du Vi锚t Nam, comme le d茅tective priv茅 Thomas Magnum ou le sergent T.J. Hooker.

 

 

Rapatri茅s apr猫s la fin officielle de la guerre, en 1975, de tr猫s nombreux v茅t茅rans am茅ricains ont 茅prouv茅 de grandes difficult茅s 脿 se r茅int茅grer dans une soci茅t茅 qui ne les reconnaissait plus.

D’une part, les traumatismes physiques et psychologiques des soldats les rendaient extr锚mement fragiles, d’autre part, 脿 la frustration patriotique de la population s’est ajout茅 le rejet de soldats dont l’opinion publique d茅couvrit brusquement les techniques de combat.

En effet, si l’Am茅rique moyenne soutenait la guerre au d茅but des ann茅es 1960, dans un contexte de guerre froide, il en allait tout autrement quinze ans plus tard.

Les milliers de morts et de bless茅s dans le camp am茅ricain ne trouvaient plus aucun sens dans l’opinion publique, tandis que de nombreux journalistes r茅v茅laient la nature des combats, opposant des soldats lourdement arm茅s 脿 des combattants m锚l茅s 脿 la population.

Des photos d’enfants br没l茅s au napalm ont t么t fait de retourner le peuple am茅ricain contre une guerre jug茅e mal pr茅par茅e, id茅ologiquement discut茅e et grande consommatrice d’hommes et d’argent public.

Dans ce contexte d’apr猫s-guerre, la soci茅t茅 am茅ricaine rejette les v茅t茅rans du Vi锚t Nam, une attitude illustr茅e notamment par la chanson Born in the USA de Bruce Springsteen, le film Rambo ou plus tard le film N茅 un 4 juillet avec Tom Cruise.

L鈥橝gence tous risques en est une autre illustration, puisque des soldats ayant agi sur ordre de la hi茅rarchie se retrouvent face 脿 la justice de leur pays, pour un d茅lit qu’ils n’ont commis que dans le cadre de leur fonction.

脡vad茅s, ils seront pourchass茅s pour ce d茅lit, ne parvenant pas 脿 faire reconna卯tre par le d茅partement de la D茅fense le contexte dans lequel les faits reproch茅s ont 茅t茅 commis.

Par ailleurs, d’un point de vue plus strictement formel, la s茅rie marque une 茅volution (ou du moins y participe) dans la structure des personnages. Autrefois seul, tel un Colombo ou une Arabesque, le h茅ros se multiplie, ici par quatre, offrant plus de possibilit茅s d’identification au spectateur.

 

Chaque personnage est nettement marqu茅 dans ses singularit茅s, l’ensemble formant une 茅quipe h茅t茅rog猫ne mais n茅anmoins soud茅e, o霉 tous les grands types de caract猫res se reconna卯tront.

Cette formule d’茅criture des s茅ries coexistera n茅anmoins avec d’autres personnages isol茅s, tels Magnum ou MacGyver, mais elle continuera de se d茅velopper pour atteindre un casting 茅tendu dans des s茅ries comparable 脿 聽Jump Street, Beverly Hills 聽ou Urgences. Dans ces derniers exemples, il est possible de voir appara卯tre une n茅buleuse de personnages, chacun d茅veloppant une histoire parall猫le ou imbriqu茅e avec celle des autres protagonistes.

De multiples spectateurs peuvent d茅sormais s’identifier 脿 un personnage en particulier, peu importe leur race, sexe, religion ou orientation sexuelle dans certains cas.

Enfin, pour les s茅ries plus r茅centes, une telle 茅volution correspond peut-锚tre aussi aux plans de carri猫re des acteurs, qui profitent des s茅ries pour d茅velopper une carri猫re au cin茅ma (tels Johnny Depp) ou pas (Jason Priestley).

Dans une telle perspective, les producteurs de la s茅rie ne peuvent se permettre d’interrompre une saison 脿 cause du d茅part du r么le-titre. La multiplication des h茅ros offre une solution 脿 ce probl猫me, puisqu’une s茅rie peut se passer d’un personnage dont l’histoire dira qu’il est parti 脿 l’茅tranger, d茅c茅d茅 ou quoi que ce soit qui explique son absence au g茅n茅rique.

 

Saisons une 脿 quatre

 

Les 茅pisodes sont en g茅n茅ral construits sur des sch茅mas tr猫s semblables. Le d茅but de l’茅pisode correspond 脿 la prise de contact entre un client qui est terroris茅 par une association de malfaiteurs ou un potentat local.

La mani猫re classique de cette rencontre est que le client entre en contact alors qu’Hannibal Smith est d茅guis茅, afin de v茅rifier que le client n’est pas en r茅alit茅 脿 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 demand茅s, soit pas per莽us ou sont r茅cup茅r茅s d’une autre mani猫re (en pr茅levant sur l’argent des malfaiteurs par exemple).

G茅n茅ralement, Looping n’est pas pr茅sent dans l’茅quipe car il est intern茅 dans un h么pital psychiatrique, et l’Agence utilise en g茅n茅ral Fut茅 pour aller le r茅cup茅rer gr芒ce 脿 divers stratag猫mes.

Ou alors il s’茅vade de lui-m锚me pour aller rejoindre l’Agence. Dans beaucoup d’茅pisodes, il aime avoir un objet ou un animal qui ne le quitte pas jusqu’脿 la fin, tel qu’un cafard, un homard, une chaussette, avec lequel il agace g茅n茅ralement Barracuda avec ses fac茅ties.

Ensuite, l’Agence qui doit se rendre sur le lieu des crimes et d茅lits des malfaiteurs emprunte parfois l’avion, ce que Barracuda d茅teste particuli猫rement 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 d茅sormais compter avec eux. Cela produit en g茅n茅ral une bagarre sans armes que l’Agence gagne facilement, tout en laissant curieusement leurs ennemis s’茅chapper.

Peut-锚tre dans l’espoir que ces derniers, impressionn茅s par les membres de l’Agence, abandonnent leurs entreprises malhonn锚tes et s’en aillent.

Les antagonistes reviennent et au lieu de tuer les membres de l’Agence, les laissent (souvent, sans m锚me les ligoter et/ou les b芒illonner) dans une grange, un garage ou un entrep么t, voire une mine.

Priv茅s de leurs armes, ils ont n茅anmoins 脿 leur disposition du mat茅riel tel que de l’ac茅tyl猫ne, de la poudre, des t么les et des tubes d’acier permettant 脿 Barracuda de bricoler des armes ou de refaire fonctionner un engin (voiture, tracteur…) ce qui leur permet de s’茅chapper, et d’arriver 脿 arr锚ter les malfaiteurs.

Dans d’autres cas, Looping arrive 脿 prendre le contr么le d’un h茅licopt猫re, souvent sous le nez de son propri茅taire, ce qui permet de constituer un appui a茅rien non n茅gligeable.

L’arrestation finale des m茅chants se fait parfois par un combat 脿 mains nues, qui oppose toujours les m茅chants 脿 l’agence en respectant la hi茅rarchie (Hannibal contre le chef de l’茅quipe, Barracuda contre le noir ou le plus costaud des m茅chants), ou alors au terme d’une des innombrables poursuites hom茅riques de la s茅rie, qui permettent 脿 chaque fois d’admirer les talents de pilote de Barracuda au volant de sa camionnette ou d’un bolide 茅trange bricol茅 par l’agence.

Ils doivent souvent partir rapidement apr猫s l’arrestation des m茅chants pour 茅chapper aux colonels Lynch ou Decker. Dans tous les cas, il n’y a en g茅n茅ral, m锚me avec l’utilisation d’armes de guerres mortelles, pas de personnes qui soient tu茅es, voire s茅rieusement bless茅es.

La plupart du temps, les ennemis sont sonn茅s, ou tr猫s l茅g猫rement bless茅s (une douleur 脿 un membre ou 脿 la t锚te). Il n’y a eu, en tout et pour tout, que deux morts dans toute la s茅rie. Cette s茅rie est devenue pour cette raison un genre 脿 part enti猫re dans la t茅l茅vision, puisque c’est la premi猫re s茅rie violente 脿 avoir 茅t茅 diffus茅e aux heures de grande 茅coute aux 脡tats-Unis justement en raison de l’absence, ou presque, de morts.

脌 ce titre, la s茅rie appara卯t quelquefois peu cr茅dible, notamment dans l’茅pisode Tirez sur le Cheik, o霉 l’h茅licopt猫re des m茅chants s’茅crase contre une falaise et que leurs occupants en ressortent indemnes.

Cinqui猫me saison

L’avant-derni猫re saison perdant en popularit茅[r茅f. n茅cessaire], le format de la s茅rie a 茅t茅 chang茅 pour la derni猫re saison (1986-1987).

Apr猫s avoir 茅chapp茅 pendant des ann茅es aux militaires, l鈥橝gence tous risques est finalement arr锚t茅e. Ils ont le choix entre retourner en prison, 锚tre ex茅cut茅s ou 锚tre affect茅s 脿 une agence gouvernementale dirig茅e par le g茅n茅ral Hunt Stockwell qui r茅alise des missions secr猫tes. Ils choisissent de travailler avec Stockwell.

 

Arr锚t de la s茅rie

Selon le producteur Stephen J. Cannell, la s茅rie s’est arr锚t茅e au bout de cinq ans parce qu’elle devenait de plus en plus ch猫re 脿 produire. Qui plus est, les acteurs George Peppard, Dirk Benedict et Mr. T 茅taient de plus en plus d茅motiv茅s (ce dernier avait d’ailleurs sa propre s茅rie, de 1988 脿 1990).

G茅n茅rique

L’Agence tous risques b茅n茅ficie de g茅n茅riques diff茅rents 脿 chaque saison, avec une accroche commune : 芦 Il y a dix ans (en 1972), une unit茅 de commando d’茅lite stationn茅e au Vi锚t Nam fut envoy茅e en prison par un tribunal militaire, pour un crime qu’ils n’avaient pas commis.

Ces hommes s’茅vad猫rent rapidement de leur prison militaire de haute s茅curit茅, se r茅fugiant dans les bas-fonds de Los Angeles. Aujourd’hui, encore recherch茅s par le gouvernement, ils fuient encore et toujours devant leurs poursuivants et survivent comme des mercenaires.

Si vous avez un probl猫me, si vous 锚tes seul, si personne ne peut vous aider, si vous 锚tes accul茅, si la justice ne peut plus rien pour vous, il vous reste un recours, un seul : l’Agence tous risques. 禄

Plus tard, au cours de la saison 2, l’accroche fut modifi茅e : 芦 accus茅s 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 comp茅tences. Si la loi ne peut plus rien pour vous, il vous reste un recours, un seul : l’Agence tous risques. 禄

 

 

GEORGE PEPPARD

 

 

 

SOURCES WIKIPEDIA

Once upon a time


Once Upon a Time is an American fairy tale dramatic series that premiered on October 23, 2011, on ABC. The show takes place in the fictional seaside town of Storybrooke, Maine, whose residents are characters from various fairy tales transported to the “real world” town and robbed of their real memories by a powerful curse.

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

Once Upon a Time ou Il 茅tait une fois au Qu茅bec est une s茅rie t茅l茅vis茅e fantastique am茅ricaine cr茅茅e par Edward Kitsis et Adam Horowitz, bas茅e sur tous les contes de f茅es. Elle est diffus茅e depuis le 23 octobre 2011 sur le r茅seau ABC1 aux 脡tats-Unis sur le r茅seau CTV2 au Canada.

En Belgique, la s茅rie est diffus茅e depuis le 6 ao没t 2012 sur BeTV3 ainsi que depuis le 29 juin 2013 sur RTL-TVI4

En France, depuis le 1er d茅cembre 2012 sur M65 puis 脿 partir du 19 ao没t 2014 sur 6ter6,

En Suisse, depuis le 31 octobre 2013 sur RTS Deux7

Au Qu茅bec, depuis le 6 janvier 2014 sur AddikTV8 puis 脿 partir du 1er avril 2015 sur le r茅seau TVA.

Le jour du mariage de Blanche-Neige et du Prince Charmant, la m茅chante Reine fait irruption et lance une mal茅diction.

Tout le monde est inquiet et les jeunes mari茅s craignent pour leur enfant 脿 venir. Ils d茅cident de consulter Rumplestiltskin / le T茅n茅breux, un 茅trange et dangereux personnage.

Ce dernier les informe que l’enfant qu’ils attendent viendra les sauver lors de son 28e anniversaire.

La petite Emma na卯t et la mal茅diction se rapproche. Le prince r茅ussit 脿 envoyer sa fille dans un endroit s没r.

Cependant, la Reine arrive et tous sont envoy茅s dans un monde sans magie, o霉 ils ne se souviennent pas de leur v茅ritable identit茅.

脌 Boston, Emma Swan vit une existence solitaire.

Le jour de son 28e anniversaire, Henry, le petit gar莽on qu’elle a abandonn茅 10 ans auparavant, lui rend visite.

This slideshow requires JavaScript.

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 f茅es et explique 脿 Emma que toutes les histoires sont r茅elles et que les personnages qui y figurent habitent en r茅alit茅 脿 Storybrooke dans le Maine, la ville o霉 il vit.

Il ajoute aussi qu’elle est la seule 脿 pouvoir vaincre la mal茅diction qui r猫gne sur la ville, car elle est la fille de Blanche-Neige et du Prince Charmant. Emma d茅couvre qu’Henry a 茅t茅 adopt茅 par Regina Mills, le maire de la ville qui, d’apr猫s Henry, est la m茅chante Reine.

Emma est sceptique, mais d茅cide 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 arr锚t茅.

Jennifer Morrison 聽: Emma Swan

Lana Parrilla 聽: Regina Mills / la M茅chante Reine

Ginnifer Goodwin 聽: Mary Margaret Blanchard / Blanche-Neige

Josh Dallas 聽: David Nolan / le Prince Charmant

Jared S. Gilmore : Henry Mills

Robert Carlyle : M. Gold / Rumplestiltskin / La B锚te / Le T茅n茅breux / Le Crocodile

脡milie de Ravin 聽: Belle French / Lacey French (invit茅e saison 1, principale depuis la saison 2)

Colin O’Donoghue : Killian Jones / Capitaine Crochet (principal depuis la saison 2)

Sean Maguire 聽: Robin des Bois (r茅current saisons 3 et 4, principal saison 5)

Rebecca Mader 聽: Zelena, la M茅chante Sorci猫re de l’Ouest (r茅currente saisons 3 et 4, principale saison 5)

ALSO ON OUR WEBSITE 聽/ 聽AUSSI SUR NOTRE SITE: 聽 LANA PARILLA

SOURCES WIKIPEDIA

Simon & Garfunkel


 

Simon & Garfunkel was an American folk rock duo consisting of singer-songwriter Paul Simon and singer Art Garfunkel. They were one of the most popular recording artists of the 1960s and became counterculture icons of the decade’s social revolution, alongside artists such as the Beatles, the Beach Boys, and Bob Dylan.

Simon and Garfunkel3

Simon and Garfunkel album cover 1

English article / En Fran莽ais plus bas svp / French below

Their biggest hits鈥攊ncluding “The Sound of Silence” (1964/1965), “Mrs. Robinson” (1968), “Bridge over Troubled Water” (1969), and “The Boxer” (1969)鈥攔eached number one on singles charts worldwide.

Their often rocky relationship led to artistic disagreements, which resulted in their breakup in 1970.

Their final studio record, Bridge over Troubled Water, was their most successful, becoming one of the world’s best-selling albums. Since their split in 1970 they have reunited several times, most famously in 1981 for the “The Concert in Central Park”, which attracted more than 500,000 people, the seventh-largest concert attendance in history.

The duo met as children in Queens, New York in 1953, where they learned to harmonize together and began writing original material. By 1957, under the name Tom & Jerry, the teenagers had their first minor success with “Hey Schoolgirl”, a song imitating their idols the Everly Brothers.

Afterwards, the duo went their separate ways, with Simon making unsuccessful solo records. In 1963, aware of a growing public interest in folk music, they regrouped and were signed to Columbia Records as Simon & Garfunkel. Their d茅but, Wednesday Morning, 3 A.M., sold poorly, and they once again disbanded;

Simon returned to a solo career, this time in England. A remix of their song “The Sound of Silence” was played widely on U.S. AM radio in 1965, reaching number one on the Billboard Hot 100. Simon & Garfunkel reunited, releasing their second studio album Sounds of Silence and touring colleges nationwide.

On their third release, Parsley, Sage, Rosemary and Thyme (1966), the duo assumed more creative control. Their music was featured in the 1967 film The Graduate, giving them further exposure. Bookends (1968), their next album, topped the Billboard 200 chart and included the #1 single “Mrs. Robinson” from the film.

After their 1970 breakup following the release of Bridge over Troubled Water, they both continued recording, Simon releasing a number of highly acclaimed albums, including 1986’s Graceland.

Garfunkel also briefly pursued an acting career, with leading roles in two Mike Nichols films, Catch-22 and Carnal Knowledge, and in Nicolas Roeg’s 1980 Bad Timing.

Simon & Garfunkel were described by critic Richie Unterberger as “the most successful folk-rock duo of the 1960s” and one of the most popular artists from the decade in general. They won 10 Grammy Awards and were inducted into the Rock and Roll Hall of Fame in 1990.

Their Bridge over Troubled Water album was nominated at the 1977 Brit Awards for Best International Album and is ranked at #51 on Rolling Stone’s 500 Greatest Albums of All Time.

Early years (1953鈥1956)

Paul Simon and Art Garfunkel grew up in the 1940s and 1950s in the predominantly Jewish neighborhood of Forest Hills in Queens, New York, just three blocks away from one another, and attended the same schools, Public School 164 in Flushing, Parsons Junior High School, and Forest Hills High School.

Individually, when still young, they developed a fascination with music; both listened to the radio and were taken with rock and roll as it emerged, particularly the Everly Brothers.

Early Simon & Garfunkel F

When Simon first noticed Garfunkel, he was singing in a fourth grade talent show, and Simon thought that was a good way to attract girls;

he hoped for a friendship which eventually started in 1953 when they were in the sixth grade and appeared on stage together in a school play adaptation of Alice in Wonderland. That first stage appearance was followed by the duo forming a street-corner doo-wop group, the Peptones, with three other friends, and learning to harmonize together. They began performing for the first time as a duo at school dances.

They moved to Forest Hills High School in 1955, where, in 1956, they wrote their first song, “The Girl for Me”; Simon’s father sending a handwritten copy to the Library of Congress to register a copyright.

While trying to remember the lyrics to the Everly’s song “Hey Doll Baby“, they created their own song, “Hey Schoolgirl”, which they recorded themselves for $25 at Sanders Recording Studio in Manhattan.

While recording they were overheard by a promoter, Sid Prosen, who 鈥 after speaking to their parents 鈥 signed them to his independent label Big Records.

From Tom & Jerry to Simon & Garfunkel (1957鈥1964)

While still aged 15, Simon & Garfunkel now had a recording contract with Sid Prosen’s independent label Big Records.

Using the name Tom & Jerry; Garfunkel naming himself Tom Graph, a reference to his interest in mathematics;

Simon naming himself Jerry Landis, after the surname of Sue Landis, a girl he had dated, the single “Hey Schoolgirl” was released, with the B-side “Dancin’ Wild”, in 1957.

Prosen, using the payola system, bribed Alan Freed $200 to get the single played on his radio show, where it became a nightly staple.

“Hey Schoolgirl” attracted regular rotation on nationwide AM pop stations, leading it to sell over 100,000 copies and to land on Billboard’s charts at number 49.

Prosen promoted the group heavily, getting them a spot on Dick Clark’s American Bandstand (headlining alongside Jerry Lee Lewis).

The duo shared approximately $4,000 from the song 鈥 earning two percent each from royalties, the rest staying with Prosen.

They released three more singles on Big Records: “Our Song”, “That’s My Story”, and “Don’t Say Goodbye”, none of them successful.

After graduating from Forest Hills High School in 1959, they were still exploring the possibilities of a music career, though continued their education as a back up; Simon studying English at Queens College, City University of New York, Garfunkel studying first architecture, then switching to art history at Columbia College, Columbia University.

While still with Big Records as a duo, Simon released a solo single, “True or False”, under the name “True Taylor”.

This recording upset Garfunkel, who regarded it as a betrayal; the emotional tension from that incident occasionally surfacing throughout their relationship.

Their last recording with Big Records was a cover of a Jan and Dean single, “Baby Talk”, but the company became bankrupt soon after release; the track was reissued on Bell Records, but failed to sell, so Tom & Jerry was dissolved.

Both, however, continued recording, albeit as solo artists: Garfunkel composing and recording “Private World” for Octavia Records, and – under the name Artie Garr – “Beat Love” for Warwick; Simon recorded with The Mystics, and Tico & The Triumphs, and wrote and recorded under the names Jerry Landis and Paul Kane.

Simon also wrote and performed demos for other artists, working for a while with Carole King and Gerry Goffin.

After graduating in 1963, Simon joined Garfunkel, who was still at Columbia, to perform together again as a duo, this time with a shared interest in folk music.

Simon enrolled part-time in Brooklyn Law School,By late 1963, billing themselves as “Kane & Garr”, they performed at Gerde’s Folk City, a Greenwich club that hosted Monday night open mic performances.

The duo performed three new songs 鈥 “Sparrow”, “He Was My Brother”, and “The Sound of Silence” 鈥 and got the attention of Columbia producer Tom Wilson, who worked with Bob Dylan.

As a “star producer” for the label, he wanted to record “He Was My Brother” with a new British act named the Pilgrims.

Simon convinced Wilson to let him and his partner have a studio audition, and they performed “The Sound of Silence”. House engineer Roy Halee recorded the audition, and at Wilson’s urging, Columbia signed the duo.

Their debut studio album, Wednesday Morning, 3 A.M., was recorded over three daytime sessions in March 1964 and released in October. The album contains four original Simon compositions, with the remainder consisting of three traditional folk songs and five folk-influenced singer-songwriter numbers.

Simon was adamant that they would no longer use stage names, and they adopted the name Simon & Garfunkel.

Columbia set up a promotional showcase at Folk City on March 31, 1964, the duo’s first public concert as Simon & Garfunkel. The showcase, as well as other scheduled performances, did not go well.

Simon in England (1964鈥1965)

Wednesday Morning, 3 A.M. sold only 3,000 copies upon its October release, and its poor sales led Simon to move to England where he had previously visited and played some gigs.

He toured the small folk clubs, appearing on the same bill and befriending British folk artists such as Bert Jansch, Martin Carthy, Al Stewart, and Sandy Denny.

He met Kathy Chitty, who became the object of his affection and is the Kathy in “Kathy’s Song” and “America”.

A small music publishing company, Lorna Music, licensed “Carlos Dominguez”, a single Simon had cut two years prior as “Paul Kane”, for a cover by Val Doonican that sold very well.

Simon visited Lorna to thank them, and the meeting resulted in a publishing and recording contract. He signed to the Oriole label and released “He Was My Brother” as a single.

Simon invited Garfunkel to stay for the summer of 1964.

Near the end of the season, Garfunkel returned to Columbia for class, and Simon surprised his friends by saying that he would be returning to the States as well.

He would resume his studies at Brooklyn Law School for one semester, partially at his parents’ insistence. He returned to England in January 1965, now certain that music was his calling.

In the meantime, his landlord, Judith Piepe, had compiled a tape from his work at Lorna and sent it to the BBC in hopes they would play it.

Simon and Garfunkel (1966)

ART AND GARFUNKEK 60s

The demos aired on the Five to Ten morning show, and were instantly successful. Oriole had folded into CBS by that point, and hoped to record a new Paul Simon album.

The Paul Simon Songbook was recorded in June 1965 and featured multiple future Simon & Garfunkel staples, among them “I Am a Rock” and “April Come She Will”. CBS flew Wilson over to produce the record, and he stayed at Simon’s flat.

The album saw release in August, and although sales were poor, Simon felt content with his future in England.

Meanwhile, in the United States, a late-night disc jockey at WBZ-FM in Boston played “The Sound of Silence”, where it found a college demographic.

It was picked up the next day along the East Coast of the United States, down to Cocoa Beach, Florida. Wilson, inspired by the folk rock sound of the Byrds’ cover of “Turn! Turn! Turn!” and Dylan’s “Like a Rolling Stone”, created a rock remix of the song with the same musicians who overdubbed the Dylan song. The remix of “The Sound of Silence” was issued in September 1965, where it reached the Billboard Hot 100.

Wilson had not informed the duo of his intention to remix the track; as such, Simon was “horrified” when he first heard it.

Garfunkel graduated in 1965, returning to Columbia University to do a master’s degree in mathematics.

Mainstream breakthrough and success (1965鈥66)

By January 1966, “The Sound of Silence” topped the Hot 100, selling over one million copies.

Simon reunited with Garfunkel that winter in New York, leaving Chitty and his friends in England behind. CBS demanded a new album from the duo, to be called Sounds of Silence to ride the wave of the hit.

Recorded in three weeks, and mainly consisting of re-recorded songs from The Paul Simon Songbook, plus four new tracks, Sounds of Silence was rush-released onto the market in mid-January 1966, peaking at number 21 Billboard Top LPs chart.

A week later, “Homeward Bound” was released as a single, entering the USA top ten, followed by “I Am a Rock” peaking at number three.

The duo supported the recordings with a nationwide tour of America, while CBS continued their promotion by re-releasing Wednesday Morning, 3 A.M., which promptly charted at number 30.

Despite the commercial and popular success, the duo received critical derision, as many considered them a manufactured imitation of folk.

As they considered their previous effort a “rush job” to capitalize on their sudden success, the duo spent more time crafting the follow-up. It was the first time Simon insisted on total control in aspects of recording.

Work began in 1966 and took nine months. Garfunkel considered the recording of “Scarborough Fair” the moment they stepped into the role as producer, because they were constantly beside engineer Roy Halee mixing the track.

Parsley, Sage, Rosemary and Thyme was issued in October 1966, following the release of several singles and receiving sold-out college campus shows.

The duo resumed their trek on the college circuit eleven days following the release, crafting an image that was described as “alienated”, “weird”, and “poetic”.

Manager Mort Lewis also was responsible for this public perception, as he withheld them from television appearances (unless they were allowed to play an uninterrupted set or choose the setlist).

Simon and Garfunkel album1

Simon, then 26 , felt he had finally “made it” into an upper echelon of rock and roll, while most importantly retaining artistic integrity (“making him spiritually closer to Bob Dylan than to, say, Bobby Darin”, wrote biographer Marc Eliot).

The duo chose William Morris as their booking agency after a recommendation from Wally Amos, a mutual friend through their producer, Tom Wilson.

During the sessions for Parsley, the duo cut “A Hazy Shade of Winter”; it was released as a single, peaking at number 13 on the national charts.

Similarly, they recorded “At the Zoo” for single release in early 1967 (it charted lower, at number 16).

Simon began work for their next album around this time, noting to a writer at High Fidelity that “I’m not interested in singles anymore”.

He had hit a dry spell in his writing, which led to no Simon & Garfunkel album on the horizon for 1967.

Artists at the time were expected to release two, perhaps three albums each year and the lack of productivity from the duo worried executives at Columbia Records.

Amid concerns for Simon’s idleness, Columbia Records chairman Clive Davis arranged for up-and-coming record producer John Simon to kick-start the recording.

Simon was distrustful of “suits” at the label; on one occasion, he and Garfunkel brought a tape recorder into a meeting with Davis, who was giving a “fatherly talk” on speeding up production, in order to laugh at it later.

The rare television appearances at this time saw the duo performing on such diverse network broadcasts as the Ed Sullivan, Mike Douglas and Andy Williams shows in 1966 and twice on The Smothers Brothers Comedy Hour in 1967.

Meanwhile, director Mike Nichols, then filming The Graduate, had become fascinated with the duo’s past two efforts, listening to them nonstop before and after filming.

The graduate

THE GRADUATE 聽/ 聽LE LAUREAT 聽with DUSTIN HOFFMAN

After two weeks of this obsession, he met with Clive Davis to ask for permission to license Simon & Garfunkel music for his film. Davis viewed it as a perfect fit and envisioned a best-selling soundtrack album.

Simon was not as immediately receptive, viewing movies akin to “selling out”, creating a damper on his artistic integrity. However, after meeting Nichols and becoming impressed by his wit and the script, he agreed to write at least one or two new songs for the film.

Leonard Hirshan, a powerful agent at William Morris, negotiated a deal that paid Simon $25,000 to submit three songs to Nichols and producer Lawrence Turman.

Several weeks later, Simon re-emerged with two new tracks, “Punky’s Dilemma” and “Overs”, neither of which Nichols was particularly taken with. The duo offered another new song, which later became “Mrs. Robinson”, that was not as developed. Nichols loved it.

Studio time and low profile (1967鈥68)

The duo’s fourth studio album, Bookends, was recorded in fits and starts over various periods from late 1966 to early 1968. The duo were signed under an older contract that specified the label pay for sessions, and Simon & Garfunkel took advantage of this indulgence, hiring viola and brass players, as well as percussionists. The record’s brevity reflects its concise and perfectionist production. The team spent over 50 studio hours recording “Punky’s Dilemma”, for example, and re-recorded vocal parts, sometimes note by note, until they were satisfied.

While Garfunkel’s songs and voice took a lead role on some songs, the harmonies the band were known for gradually disappeared. For Simon, Bookends represented the end of the duo and became an early indicator of his intentions to go solo.

Although the album had been planned long in advance, work did not begin in earnest until the late months of 1967.

Prior to release, the band helped put together and performed at the Monterey Pop Festival, which signaled the beginning of the Summer of Love on the West Coast.

“Fakin’ It” was issued as a single that summer and found only modest success on AM radio; the duo were much more focused on the rising FM format, which played album cuts and treated their music with respect.

In January 1968, the duo appeared on a Kraft Music Hall special, Three for Tonight, performing ten songs largely culled from their third album.

Bookends was released by Columbia Records in April 1968. In a historical context, this was just 24 hours before the assassination of civil rights activist Martin Luther King, Jr., which spurred nationwide outrage and riots.

The album debuted on the Billboard Top LPs in the issue dated April 27, 1968, climbing to number one and staying at that position for seven non-consecutive weeks; it remained on the chart as a whole for 66 weeks.

Bookends received such heavy orders weeks in advance of its release that Columbia was able to apply for award certification before copies left the warehouse, a fact it touted in magazine ads.The record became the duo’s best-selling album to date: it fed off the buzz created by the release of The Graduate soundtrack album ten weeks earlier, creating an initial combined sales figure of over five million units.

Davis had predicted this fact, and suggested raising the list price of Bookends by one dollar to $5.79, above the then standard retail price, to compensate for including a large poster included in vinyl copies.

Simon instead scoffed and viewed it as charging a premium on “what was sure to be that year’s best-selling Columbia album”. According to biographer Marc Eliot, Davis was “offended by what he perceived as their lack of gratitude for what he believed was his role in turning them into superstars”.

Rather than implement Davis’ price increase plan, Simon & Garfunkel signed a contract extension with Columbia that guaranteed them a higher royalty rate.

Lead single “Mrs. Robinson” became, at the 1969 Grammy Awards the first rock and roll song to receive Record of the Year; it was also awarded Best Contemporary Pop Performance by a Duo or Group.

Growing apart and final years (1969鈥70)

Bookends, alongside The Graduate soundtrack, propelled Simon & Garfunkel to become the biggest rock duo in the world.

Simon was approached by producers to write music for films or license songs; he turned down Franco Zeffirelli, who was preparing to film Brother Sun, Sister Moon, and John Schlesinger, who likewise was readying to shoot Midnight Cowboy.

In addition to Hollywood proposals, producers from the Broadway show Jimmy Shine (starring Simon’s friend Dustin Hoffman, also the lead in Midnight Cowboy) asked for two original songs and Simon declined.

He collaborated briefly with Leonard Bernstein on a sacred mass before withdrawing from the project due to “finding it perhaps too far afield from his comfort zone”.

Garfunkel took the role of Captain Nately in the Nichols film, Catch-22, based on the Catch-22 novel. Initially Simon was to play the character of Dunbar, but screenwriter Buck Henry felt the film was already crowded with characters and subsequently wrote Simon’s part out.

The filming of Catch-22 began in January 1969 and lasted about eight months.

The unexpectedly long film production endangered the relationship between the duo;

Simon had not completed any new songs at this point, and the duo planned to collaborate when the filming would be finished.

Following the end of filming of Catch-22 in October, the first performance of what was, for a time, their last tour, took place in Ames, Iowa.

The US leg of the tour ended in the sold-out Carnegie Hall on November 27.

After breaking for Christmas, the duo continued working on the album in early 1970 and finished it in late January.

Meanwhile, the duo, working with director Charles Grodin, produced an hourlong CBS special, Songs of America, which is a mixture of scenes featuring notable political events and leaders concerning the USA, such as the Vietnam War, Martin Luther King, John F. Kennedy’s funeral procession, Cesar Chavez and the Poor People’s March. It was broadcast only once, due to internal tension at the network regarding its content.

Bridge over Troubled Water, their final studio album, was released in January 1970 and charted in over 11 countries, topping the charts in 10, including the Billboard Top LP’s chart in the US and the UK Albums Chart.

It was the best-selling album in 1970, 1971 and 1972 and was at that time the best-selling album of all time.

It was also CBS Records’ best-selling album before the release of Michael Jackson’s Thriller in 1982.

The album topped the Billboard charts for 10 weeks and stayed in the charts for 85 weeks.

In the United Kingdom, the album topped the charts for 35 weeks, and spent 285 weeks in the top 100, from 1970 to 1975.[88] It has since sold over 25 million copies worldwide.

“Bridge over Troubled Water”, the album’s lead single, hit number one in five countries and became their biggest seller.

The song has been covered by over 50 artists since then, including Elvis Presley and Johnny Cash. “Cecilia”, the follow-up, hit number four in the US, and “El Condor Pasa” hit number 18

The recording process was tough for both musicians, and their breakup was almost certain considering the deterioration of their relationship. “At that point, I just wanted out,” Simon later said.

Their breakup was not intended to be semi-permanent: Garfunkel hoped for a two-year break from Simon & Garfunkel and did not intend to pursue a film-career. Likewise, Simon did not intend to begin a solo career.

A brief British tour followed the album release, and the duo’s last concert as Simon & Garfunkel occurred at Forest Hills Stadium.

In 1971, the album took home six awards at the 13th Annual Grammy Awards, including Album of the Year. Simon’s wife, Peggy Harper, pushed for him to make the split official, and he placed a call to Davis to confirm the duo’s breakup: “I want you to know I鈥檝e decided to split with Artie. I don鈥檛 think we鈥檒l be recording together again.”

For the next several years, the duo would only speak “two or three” times a year.

Breakup, rifts, and reunions (1971鈥2003)

In the 1970s, the duo reunited several times. Their first reunion was a benefit concert for presidential candidate George McGovern at New York’s Madison Square Garden in June 1972.

In 1975, they reconciled once more when they visited a recording session with John Lennon and Harry Nilsson.

For the rest of the year, they attempted to make the reunion work, but their collaboration only yielded one song, “My Little Town,” that was featured on Simon’s Still Crazy After All These Years and Garfunkel’s Breakaway.

It peaked at number nine on the Hot 100. In 1975, Garfunkel joined Simon for a medley of three songs on the television series Saturday Night Live which Simon was guest hosting.

In 1977, Garfunkel joined Simon for a brief performance of their old songs on Simon’s television special The Paul Simon Special, and later that year they recorded a cover of Sam Cooke’s “(What a) Wonderful World” along with James Taylor.

Old tensions finally appeared to dissipate upon Garfunkel’s return to New York in 1978, when the duo began interacting more often.

On May 1, 1978, Simon joined Garfunkel for a concert held at Carnegie Hall to benefit the hearing disabled.

By 1980, the duo’s respective solo efforts were not doing well. To help alleviate New York’s economic decline, concert promoter Ron Delsener came up with the idea to throw a free concert in Central Park.

Delsener contacted Simon with the idea of a Simon & Garfunkel reunion, and once Garfunkel agreed, plans were made.

The Concert in Central Park, performed September 19, 1981, attracted more than 500,000 people, at that time the largest-ever concert attendance.

Warner Bros. Records released a live album of the show that went double platinum in the US.

A 90-minute recording of the concert was sold to Home Box Office (HBO) for over $1 million.

The concert created a renewed interest in the duo’s work.

They had several “heart-to-heart talks,” attempting to put past issues behind them.

The duo planned a world tour, kicking off in May 1982, but their relationship grew contentious: for the majority of the tour, they did not speak to one another.

Warner Bros. pushed for them to extend the tour and release an all-new Simon & Garfunkel studio album.

After recording several vocal tracks for a possible new Simon & Garfunkel album, Simon decided to adopt it as his own solo album. Garfunkel had refused to learn the songs in the studio, and would not give up cannabis and cigarettes, despite Simon’s requests.

An official spokesperson remarked, “Paul simply felt the material he wrote is so close to his own life that it had to be his own record. Art was hoping to be on the album, but I’m sure there will be other projects that they will work on together. They are still friends.”

The material was later released on Simon’s 1983 effort Hearts and Bones.

Another rift opened between the duo when the lengthy recording of Simon’s 1986 album Graceland prevented Garfunkel from working with Roy Halee on a Christmas album.

In 1990, the duo were inducted into the Rock and Roll Hall of Fame. Garfunkel thanked his partner, calling him “the person who most enriched my life by putting those songs through me,” to which Simon responded, “Arthur and I agree about almost nothing. But it’s true, I have enriched his life quite a bit.” After three songs, the duo left without speaking.

We are indescribable. You’ll never capture it. It’s an ingrown, deep friendship. Yes, there is deep love in there. But there’s also shit. =>聽 Garfunkel describing his six-decade-long friendship with Simon

By 1993, their relationship had thawed again, and Simon invited Garfunkel on an international tour with him.

Following a 21-date, sold-out run at the Paramount Theater in New York and an appearance at that year’s Bridge School Benefit in California, the duo toured the Far East.

The duo had a falling out over the course of the rest of the decade, the details of which have never been disclosed.

Simon thanked Garfunkel at his 2001 induction into the Rock and Roll Hall of Fame as a solo artist: “I regret the ending of our friendship. I hope that some day before we die we will make peace with each other,” resuming after a pause, “No rush.”

They were awarded a Lifetime Achievement Award at the 45th Annual Grammy Awards in 2003, for which the promoters convinced them to reconcile and open the show with a performance of “The Sound of Silence.”

The performance was satisfying for both musicians, and they planned out a full-scale reunion tour over the summer.

The Old Friends tour began in October 2003 and played to sold-out audiences across the United States for 30 dates until mid-December.

The tour earned an estimated $123 million.

Following a twelve-city run in Europe in 2004, they ended their nine-month tour with a free concert at the Colosseum in Rome. It attracted 600,000 fans, more than their The Concert in Central Park.

Recent years (2009鈥損resent)

In 2009, the duo reunited again for three songs during Simon’s two-night arrangement at New York’s Beacon Theatre. This led to a reunion tour of Asia and Australia in June 2009.

Their headlining set at the 2010 New Orleans Jazz and Heritage Festival was very difficult for Garfunkel, who was experiencing serious vocal problems. “I was terrible, and crazy nervous. I leaned on Paul Simon and the affection of the crowd,” he told Rolling Stone several years later.

Garfunkel was diagnosed with vocal cord paresis, and the remaining tour dates were postponed indefinitely. His manager, John Scher, informed Simon’s camp that Garfunkel would be ready within a year, which did not happen, leading to poor relations between the two. He regained his vocal strength over the course of the next four years, performing shows in a Harlem theater and to underground audiences.

Art_Garfunkel_2013

ART GARFUNKEL

Despite this, the duo have not staged a full-scale tour or performed shows since 2010. Garfunkel confirmed to Rolling Stone in 2014 that he believes they will tour in the future, although Simon had been too “busy” in recent years. “I know that audiences all over the world like Simon and Garfunkel. I’m with them. But I don’t think Paul Simon’s with them,” he remarked.

Musical style and legacy

Over the course of their career, Simon & Garfunkel’s music gradually moved from a very basic, folk rock sound to incorporate more experimental elements for the time, including Latin and gospel music. Many adolescents of the 1960s found their music relevant, while adults regarded them as intelligent.

Their music, according to Rolling Stone, struck a chord among lonely, alienated young adults near the end of the decade.

Despite its popularity, the group was also criticized sharply, especially in its heyday. Rolling Stone critic Arthur Schmidt, for example, described the duo’s music as “questionable…it exudes a sense of process, and it is slick, and nothing too much happens.”

New York Times critic Robert Shelton said that the group had “a kind of Mickey Mouse, timid, contrived” approach to music.

Their clean sound and muted lyricism “cost them some hipness points during the psychedelic era” according to Richie Unterberger of AllMusic, who also notes that the duo “inhabited the more polished end of the folk-rock spectrum and was sometimes criticized for a certain collegiate sterility.”

Paul_Simon

PAUL SIMON

Unterberger further observes that some critics would later regard Simon’s lyricism in his work with Simon & Garfunkel to pale in comparison to his later solo material.

But Unterberger himself believed that “the best of S&G’s work could stand among Simon’s best material, and the duo did progress musically over the course of their five albums, moving from basic folk-rock productions into Latin rhythms and gospel-influenced arrangements that foreshadowed Simon’s eclecticism on his solo albums.”

Their rocky personal relationship led to their “breaking up and making up about every dozen years.”

Simon and Garfunkel est un duo am茅ricain de folk rock, constitu茅 du guitariste et auteur-compositeur-interpr猫te Paul Simon et du chanteur Arthur Garfunkel. Tous deux se rencontrent pour la premi猫re fois dans le Queens en 1953.

Simon and Garfunkel album2

Ils apprennent 脿 s’accorder l’un avec l’autre et commencent 脿 茅crire leurs propres compositions. Ils connaissent leur premier succ猫s en 1957, sous le nom de Tom & Jerry, avec la chanson Hey Schoolgirl, qui imite le style de leurs idoles The Everly Brothers.

Mais ce succ猫s n’est pas confirm茅 et ils poursuivent ensuite leurs 茅tudes universitaires chacun de leur c么t茅. Ils se retrouvent en 1963, avec un int茅r锚t accru pour la musique folk, et signent un contrat avec Columbia Records. Leur premier album, Wednesday Morning, 3 A.M. (1964), est un 茅chec commercial 脿 sa sortie et le duo se s茅pare, Simon d茅cidant de poursuivre sa carri猫re en solo en Angleterre.

Cependant, une nouvelle version de leur chanson The Sound of Silence conna卯t le succ猫s sur les ondes am茅ricaines en 1965 et atteint la premi猫re place du Billboard Hot 100.

Le duo se reforme alors et enregistre un deuxi猫me album, Sounds of Silence (1966), qui est rapidement suivi par Parsley, Sage, Rosemary and Thyme (1966), album sur lequel le duo prend un plus grand contr么le cr茅atif. La popularit茅 du duo s’accro卯t avec la bande originale du film Le Laur茅at (1967), compos茅e en majeure partie par leurs chansons.

Leur album suivant, Bookends (1968), les propulse au rang de stars internationales majeures. N茅anmoins, les relations entre les deux hommes se d茅gradent et le duo se s茅pare peu apr猫s la sortie de leur album suivant, Bridge over Troubled Water (1970), qui est leur plus grand succ猫s commercial.

Simon and Garfunkel comptent parmi les artistes les plus populaires des ann茅es 1960 et sont consid茅r茅s comme des ic么nes de la contre-culture de cette d茅cennie, au m锚me titre que les Beatles et Bob Dylan.

Leurs chansons les plus c茅l猫bres, The Sound of Silence, I Am a Rock, Homeward Bound, Scarborough Fair/Canticle, A Hazy Shade of Winter, Mrs. Robinson, Bridge over Troubled Water, The Boxer, Cecilia et El C贸ndor Pasa (If I Could), ont 聽connu un tr猫s grand succ猫s international.

Depuis leur s茅paration, Simon et Garfunkel ont reform茅 plusieurs fois le duo, notamment 脿 l’occasion d’un concert 脿 Central Park en 1981 qui r茅unit plus de 500 000 spectateurs, ce qui constitue 脿 l’茅poque la plus grande affluence de tous les temps pour un concert.

Rencontre et d茅buts musicaux (1953-1962)

Paul Frederic Simon et Arthur Ira Garfunkel, n茅s tous deux en 1941, grandissent 脿 New York dans le quartier du Queens de Kew Gardens Hills 脿 seulement trois p芒t茅s de maisons l’un de l’autre1. Ils se passionnent pour la musique d猫s leur plus jeune 芒ge, notamment avec l’av猫nement du rock ‘n’ roll2. Garfunkel commence 脿 chanter dans des radio-crochets d猫s le CM1 et rencontre Simon deux ans plus tard, en 1953.

Leur amiti茅 s’茅panouit quand tous deux sont choisis pour jouer dans une adaptation th茅芒trale d’Alice au pays des merveilles, Simon dans le r么le du Lapin blanc et Garfunkel dans celui du Chat du Cheshire. Ils commencent 脿 chanter ensemble dans des groupes de doo-wop et apprennent ainsi 脿 s’accorder l’un avec l’autre.

Simon et Garfunkel entrent 脿 la Forest Hills High School en septembre 1955 et entreprennent d’enregistrer leurs arrangements sur des bandes magn茅tiques. Ils 茅crivent leur premi猫re chanson, The Girl for Me, en 1956 et commencent 脿 se produire en tant que duo dans des 茅coles de musique. Tr猫s influenc茅s par Elvis Presley et The Everly Brothers, ils d茅cident de pr茅senter une maquette d’une de leurs compositions, Hey Schoolgirl, 脿 des 茅diteurs musicaux de Manhattan.

Ils enregistrent la chanson, avec Dancin’ Wild en face B, au Sanders Recording Studio, un minuscule studio d’enregistrement de Manhattan.

Ils rencontrent ensuite Sid Prosen, qui dirige le label ind茅pendant Big Records, et celui-ci leur fait signer un contrat en proclamant qu’ils sont les nouveaux Everly Brothers. Le duo adopte le nom de Tom and Jerry, d’apr猫s le cartoon du m锚me nom.

Garfunkel prend le pseudonyme de Tom Graph, en r茅f茅rence 脿 ses aptitudes en math茅matiques et 脿 sa manie de consigner les classements de singles sous forme de graphiques sur du papier millim茅tr茅

Simon prend celui de Jerry Landis, d’apr猫s le nom de famille d’une fille qu’il a fr茅quent茅.

Sid Prosen verse un pot-de-vin 脿 Alan Freed afin que ce dernier diffuse Hey Schoolgirl dans son 茅mission de radio, et la chanson devient rapidement l’un des morceaux les plus populaires de l’茅mission.

Hey Schoolgirl est alors diffus茅e r茅guli猫rement sur les ondes 脿 l’茅chelle nationale.

Le single se vend 脿 plus de 100 000 copies en 1957 et se hisse 脿 la 49e place du Billboard Hot 100. Prosen assure efficacement la promotion du duo, en les faisant notamment passer dans l’茅mission t茅l茅vis茅e American Bandstand aux c么t茅s de Jerry Lee Lewis.

Le producteur s’adjuge toutefois la part du lion dans les royalties d茅gag茅es par le duo, pr茅levant 96% de celles-ci

. Garfunkel, qui n’appr茅cie pas le milieu de l’industrie musicale, informe Simon qu’il souhaite se consacrer 脿 ses 茅tudes.

Simon d茅cide alors de continuer sa carri猫re en solo sous le pseudonyme de True Taylor. 脌 sa sortie du lyc茅e, Simon poursuit des 茅tudes d’anglais au Queens College alors que Garfunkel 茅tudie les math茅matiques 脿 l’universit茅 Columbia.

Les ventes des disques de Simon ne d茅collant pas, celui-ci propose 脿 Garfunkel de reprendre leur collaboration et son ami accepte.

Simon and Garfunkel3

Simon and Garfunkel Cover album3

Cependant, les nouveaux singles sortis par le duo sont des 茅checs commerciaux, ce qui provoque la fin de leur collaboration avec Sid Prosen.

Simon reprend sa carri猫re en solo, ce qui entame son amiti茅 avec Garfunkel, qui voit cela comme une trahison.

Cette tension jamais r茅solue entre les deux hommes influera sur leurs relations durant tout leur parcours commun. Simon ach猫ve son premier cycle universitaire et s’inscrit 脿 temps partiel 脿 la Brooklyn Law School.

Un nouveau d茅part (1963-1964)

Le premier concert de Simon and Garfunkel sous ce nom est 脿 l’origine d’une longue brouille entre Paul Simon et Bob Dylan, ici en 1963.

Simon et Garfunkel s’int茅ressent chacun de leur c么t茅 au mouvement 茅mergeant de la contre-culture et de la musique folk.

Simon devient un habitu茅 de Greenwich Village alors que Garfunkel retourne 脿 l’universit茅 Columbia afin de conserver son statut d’茅tudiant et d’茅viter d’锚tre incorpor茅 alors que l’engagement am茅ricain au Vi锚t Nam se pr茅cise.

Tous deux se retrouvent pour discuter des nouvelles compositions de Simon et les interpr茅ter au si猫ge de la fraternit茅 茅tudiante Alpha Epsilon Pi.

Fin 1963, ils se produisent sous le nom de Kane & Garr 脿 la Gerde’s Folk City, une salle de concerts de West Village.

Ils y interpr猫tent trois nouvelles chansons, Sparrow, He Was My Brother et The Sound of Silence, et captent l’attention du producteur Tom Wilson, qui a d茅j脿 travaill茅 avec Bob Dylan.

Wilson souhaite faire enregistrer He Was My Brother 脿 un groupe britannique mais Simon le persuade de les laisser faire une audition. Leur interpr茅tation de The Sound of Silence lors de celle-ci convainc Wilson, qui presse Columbia Records de leur faire signer un contrat.

Le premier album du duo, Wednesday Morning, 3 A.M., est enregistr茅 sur trois sessions en mars 1964 et sort le 19 octobre.

L’album contient cinq compositions originales de Simon, les sept autres 茅tant des reprises de chansons folk dont The Times They Are a-Changin’ de Bob Dylan.

Simon_&_Garfunkel_932-2092

Simon insiste aupr猫s de Garfunkel pour qu’ils utilisent d茅sormais leurs v茅ritables noms.

Columbia met en place un concert promotionnel 脿 Folk City le 31 mars 1964, qui est le premier concert o霉 le duo se produit sous le nom de Simon and Garfunkel.

Dylan est pr茅sent 脿 ce concert et une altercation l’oppose 脿 Simon, ce qui sera 脿 l’origine d’une longue rancune entre les deux hommes. L’origine de cette tension reste peu claire, certains biographes affirmant que Dylan aurait d茅lib茅r茅ment parl茅 tr猫s fort tout au long du concert alors que d’autres soutiennent qu’il aurait totalement d茅daign茅 celui-ci.

Le concert, tout comme d’autres organis茅s plus tard, n’est pas un succ猫s.

Simon, anticipant l’茅chec de l’album, part pour l’Angleterre et rencontre Kathy Chitty dans un club de folk o霉 il se produit.

Ils tombent amoureux et Kathy lui inspirera plusieurs chansons, notamment Kathy’s Song, America et Homeward Bound.

Wednesday Morning, 3 A.M. ne se vend qu’脿 3 000 exemplaires en quelques semaines et cet 茅chec pousse Simon 脿 rester en Angleterre tandis que Garfunkel reprend ses 茅tudes d’architecture.

Le son du succ猫s (1965-1966)

Les d茅mos que Simon enregistre en Angleterre sont diffus茅es sur les ondes par la BBC et connaissent le succ猫s.

En juin 1965, Columbia fait alors enregistrer 脿 Simon un album solo, The Paul Simon Songbook, qui sort en Angleterre deux mois plus tard et contient plusieurs chansons qui seront reprises plus tard par le duo.

Les ventes de l’album sont m茅diocres mais Simon demeure confiant sur son avenir en Angleterre. Pendant ce temps, de l’autre c么t茅 de l’Atlantique, un disc-jockey de Boston commence 脿 diffuser The Sound of Silence et la chanson devient populaire dans le milieu 茅tudiant de la c么te Est des 脡tats-Unis.

Tom Wilson l’apprend et d茅cide de faire r茅enregistrer la chanson dans une version 茅lectrique sans en informer le duo.

Le single sort en septembre et entre dans le Billboard Hot 100. Garfunkel informe Simon, toujours en Europe, de ce qui est en train de se passer. Simon est horrifi茅 lorsqu’il entend la version 茅lectrique pour la premi猫re fois mais les deux hommes appr茅cient le succ猫s du single28,29.

Simon revient 脿 New York vers la fin de l’ann茅e 1965 afin de reformer son duo avec Garfunkel.

Columbia leur fait enregistrer en d茅cembre un nouvel album et l’intitule 芦聽Sounds of Silence聽禄 afin de profiter du succ猫s du single.

Ce dernier s’empare de la premi猫re place du Billboard Hot 100 en janvier 1966 et d茅passe d茅sormais le million d’exemplaires vendus.

En plus d’une r茅茅dition de The Sound of Silence, l’album comprend cinq chansons de l’album solo de Simon, dont I Am a Rock, et seulement deux titres sont de nouvelles compositions originales.

L’album sort de fa莽on pr茅cipit茅e le 17 janvier 1966 et est suivi quelques jours plus tard par le single Homeward Bound, qui ne figure pas sur l’album et qui int猫gre le top 10 des classements musicaux dans plusieurs pays.

Au mois de mars, c’est ensuite I Am a Rock qui sort en single et qui se classe 3e du Billboard Hot 100. Mais en d茅pit du succ猫s commercial remport茅 par l’album, 21e au Billboard 200, et les singles, le duo est tourn茅 en d茅rision par de nombreux critiques musicaux qui estiment qu’il ne produit qu’une imitation manufactur茅e de la folk.

Alors que le duo part en tourn茅e 脿 travers les 脡tats-Unis, Columbia r茅茅dite Wednesday Morning, 3 A.M. et l’album acc猫de 脿 la 30e place du Billboard 2003.

Simon and Garfunkel en 1966.

Conscients que Sounds of Silence est un travail r茅alis茅 dans la pr茅cipitation afin de capitaliser sur leur succ猫s soudain, Simon et Garfunkel d茅cident de peaufiner leur prochain album.

Simon insiste d’ailleurs pour avoir le contr么le total pendant la production de celui-ci. Garfunkel consid猫re l’enregistrement de leur version de la chanson traditionnelle 芦聽Scarborough Fair聽禄 comme le moment o霉 ils sont devenus les v茅ritables producteurs de leurs albums.

Le duo travaille plusieurs mois sur l’album Parsley, Sage, Rosemary and Thyme et celui-ci sort le 10 octobre. Comprenant notamment Homeward Bound, Scarborough Fair/Canticle, The 59th Street Bridge Song (Feelin’ Groovy), The Dangling Conversation et For Emily, Whenever I May Find Her, il se caract茅rise par de vifs contrastes entre les chansons et obtient l’approbation de la critique, qui reconna卯t son int茅grit茅 artistique, Simon se r茅v茅lant comme 芦 l’un des auteurs-compositeurs les plus dou茅s de l’茅poque 禄.

L’album se hisse par ailleurs 脿 la 4e place du Billboard 200.

Le duo entame dans la foul茅e une mini-tourn茅e sur les campus universitaires o霉 tous les concerts se jouent 脿 guichets ferm茅s. Mort Lewis, leur agent artistique, entretient l’image d茅cal茅e et po茅tique du duo en refusant qu’ils fassent des apparitions 脿 la t茅l茅vision 脿 moins que des conditions draconiennes ne soient accept茅es par l’茅mission.

A Hazy Shade of Winter, qui n’a pas 茅t茅 retenu par le duo pour figurer sur Parsley, Sage, Rosemary and Thyme, sort en single deux semaines apr猫s la sortie de l’album et se classe 13e du Billboard Hot 100.

Popularit茅 et r茅compenses : les laur茅ats (1967-1968)

Simon et Garfunkel enregistrent en janvier 1967 le single At the Zoo et ce dernier est publi茅 le mois suivant, atteignant la 16e place du Billboard Hot 100.

Simon commence alors 脿 travailler sur le prochain album du duo, affirmant qu’il n’est plus int茅ress茅 par les singles.

Il est cependant affect茅 par un blocage de l’茅crivain qui a pour cons茅quence que ce nouvel album ne voit pas le jour en 1967.

脌 cette 茅poque, il est courant que les artistes sortent deux voire trois albums par an et ce manque de productivit茅 inqui猫te les dirigeants de Columbia. Clive Davis, le pr茅sident de Columbia, tente d’acc茅l茅rer la production de l’album en convoquant Simon et Garfunkel 脿 plusieurs reprises pour leur adresser des discours paternalistes mais les deux amis, d茅j脿 m茅fiants envers l’industrie musicale, tournent cela en d茅rision en enregistrant un sermon de Davis pour en rire par la suite.

 

Le 16 juin 1967, Simon and Garfunkel se produisent sur la sc猫ne du festival international de musique pop de Monterey qui marque le coup d’envoi du Summer of Love. Fakin’ It sort en single quelques semaines plus tard mais ne remporte qu’un succ猫s mod茅r茅.

Pendant ce temps, le r茅alisateur Mike Nichols tourne Le Laur茅at et se prend de passion pour la musique du duo, 茅coutant leurs chansons en boucle. Deux semaines plus tard, il rencontre Clive Davis pour lui demander l’autorisation d’utiliser certains morceaux du duo pour la musique du film. Davis est enthousiaste, flairant une parfaite occasion de placer une musique de film en t锚te des ventes de disques.

Simon est beaucoup plus r茅ticent, craignant de compromettre son int茅grit茅 artistique. Il change d’avis apr猫s avoir rencontr茅 Nichols, qui l’impressionne par son intelligence et la qualit茅 de son sc茅nario, et accepte d’茅crire de nouvelles chansons pour le film.

L’agent du duo n茅gocie un contrat qui offre 脿 Simon 25 000 $ pour la composition de trois chansons. Simon propose d’abord 脿 Nichols Punky’s Dilemma et Overs mais aucune des deux ne satisfait le r茅alisateur. Simon revient alors avec une premi猫re version de Mrs. Robinson, qui ne porte pas encore ce titre, qui enthousiasme Nichols.

L’album 芦聽The Graduate聽禄, compos茅 essentiellement de chansons du duo dont Mrs. Robinson, sort le 21 janvier 1968 et s’empare de la premi猫re place du Billboard 200 en avril.

Entretemps, l’enregistrement de Bookends, le quatri猫me album du duo, est enfin termin茅 apr猫s avoir 茅t茅 茅chelonn茅 sur plusieurs sessions depuis un an et demi, mais plus particuli猫rement depuis octobre 1967.

La production de l’album est marqu茅e par son perfectionnisme, l’enregistrement de Punky’s Dilemma 茅tant par exemple 茅tal茅 sur une cinquantaine d’heures. Mrs. Robinson est r茅茅crite et r茅enregistr茅e en f茅vrier 1968, lors des derni猫res sessions et constitue l’une des chansons-phares de l’album aux c么t茅s d’autres titres c茅l猫bres tels que America, A Hazy Shade of Winter et At the Zoo. Bookends, consid茅r茅 comme l’album 芦 le plus intellectuel 禄 du duo, est compos茅 sur sa premi猫re face d’un cycle de chansons plut么t sombres, 茅voquant une m茅ditation sur le passage du temps, qui sont suivies dans sa deuxi猫me partie par des titres plus l茅gers et au son plus rock. Il marque par ailleurs le d茅clin des harmonies du duo, qui disparaissent graduellement au profit d’un chant individuel.

Simon_and_Garfunkel_1968

Bookends sort le 3 avril 1968 et est suivi deux jours plus tard par la sortie en single de Mrs. Robinson dans un contexte tr猫s particulier puisque Martin Luther King est assassin茅 le 4 avril, ce qui provoque une grande 茅motion et une s茅rie d’茅meutes 脿 travers les 脡tats-Unis.

Bookends prend au mois de mai la premi猫re place du Billboard 200, occup茅e jusqu’alors par The Graduate, tandis que Mrs. Robinson s’installe au sommet du Billboard Hot 100 au mois de juin. Bookends devient 脿 cette date le plus grand succ猫s commercial du duo, ayant profit茅 du ph茅nom猫ne de bouche-脿-oreille engendr茅 par la sortie de The Graduate, et les ventes combin茅es des deux albums d茅passent les 5 millions de copies. Lors des Grammy Awards qui se tiennent en mars 1969 et c茅l猫brent les accomplissements des artistes pour l’ann茅e 1968, Mrs. Robinson remporte le prix de l’enregistrement de l’ann茅e, The Graduate celui de la meilleure musique de film et Simon and Garfunkel celui de la meilleure prestation pop d’un duo ou groupe avec chant.

聽BRIDGE OVER TROUBLED WATER : dernier album et s茅paration (1969-1970)

Bookends et The Graduate propulsent Simon and Garfunkel au rang de stars internationales majeures, les deux hommes devenant le duo musical le plus c茅l猫bre du monde. Malgr茅 un d茅saccord avec Clive Davis, qui d茅sirait augmenter d’un dollar le prix de vente de Bookends ce que le duo a refus茅 et que Davis per莽oit comme un manque de gratitude58, Simon et Garfunkel prolongent leur contrat avec Columbia et n茅gocient au passage une augmentation de leur pourcentage de royalties.

Simon est approch茅 par plusieurs producteurs de cin茅ma qui souhaitent qu’il 茅crive des musiques de films et refuse notamment une offre pour Macadam Cowboy (1969).

Il d茅cline 茅galement une offre d’茅criture pour un spectacle de Broadway et collabore bri猫vement avec Leonard Bernstein sur une messe avant de se retirer du projet. De son c么t茅, Garfunkel est engag茅 par Mike Nichols pour interpr茅ter l’un des r么les principaux du film de guerre satirique Catch22 , dans lequel Simon devait aussi jouer avant que son r么le ne soit supprim茅.

Le tournage de Catch 22 commence en janvier 1969 et dure huit mois car il est entrav茅 par de nombreux probl猫mes.

Dans l’intervalle, le single The Boxer est publi茅 en avril et se classe dans le top 10 de plusieurs pays. Cette absence prolong茅e de Garfunkel affecte les relations entre les deux hommes car Simon, qui pr茅pare pendant ce temps le prochain album du duo, se sent abandonn茅.

D猫s le retour de Garfunkel, le duo se met au travail avec ardeur et d茅cline l’invitation qui leur est faite de participer au festival de Woodstock.

En octobre et novembre 1969, Simon and Garfunkel font une mini-tourn茅e aux 脡tats-Unis qui se termine par un concert 脿 guichets ferm茅s 脿 Carnegie Hall.

Le duo produit par ailleurs un documentaire musical, Songs of America, qui est diffus茅 sur CBS le 30 novembre et qui m锚le des extraits de leurs chansons 脿 des images d’茅v茅nements importants des ann茅es 1960.

Ce documentaire n’est diffus茅 qu’une fois en raison des tensions, en rapport avec son contenu politiquement charg茅, qu’il provoque sur la cha卯ne.

L’album 芦聽Bridge ove r Troubled聽禄 Water sort le 26 janvier 1970, tout comme le single du m锚me nom. Dans cet album, le duo abandonne en partie le son folk rock qui a fait sa gloire pour explorer d’autres sonorit茅s, comme le gospel, la musique sud-am茅ricaine, le latin jazz, le rockabilly ou encore le reggae, un m茅lange d’influences qui contribue 脿 sa 芦 richesse musicale 禄. L’album contient onze titres dont Bridge over Troubled Water, Cecilia, El C贸ndor Pasa (If I Could), The Boxer et The Only Living Boy in New York. L’inclusion d’un douzi猫me titre est longuement discut茅 sans que les deux hommes n’arrivent 脿 se mettre d’accord sur son choix.

L’album arrive au sommet des classements musicaux dans dix pays dont les 脡tats-Unis, le Royaume-Uni et la France. C’est l’album le plus vendu des ann茅es 1970, 1971 et 1972 ; il devient 脿 cette 茅poque l’album le plus vendu de tous les temps.

Le single homonyme s’empare lui aussi de la premi猫re place des classements musicaux dans plusieurs pays, alors que les autres singles tir茅s de l’album, Cecilia en avril et El C贸ndor Pasa (If I Could) en ao没t, se vendent aussi tr猫s bien4.

Malgr茅 cet 茅norme succ猫s, le processus d’enregistrement s’est r茅v茅l茅 tr猫s 茅prouvant pour les deux hommes et les tensions accumul茅es entre eux rendent leur s茅paration prochaine presque certaine avant m锚me la sortie de l’album.

Cette s茅paration n’est cependant pas pr茅vue au d茅part pour 锚tre permanente, Garfunkel souhaitant seulement faire une pause de deux ans et Simon ne pr茅voyant pas de reprendre sa carri猫re en solo.

En avril et mai, le duo se produit pour quelques dates en Europe, dont un passage 脿 l’Olympia le 1er mai, avant de jouer son dernier concert le 18 juillet 1970 au Forest Hills Stadium.

Lors de la c茅r茅monie des Grammy Awards 1971, l’album et la chanson Bridge over Troubled Water remportent six r茅compenses, dont celles de l’album de l’ann茅e et de la chanson de l’ann茅e. Quelque temps plus tard, Peggy Harper, l’茅pouse de Simon depuis 1969, pousse celui-ci 脿 rendre la s茅paration du duo officielle.

Simon appelle alors Clive Davis pour lui annoncer qu’il ne pense pas reprendre sa collaboration avec Garfunkel. Durant les quelques ann茅es qui suivent, les deux hommes ne se parlent que deux ou trois fois par an.

R茅unions occasionnelles

Le duo se reforme pour la premi猫re fois au Madison Square Garden en juin 1972 脿 l’occasion d’un concert de soutien pour George McGovern en vue de l’茅lection pr茅sidentielle am茅ricaine.

En 1975, les deux hommes se r茅concilient, dans une atmosph猫re embarrass茅e, 脿 l’occasion d’un passage 脿 une session d’enregistrement avec John Lennon et Harry Nilsson.

Ils tentent de produire de nouvelles chansons ensemble mais n’en concr茅tisent qu’une seule, My Little Town, qui para卯t 脿 la fois sur l’album de Paul Simon Still Crazy After All These Years, et sur celui de Art Garfunkel, Breakaway.

En 1977, Garfunkel vient se joindre 脿 Simon pour une br猫ve repr茅sentation lors d’une 茅mission t茅l茅vis茅e consacr茅e 脿 ce dernier. L’ann茅e suivante, ils enregistrent en compagnie de James Taylor une reprise de Wonderful World.

Les deux hommes passent plus de temps ensemble lorsque Garfunkel revient s’installer 脿 New York en 1978.

En 1981, alors que les carri猫res respectives des deux hommes battent de l’aile, ils sont contact茅s par le producteur de spectacles Ron Delsener qui leur propose de se produire pour un concert gratuit 脿 Central Park.

Le concert se d茅roule le 19 septembre 1981 et attire plus de 500 000 personnes, ce qui constitue pour l’茅poque la plus grande affluence de tous les temps pour un concert. Un enregistrement du concert est r茅alis茅 et donne lieu au premier album live du duo, The Concert in Central Park, qui sort le 16 f茅vrier 1982 et conna卯t un grand succ猫s commercial international.

This slideshow requires JavaScript.

L’茅v茅nement renouvelle 茅galement l’int茅r锚t du public pour le duo, et les deux hommes ont plusieurs conversations 脿 c艙ur ouvert afin d鈥檈ssayer de mettre leurs probl猫mes derri猫re eux80. En mai et juin 1982, Simon and Garfunkel font une tourn茅e au Japon et en Europe mais leurs vieilles querelles refont surface85. N茅anmoins, Warner Bros. insiste pour qu’ils repartent en tourn茅e, ce qu’ils font en f茅vrier 1983 en Australie et en Nouvelle-Z茅lande, puis en juillet et ao没t 1983 en Am茅rique du Nord, et pour qu’ils pr茅parent un nouvel album en commun.

Malgr茅 plusieurs sessions d’enregistrement, leurs diff茅rends se r茅v猫lent 锚tre trop nombreux et Simon enregistre 脿 la place un nouvel album solo, Hearts and Bones, la raison officielle 茅tant qu’il trouve les textes qu’il a 茅crits trop personnels pour 锚tre interpr茅t茅s par quelqu’un d’autre.

En 1990, le duo est intronis茅 au Rock and Roll Hall of Fame et les deux hommes interpr猫tent trois chansons ensemble 脿 cette occasion, sans toutefois s’attarder.

Trois ans plus tard, leurs relations s’茅tant am茅lior茅es, ils se r茅unissent 脿 nouveau en octobre 1993 pour une s茅rie de 21 concerts jou茅s 脿 guichets ferm茅s au Paramount Theatre de New York, qui sont suivis par quelques dates en Asie. Cependant, une nouvelle brouille les tient 茅loign茅s pour le reste de la d茅cennie4.

En 2003, ils sont r茅compens茅s aux Grammy Awards pour l’ensemble de leur carri猫re et les organisateurs les persuadent de se r茅concilier pour cette occasion. Les deux hommes interpr猫tent ensemble The Sound of Silence en ouverture de la c茅r茅monie et jugent cette exp茅rience satisfaisante. Ils mettent alors en place une nouvelle tourn茅e, nomm茅e Old Friends Tour, pendant laquelle ils sillonnent les 脡tats-Unis d’octobre 脿 d茅cembre en jouant 40 concerts.

Ils repartent en tourn茅e, pour 20 dates aux 脡tats-Unis et 12 en Europe, en juin et juillet 200488. Cette tourn茅e se termine par un concert gratuit au Colis茅e de Rome qui r茅unit environ 600 000 personnes89. Un double CD-DVD intitul茅 Old Friends: Live on Stage immortalise cette tourn茅e.

Simon and Garfunkel en concert au New Orleans Jazz & Heritage Festival en 2010.

En 2009, le duo se r茅unit une nouvelle fois pour interpr茅ter trois chansons au Beacon Theatre de New York. Une tourn茅e en Oc茅anie et au Japon est organis茅e dans la foul茅e en juin et juillet90. Cette tourn茅e se passe tr猫s bien et de nouveaux concerts en Am茅rique du Nord sont planifi茅s pour l’茅t茅 2010. Cependant, alors qu’ils se produisent le 24 avril 2010 sur la sc猫ne du New Orleans Jazz & Heritage Festival, Garfunkel est atteint de s茅rieux probl猫mes vocaux. Une paralysie des cordes vocales lui est diagnostiqu茅e et la tourn茅e doit 锚tre annul茅e. Garfunkel ne r茅cup猫re totalement sa voix qu’apr猫s un combat de quatre ans et esp猫re une nouvelle r茅union du duo dans le futur91.

Post茅rit茅

Simon and Garfunkel sont consid茅r茅s comme le duo le plus c茅l猫bre de l’histoire de la musique populaire. Leurs chansons ont laiss茅 une impression forte et durable sur la g茅n茅ration du baby boom et ils comptent, aux c么t茅s des Beatles et Bob Dylan, parmi les artistes les plus repr茅sentatifs du mouvement culturel des ann茅es 1960.

En 2004, le magazine Rolling Stone les classe 脿 la 40e place de sa liste des 100 plus grands artistes musicaux de tous les temps, consid茅rant que 芦 l’茅norme impact 禄 qu’ils ont laiss茅 sur la d茅cennie est d没 principalement 脿 l’alliage entre les talents d’auteur-compositeur de Paul Simon, cr茅ateur d’hymnes dans une palette musicale tr猫s vaste, et la voix unique d’Art Garfunkel.

Dans le Dictionnaire du Rock, ils sont d茅crits comme ayant apport茅 au folk militant un 芦 m茅lange in茅gal茅 de raffinement vocal et de tendresse m茅lancolique 禄.

Pour Gilles Verlant et Thomas Causs茅, dans la Discoth猫que parfaite de l’odyss茅e du rock, 芦 la seconde moiti茅 des sixties est marqu茅e de leur empreinte 禄 gr芒ce 脿 leurs 芦 m茅lodies fines, l茅g猫res et reconnaissables entre mille 禄 alors que 芦 le mariage de leurs voix, absolument unique, est au c艙ur de leur magie, tout comme les textes r茅solument po茅tiques et modernes, remplis d’images singuli猫res 禄.

ART GARFUNKEL : SOLO ALBUM : BRIGHT EYES

SOURCES WIKIPEDIA

Lana Parrilla, the evil queen of “once upon a time”


Lana Parrilla (born July 15, 1977) is an American actress.

Parrilla is best known for her roles on television and radio.

 

LANA PARILLA2

 

IN 聽ENGLISH 聽(EN FRANCAIS PLUS BAS / IN FRENCH BELOW )聽

She was a regular cast member in the fifth season of the ABC sitcom Spin City from 2000 to 2001.

She ( later )guest-starred in Boomtown (2002-2003), Windfall (2006), Swingtown (2008) and as Doctor Eva Zambrano in the short-lived medical drama Miami Medical (2010). She also played the role of Sarah Gavin on the season four of Fox series 24 in 2005. In 2011, Parrilla began starring as The Evil Queen/Regina Mills in the ABC fantasy drama series, Once Upon a Time.

Parrilla was born in Brooklyn. Her father, Sam Parrilla (1943鈥94), was a Puerto Rican-born baseball player who played professionally for 11 seasons (1963鈥73), including one season with the Major League Philadelphia Phillies in 1970 as an outfielder.

 

 

Her mother is an American painter of Sicilian descent who works in banking. Parrilla has one older sister, Deena, and a nephew named Sammy.

She is also the niece of character actress Candice Azzara. Parrilla’s parents legally divorced when she was four years old. She spent her first ten years living with her mother, and then lived with her father. During the time she lived with her father, he was too protective to allow her to attend a performing arts school, which delayed her acting career.

Parrilla lived with her father until his murder in 1994, when she was 16 and he was 50. Her father was shot once in the chest by a 15-year-old female assailant at point blank range and later died from the wound.

After the death of her father, Parrilla moved in with her mother in Burbank, California. Parrilla visited Granada in 2007 to learn Spanish. After high school she moved to Los Angeles and attended Beverly Hills Playhouse to study acting. She also studied voice for ten years. Parrilla then began to be cast in small parts and later on, larger ones.

In her early career, Parrilla appeared in several movies, including Very Mean Men (2000), Spiders (2000), Replicant (2001) and Frozen Stars (2003). She made her television debut in 1999, on the UON sitcom Grown Ups.

In 2000, she joined the cast of the ABC comedy series Spin City, playing Angie Ordonez for one season. She left the show in 2001.

After that she joined Donnie Wahlberg and Neal McDonough in the 2002 critically acclaimed but short-lived crime drama Boomtown, for which she received the Imagen Award for Best Supporting Actress, for her portrayal of Teresa, a paramedic. Initially a success, Boomtown began to struggle, and Parrilla’s character became a police academy rookie, to tie her more closely to the rest of the show. “Boomtown” was cancelled just two episodes into its second season.

Parrilla guest-starred in a number of television dramas, including JAG, Six Feet Under, Covert Affairs, Medium, The Defenders and Chase. She had a recurring role in 2004 as Officer Janet Grafton in NYPD Blue.

 

In 2005, Parrilla took a recurring guest role on the fourth season of the Fox series 24 as Sarah Gavin, a Counter Terrorist Unit agent. After just six episodes, Lana was made a regular cast member; but in the thirteenth episode, her character was written out after she tried to thwart another character’s promotion from temporary to permanent CTU head Michelle Dessler (Reiko Aylesworth).

In 2006, Parrilla starred in the NBC summer series Windfall alongside Luke Perry, fellow former 24 cast member Sarah Wynter, and Parilla’s former Boomtown castmate Jason Gedrick. In 2007, she guest starred as Greta during the third season of ABC’s Lost in the episodes “Greatest Hits” and “Through the Looking Glass” In 2008, she had a leading role on the Lifetime movie The Double Life of Eleanor Kendall, in which she played Nellie, a divorcee whose identity has been stolen.

Also in 2008, she starred in the CBS summer series Swingtown as Trina Decker, a woman who is part of a Swinging couple. In 2010, Parrilla had a female lead role in the Jerry Bruckheimer-produced Miami Medical on CBS, which had a short run towards the end of the 2009鈥10 television season before it was canceled in July 2010.

Windfall, Swingtown and Miami Medical were all canceled after 13 episodes.

In February 2011, she was cast as Mayor Regina Mills/The Evil Queen, the main antagonist in the ABC adventure fantasy drama pilot, Once Upon a Time created by Edward Kitsis and Adam Horowitz.

The series debuted in October 2011.

The pilot episode was watched by 12.93 million viewers and achieved an adult 18鈥49 rating/share of 4.0/10 during the first season, receiving generally favorable reviews from critics.

Parrilla’s performance also received positive reviews from critics. In 2012 and 2013, she was regarded as a promising contender for an Emmy Award in the Outstanding Supporting Actress in a Drama Series category, though she did not receive a nomination.

She won the TV Guide Award for Favorite Villain and the ALMA Award for Outstanding Actress in a Drama Series in 2012.

Parrilla also received a nomination for Best Supporting Actress on Television from the 38th Saturn Awards.

 

Parrilla became engaged to boyfriend Fred Di Blasio on April 28, 2013, while in Israel.

The two were married June 5, 2014, shortly before Parrilla began filming the fourth season of Once Upon a Time.”

Parrilla confirmed the news on her Twitter account on August 1. Parrilla is the stepmother to Di Blasio’s three sons: Jack, age 18, Patrick, age 15, and Matthew, age 13.

 

EN FRANCAIS

LANA PARRILLA

Lana Maria Parrilla, n茅e le 15 juillet 1977 脿 Brooklyn dans l’脡tat de New York, est une actrice am茅ricaine.

 

Lana.Parrilla.2015

 

Lana Parrilla est n茅e d’une m猫re italienne artiste-peintre et d’un p猫re porto-ricain, Sam Parrilla. Ce dernier fut un joueur professionnel de baseball am茅ricain 茅voluant dans l’茅quipe des Phillies de Philadelphie dans les ann茅es 1970. Il est assassin茅 en 1994 脿 la suite d’une altercation qui a mal tourn茅. Elle a une s艙ur a卯n茅e pr茅nomm茅e Deena et est la ni猫ce de l’actrice Candice Azzara, qui l’a inspir茅e dans sa carri猫re d’actrice.

Apr猫s le lyc茅e, Lana Parrilla a d茅m茅nag茅 脿 Los Angeles pour commencer sa carri猫re o霉 elle a 茅tudi茅 脿 la Beverly Hills Playhouse.

Elle r茅side 脿 Vancouver avec son mari Alfredo “Fred” DiBlasio. Elle n’a pas d’enfant mais vit avec les trois adolescents de son compagnon ainsi que leurs animaux de compagnie. Elle s’est fianc茅e en Isra毛l le 29 avril 2013 et s’est mari茅e le 5 juillet 2014.

Elle d茅veloppe tr猫s jeune un go没t pour la com茅die, inspir茅e par sa tante, l’actrice am茅ricaine Candice Azzara. Elle suit des cours 脿 Los Angeles avant de d茅buter dans une s茅rie en 1999, Grown Ups durant deux 茅pisodes. Elle encha卯ne les s茅ries avec le r么le r茅gulier d’Angie Ordonez dans Spin City en 2000, puis Boomtown en 2002.

LANA PARILLA

 

Elle joue dans des s茅ries d’action et policier avec JAG en 2000, New York Police Blues en 2004 ainsi que dans une saison de 24 heures chrono dans le r么le de Sarah Gavin.

En 2008, elle incarne Trina Decker dans la s茅rie Swingtown. Elle incarne une voisine d’un couple qui va d茅couvrir, gr芒ce 脿 elle, la lib茅ration sexuelle.

En 2011, dans la nouvelle s茅rie t茅l茅vis茅e fantastique am茅ricaine Once Upon a Time, elle joue l’un des r么les principaux f茅minins en incarnant le Maire de Storybrooke, Regina Mills, ainsi que le personnage de la M茅chante Reine, belle-m猫re de Blanche-Neige.

Lana Parrilla a 茅t茅 attaqu茅e 脿 dix ans par un chien, ce qui lui a laiss茅 une cicatrice visible sur le c么t茅 droit de sa l猫vre sup茅rieure

Elle est 茅galement une chanteuse 脿 certaines occasions, pr锚tant sa voix en fond sonore pour un tube de musique compos茅 par deux des trois fils de son compagnon. Ces derniers forment un groupe de musique appel茅 45 Spacer et Lana a contribu茅 脿 leur tube appel茅 Naughty Boys, en 2012 ainsi qu’脿 You and Me en 2013.

Elle a obtenu le r么le r茅gulier d’Angie Ordonez dans la s茅rie Spin City en 2000 apr猫s avoir d没 passer six auditions au total.

Lana Parrilla connaissait toute l’histoire de la Reine Regina d猫s le pilote de la saison 1 de Once Upon a Time. Les sc茅naristes Edward Kitsis et Adam Horowitz lui ont r茅v茅l茅 le pass茅 du personnage avec Blanche-Neige afin qu’elle incarne au mieux son r么le.

ONCE UPON A TIME

 

Lana et l’acteur Jorge Garcia se connaissent depuis pr猫s de vingt ans. En effet, ils ont d茅but茅 ensemble leurs cours de th茅芒tre 脿 Los Angeles et sont devenus tr猫s amis. Ils se sont retrouv茅s lors du tournage de la saison 3 de Lost, en 2006, o霉 Garcia incarnait un survivant alors qu’ils 茅taient log茅s dans la m锚me hutte. Ils se sont ensuite retrouv茅s ensemble dans la saison 2 de Once Upon a Time.

Jack DiBlasio, le fils a卯n茅 de son compagnon, a fait une apparition dans le dernier 茅pisode de la saison 2 de Once Upon a Time, dans le r么le d’un des Enfants Perdus du Pays Imaginaire.

Elle a une petite plume tatou茅e au poignet droit, symbole d’espoir.

 

 

Cin茅ma

2000 : Spiders de Gary Jones : Marci

2000 : Very Mean Men de Tony Vitale : Teresa

2001 : Replicant de Ringo Lam : Marci

2003 : One Last Ride de Tony Vitale : Antoinette

 

T茅l茅vision

1999 : Grown Ups de Brian K. Roberts & Richard Correll (S茅rie TV) : Une serveuse

2000 – 2001 : Spin City de Ted Wass (S茅rie TV) : Angie Ordonez

2001 : Semper fi de Michael W. Watkins (T茅l茅film)

2002 – 2003 : Boomtown de Frederick King Keller, Jon Avnet (S茅rie TV) : Teresa Ortiz

2002 : The Shield de Scott Brazil (S茅rie TV) : Sedona Tellez

2002 : JAG de Terrence O’Hara (S茅rie TV) : Lt. Stephanie Donato

2004 : Six Feet Under (Six Feet Under) de Peter Webber et Miguel Arteta (S茅rie TV) : Maile

2004 : New York Police Blues (NYPD Blue) de Robert J. Doherty, Mark Tinker & Dennis Dugan (S茅rie TV) : Officier Janet Grafton

2005 : 24 heures chrono de Ken Girotti, Jon Cassar (S茅rie TV) : Sarah Gavin

2006 : Windfall : Des dollars tomb茅s du ciel d’Ellen S. Pressman, Matt Shakman (S茅rie TV) : Nina Schaefer

2007 : Lost : Les Disparus de Stephen Williams & Jack Bender (S茅rie TV) : Greta

2008 : Swingtown d’Alex Zakrzewski, Alan Poul (S茅rie TV) : Trina Decker

2008 : Mon identit茅 vol茅e (The Double Life of Eleanor Kendall) de Richard Roy (T茅l茅film) : Nellie

2010 : M茅dium (s茅rie t茅l茅vis茅e) (S茅rie TV) : Lydia

2010 : Miami Medical (S茅rie TV) : Dr Eva Zambrano

2010 : Chase (S茅rie TV) : Isabella

2011 : Covert Affairs (S茅rie TV) : Julia Suarez

2011 – en cours : Once Upon a Time (S茅rie TV) : La M茅chante Reine / Regina Mills

 

 

 

 

SOURCES WIKIPEDIA

Linda Hunt aka Hetty from “N.C.I.S” (los angeles)


LINDA HUNT 3

LINDA HUNT 聽Aka HETTY in NCIS LA

 

 

 

Linda Hunt, de son vrai nom聽Lydia Susanna Hunter, est une聽actrice聽am茅ricaine聽n茅e le聽2聽avril聽1945聽脿Morristown聽(New Jersey).

 

Lydia Susanna Hunter (born April 2, 1945), better known by her stage name Linda Hunt, is an American film, stage and television actress known for her role as Henrietta Lange in the CBS series NCIS: Los Angeles.

 

 

Elle est la fille d’Elsie Doying, professeur de piano, et de Raymond Davy Hunter, vice-pr茅sident d’une compagnie p茅troli猫re de Long Island, la Harper Fuel Oil. Elle a une s艙ur, Marcia.

Linda Hunt a 茅tudi茅 脿 l’universit茅 Interlochen Arts Academy. Elle a obtenu l’Oscar de la meilleure actrice dans un second r么le en 1984 pour son r么le dans L’Ann茅e de tous les dangers de Peter Weir.

Elle a servi de mod猫le 脿 Brad Bird pour le personnage d’Edna E. Mode dans Les Indestructibles.

Elle est atteinte de nanisme hypophysaire (et non du syndrome de Turner comme 茅crit dans certains blogs), ce qui fait qu’elle a une taille (1,45 m) bien en dessous de la moyenne.

 

 

 

 

LINDA HUNT

After making her film debut playing Mrs. Oxheart in Popeye (1980), Hunt portrayed the male character Billy Kwan, her breakthrough performance, in The Year of Living Dangerously (1982). Her role as Billy Kwan earned her an Academy Award, an Australian Film Institute Award, a Golden Globe nomination and various other awards.

She has had great success in films such as The Bostonians (1984), Dune (1984), Silverado (1985), Eleni (1985), Waiting for the Moon (1987), She-Devil (1989), Kindergarten Cop (1990), If Looks Could Kill (1991), Rain Without Thunder (1992), Twenty Bucks (1993), Younger and Younger (1993), Pr锚t-脿-Porter (1994), Pocahontas (1995), The Relic (1997), Pocahontas II: Journey to a New World (1998), Dragonfly (2002), Yours Mine and Ours (2005) and Stranger Than Fiction (2006).

Hunt has also had a successful television career. She played Rose in the television movie Basements (1987) and narrated in the television movie The New Chimpanzees. She guest starred on Hallmark Hall of Fame in both 1978 and 1987, Space Rangers in 1993, Carnivale in both 2003 and 2005, Without a Trace in 2008, The Unit in 2008 and Nip Tuck in 2009. From 1997 to 2002, Hunt played the recurring role of Judge Zoey Hiller on The Practice. She currently portrays Henrietta ‘Hetty’ Lange on the CBS television series NCIS 聽Los Angeles, a role she has held since the 2009 debut, for which she has received two Teen Choice Awards. She is also the narrator in the God of War video game franchise.

Hunt was born in Morristown, New Jersey, and raised in Westport, Connecticut. She is one of the two daughters of Raymond Davy Hunter, vice president of Harper Fuel Oil on Long Island, and Elsie Doying Hunter, a piano teacher who taught at the Westport School of Music and accompanied the Saugatuck Congregational Church choir. Hunt attended the Interlochen Arts Academy and the Goodman School of Drama in Chicago (now part of DePaul University)

LINDA HUNT

LINDA HUNT

 

Film

Hunt’s film debut in 1980 was in Robert Altman’s musical comedy Popeye. Two years later, she co-starred as Billy Kwan in The Year of Living Dangerously, Peter Weir’s film adaptation of the novel of the same name.

For her role as the male Chinese-Australian photographer Billy Kwan, Hunt won the Academy Award for Best Supporting Actress in 1983, becoming the first person to win an Oscar for playing a character of the opposite sex.

In addition, the character was Asian and had the condition of dwarfism. In her screen test, Hunt wore a hairpiece, a fake moustache, and “paste-on pieces above her eyes to appear Oriental”.

To accomplish the role during production, Hunt shortened “her hair and dyed it black, wore padding around her waist, shaved her eyebrows, and carried something in her shirt pocket.” In her 1986 interview with the Bomb magazine, Hunt remarked that Billy Kwan “is supra-personal with layers of sexual ambiguity.”

Hunt also played a nurse in She-Devil (1989) and the austere school principal opposite Arnold Schwarzenegger in Kindergarten Cop in 1990.

Theatre

Also a well known stage actress, Hunt has received two Obie awards and a Tony Award nomination for her theatre work.

She created the role of Aunt Dan in Wallace Shawn’s play Aunt Dan and Lemon. She portrayed Sister Aloysius in the Pasadena Playhouse production of John Patrick Shanley’s play Doubt.

She was praised for her performance as the title character in Bertolt Brecht’s Mother Courage and Her Children.

Hunt also appeared as Pope Joan in Caryl Churchill’s “Top Girls” when London’s Royal Court Theatre’s production was staged at the Public Theater in New York. In an interview with writer Craig Gholson and actor Vincent Caristi, Hunt discusses her experience acting in theatre, 鈥淎cting onstage is like an explosion each night.

And what comes in at you all the time as you are trying to 聽create something which is a tremendous act of organization and concentration.鈥.

Television

Her television appearances include recurring roles as Judge Zoey Hiller on David E. Kelley’s series The Practice and as Dr. Claire Bryson on Without a Trace. She has narrated several installments of The American Experience on PBS.

She now plays the role of an operations manager and supervisor on the CBS fall show NCIS: Los Angeles with Chris O’Donnell, LL Cool J, Daniela Ruah, Eric Christian Olsen and Barrett Foa.

LINDA HUNT2

HETTY AND CALLEN 聽IN NCIS LOS ANGELES

 

Voice work

Hunt has a rich, resonant voice, which she has used in numerous documentaries, cartoons, and commercials. She is the on-air host for City Arts & Lectures, a radio program recorded by KQED public radio at the Nourse Theater in San Francisco.

Hunt interviews celebrated writers, artists and thinkers addressing contemporary ideas and values, often discussing the creative process.

Hunt was chosen by Walt Disney Feature Animation to lend her enigmatic speaking and singing voice to Grandmother Willow in the animated musical film Pocahontas and its direct-to-video sequel Pocahontas II: Journey to a New World.

Her voice work includes also the character of “Management” in Carniv脿le, and the titan Gaia, who serves as the Narrator in the God of War series of video games.

She narrated the introductory film at the International Spy Museum in Washington, D.C., and has also been heard in various commercials of the late 1990s for Tylenol.

Hunt narrated the PBS Nature special entitled “Christmas in Yellowstone”. She also narrated the National Geographic documentary The Great Indian Railway.

 

ncis Hetty

HENRIETTA 聽HETTY 聽NCIS L.A.

 

SOURCES WIKEPEDIA

 

ALSO ABOUT NCIS ON OUR WEBSITE :聽ZIVA DAVID AKA COTE PABLO

 

https://radiosatellite.co/2016/10/09/ncis-new-orleans/

 

 

 

Person of interest


Person of Interest ou Personne d’int茅r锚t au Qu茅bec est une s茅rie t茅l茅vis茅e am茅ricaine cr茅茅e par Jonathan Nolan et produite par J. J. Abrams.

person of interest

PERSON OF INTEREST est diffus茅e en simultan茅 depuis le 22 septembre 2011 sur CBS aux 脡tats-Unis et sur Citytv pour les deux premi猫res saisons, puis sur le r茅seau CTV au Canada.

En Belgique, la s茅rie est diffus茅e depuis le 28 ao没t 2012 sur La Une, cha卯ne du groupe de la RTBF, au Qu茅bec, depuis le 5 septembre 2012 sur le r茅seau V, en France, depuis le 6 mars 2013 sur TF1 et en Suisse, depuis le 30 juin 2013 sur RTS Un.

 

 

La s茅rie est aussi rediffus茅e dans le cadre d’une syndication sur la cha卯ne du c芒ble am茅ricaine WGN America et 茅galement sur Netflix 脡tats-Unis, depuis l’automne 2015.

Person of Interest 聽est souvent cit茅e comme 茅tant une des meilleures s茅ries diffus茅es sur une grande cha卯ne am茅ricaine.

Les critiques soulignent entre autres la capacit茅 que la s茅rie a 脿 s’am茅liorer saison apr猫s saison, ses personnages tr猫s travaill茅s ou encore son ambiance r茅aliste d’une Am茅rique post-11 septembre.

Si la s茅rie est parfois d茅sign茅e comme 茅tant 芦 la meilleure s茅rie de science-fiction actuellement diffus茅e 禄, Person of Interest s’inscrit dans une th茅matique bien r茅elle, notamment depuis les r茅v茅lations d’Edward Snowden sur la surveillance globale mise en place par les 脡tats-Unis, et soul猫ve de nombreuses questions quant au respect de la vie priv茅e. Elle a 茅t茅 nomm茅e pour un Primetime Emmy Awards en 201211,聽 2012, 2013,2014.

John Reese, un ex-agent paramilitaire de la CIA pr茅sum茅 mort, est engag茅 par le myst茅rieux milliardaire Harold Finch. Dans le pass茅, ce dernier a con莽u un syst猫me de surveillance de masse pour le gouvernement voulant 茅viter un nouveau 11 septembre. Le syst猫me est capable de pr茅dire les actes terroristes dans le monde, en s’appuyant sur de nombreuses donn茅es comme les enregistrements des cam茅ras de surveillance et des appels t茅l茅phoniques, ou les ant茅c茅dents judiciaires.

Cependant, la Machine rep猫re aussi les crimes entre citoyens ordinaires consid茅r茅s comme mineurs par le gouvernement. Les autorit茅s ayant d茅cid茅 de ne pas tenir compte de ces donn茅es, Finch s’est laiss茅 une porte de sortie et re莽oit chaque jour les num茅ros de s茅curit茅 sociale des personnes impliqu茅es 脿 New York ou dans ses environs. C’est avec l’aide de Reese qu’il va tenter de retrouver ces 芦 Persons of Interest 禄 (trad. litt. : 芦 Personnes d’int茅r锚t 禄) et de d茅couvrir si elles ont le r么le de victime ou de coupable dans l’affaire concern茅e.

Traqu茅s par le lieutenant de police Jocelyn 芦 Joss 禄 Carter, ils sont aid茅s par un autre lieutenant, anciennement v茅reux, Lionel Fusco, qui leur fournit des informations et garde un 艙il sur sa coll猫gue polici猫re. Mais l鈥檃rriv茅e dans New York de deux justiciers va 茅galement contrarier plusieurs organisations criminelles.

 

Acteurs principaux

Jim Caviezel: John Reese

Michael Emerson: Harold Finch

Kevin Chapman: le lieutenant Lionel Fusco

Amy Acker: Samantha 芦 Sam 禄 Groves alias 芦 Root 禄 (invit茅e saison 1, r茅currente saison 2, principale 脿 partir de la saison 3)

Sarah Shahi : Sameen Shaw (r茅currente saison 2 , principale 脿 partir de la saison 3)

 

 

Person of Interest is an American science fiction crime drama television series created by Jonathan Nolan that premiered on September 22, 2011, on CBS.

 

 

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鈥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.

 

Jim_Caviezel

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.

MICHAEL EMERSON

Michael Emerson aka Harold FINCH

 

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.

AMY ACKER

AMY ACKER

 

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.

KEVIN CHAPMAN

KEVIN CHAPMAN

 

The Machine creates new identities for the Team so that they can fly beneath Samaritan’s radar.

The Machine

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.

 

SARAH SHAHI

SARAH SHAHI

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鈥). 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.

 

TARAJI HENSON

TARAJI HENSON AKA Lt Joss CARTER Season 1 to 3

Within the ISA, the program responsible for The Machine was known as Northern Lights before鈥攁fter 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鈥檚 status is in relation to The Machine and whether they pose a threat. Season four features Samaritan鈥檚 point of view, using a different UI鈥攖hough 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 芦 Sam 禄 Groves Aka 芦 Root 禄

Sarah Shahi : Sameen Shaw

 

Jim_Caviezel2jpg

JIM KAVIEZEL 聽AKA 聽JOHN REESE

Sources Wikipedia

MUSIC …REMEMBER THE SOUND AND THE MOVIE


The Sound of Music is a 1965 American musical drama film produced and directed by Robert Wise and starring Julie Andrews and Christopher Plummer.

 

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.

Sound of music team

The team before and nowadays

 

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鈥攕urpassing Gone with the Wind鈥攁nd 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鈥攖he fifth highest grossing film of all time.

The Sound of Music received five Academy Awards, including Best Picture and Best Director.

 

The_Sound_of_Music_Christopher_Plummer_and_Julie_Andrews

Julie Andrews & Christopher Plummer (The sound of Music )

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”.

 

 

Sound of music team

 

 

 

 

 

 

 

 

 

 

“Sources Wikipedia”

 

Listen to the best music on RS2 : This music is played on RS2 : RADIO SATELLITE2 聽WEBRADIO

on Internet (Apps, Computors, TV… 聽For the FREE APPS to install ….Details are on our website : here =>聽FOR INSTALLING FREE APPS TO LISTEN ON YOUR SMARTPHONES OR TABLETS

 

 

 

 

THE CHANGE UP 2011


The Change-Up is a 2011 American comedy film produced and directed by David Dobkin, written by Jon Lucas and Scott Moore, and starring Ryan Reynolds and Jason Bateman.

The film was released on August 5, 2011, in North America, by Universal Pictures, and received mostly negative reviews, with commentators criticizing the overly crude humor and generic plot, but praising the cast and particularly Bateman’s against-type performance.

Dave Lockwood (Jason Bateman) and Mitch Planko (Ryan Reynolds) are close friends who are each jealous of the other’s lifestyle.

 

While Dave is a lawyer with a wife and kids, Mitch is a freewheeling actor who has sex with many different women.

After getting drunk at a bar, Mitch and Dave urinate in a park’s fountain, and simultaneously wish that they had each other’s lives.

The next morning, Mitch and Dave realize they have switched bodies. Mitch remembers the wish they made the night before and they drive back to the park, planning to urinate again in the fountain and wish for their original lives back, but find the fountain has been removed for restorations.

 

Sources Wikipedia

 

This slideshow requires JavaScript.

 

the change up movie 2011

the change up movie 2011

ALDO MACCIONE… BIRTHDAY 27 NOV


HAPPY BIRTHDAY ALDO MACCIONE

Aldo Maccione est un acteur et chanteur italien n茅 le 27 novembre 1935 脿 Turin (Italie).

 

 

Acteur de com茅die, il a tourn茅 dans son pays d’origine, mais c’est en France qu’il est devenu une vedette et o霉 il a fait l’essentiel de sa carri猫re dans les ann茅es 1970 et les ann茅es 1980.

 

Apr猫s avoir gagn茅 un radio-crochet dans les ann茅es 60, Aldo Maccione est engag茅 par un th茅芒tre turinois o霉 il se fait remarquer en imitant les stars de l’茅poque comme Jerry Lewis et Clark Gable. Venu travailler 脿 Paris, il fait les entractes de l’Olympia avec son groupe italien, le quatuor 芦聽Les Brutos聽禄. Ils se produisent aux quatre coins de la plan猫te.

ALDO3

 

Entre quelques scopitones (anc锚tres des clips) dont un tourn茅 par son futur r茅alisateur, Claude Lelouch, et quelques 茅missions t茅l茅 de vari茅t茅, il cr茅e un nouveau groupe parodique, 芦聽Les Tontos聽禄, qui se produit six ans d’affil茅e 脿 l’Emporium de Barcelone. C’est en accompagnant Sacha Distel 脿 Londres et 脿 l’Olympia qu’il cr茅e et popularise sa marque de fabrique聽: 芦聽Aldo la classe聽禄

ALDO4

 

En 1970, Claude Lelouch, amus茅 par sa d茅marche cambr茅e 芦聽emprunt茅e聽禄 脿 Alberto Sordi, lui donne son premier r么le au cin茅ma dans Le Voyou. En 1972, il retrouve Claude Lelouch pour L’aventure c’est l’aventure o霉, aux c么t茅s de vedettes comme Lino Ventura, Charles Denner et Jacques Brel, il fait une c茅l猫bre d茅monstration de groupe de sa d茅marche.

ALDO MACCINE12

 

Dans les ann茅es 1970, les r么les comiques se succ猫dent. Il appara卯t dans le premier volet de la Septi猫me Compagnie en 1973 (Henri Guybet reprendra son r么le dans les deux 茅pisodes suivants), mais aussi aux c么t茅s de Pierre Richard (Je suis timide mais je me soigne, C’est pas moi, c’est lui) ou Jean-Paul Belmondo (L’Animal).

ALDO MACCIONE 7

 

Les ann茅es 1980 s’av猫rent glorieuses et il est une vedette qui permet 脿 des com茅dies de se monter sur son seul nom. Il abandonne son personnage d’芦聽Aldo la classe聽禄 脿 la fin des ann茅es 1980 et a du mal 脿 donner un nouveau souffle 脿 sa carri猫re, faisant n茅anmoins quelques apparitions dans des films ou t茅l茅films.

ALDO

 

En 2005, il appara卯t dans le film fran莽ais Travaux, on sait quand 莽a commence… aux c么t茅s de Carole Bouquet et Jean-Pierre Castaldi, dans le r么le d’un carreleur un peu trop imbu de sa personne.

This slideshow requires JavaScript.

 

Il vit d茅sormais 脿 Saint-Paul-de-Vence dans les Alpes-Maritimes.

 

脌 partir du 29 janvier 2010, il participe 脿 la troisi猫me saison de La Ferme C茅l茅brit茅s en Afrique qu’il quitte le 5 f茅vrier 2010, pour cause de probl猫mes de sant茅.

 

Le 5 juin 2015, le journaliste et r茅alisateur Gilles Botineau publie aux 脡ditions Christian Navarro une biographie enti猫rement consacr茅e au com茅dien. L’ouvrage, titr茅Aldo Maccione, la classe , est pr茅fac茅 par Claude Lelouch.

 

Sources Wikipedia

Joe Coker


 

John Robert “Joe” Cocker聽OBE (20 May 1944 鈥 22 December 2014) was an English rock and blues singer, who came to popularity in the 1960s, and is known for his gritty voice, his spasmodic body movement in performance and his cover versions of popular songs, particularly those of the Beatles.

j coker11 His cover of the Beatles’ “With a Little Help from My Friends” reached number one in the UK in 1968, and he performed the song live at Woodstock in 1969. His version also became the theme song for the TV series The Wonder Years. His 1975 hit single, “You Are So Beautiful”, reached number five in the US. Cocker is the recipient of several awards, including a 1983 Grammy Award for his US number one “Up Where We Belong”, a duet with Jennifer Warnes. In 1993 he was nominated for the Brit Award for Best British Male, and in 2008 he received an OBE at Buckingham Palace for services to music.

 

Cocker was ranked #97 on Rolling Stone’s 100 greatest singers list. Cocker was born on 20 May 1944 at 38 Tasker Road, Crookes, Sheffield, West Riding of Yorkshire. He is the youngest son of a civil servant, Harold Cocker, and Madge Cocker. According to differing family stories, Cocker received his nickname of Joe either from playing a childhood game called “Cowboy Joe” or from a local window cleaner named Joe. joe coker the essential Cocker’s main musical influences growing up were Ray Charles and Lonnie Donegan. Cocker’s first experience singing in public was at age 12 when his elder brother Victor invited him on stage to sing during a gig of his skiffle group. In 1960, along with three friends, Cocker formed his first group, the Cavaliers. For the group’s first performance at a youth club, they were required to pay the price of admission before entering. The Cavaliers eventually broke up after a year and Cocker left school to become an apprentice gasfitter while simultaneously pursuing a career in music.

 

In 1961, under the stage name Vance Arnold, Cocker continued his career with a new group, Vance Arnold and the Avengers.聽The name was a combination of Vince Everett, Elvis Presley’s character in Jailhouse Rock, (which Cocker misheard as Vance) and country singer Eddy Arnold.聽The group mostly played in the pubs of Sheffield,聽performing covers of Chuck Berry and Ray Charles songs. In 1963, they booked their first significant gig when they supported the Rolling Stones atSheffield City Hall. In 1964, Cocker signed a recording contract as a solo act with Decca and released his first single, a cover of the Beatles’ “I’ll Cry Instead” (with Big Jim Sullivan and Jimmy Page playing guitars).

 

Despite extensive promotion from Decca lauding his youth and working class roots, the record was a flop and his recording contract with Decca lapsed at the end of 1964.聽After Cocker recorded the single, he dropped his stage name and formed a new group, Joe Cocker’s Big Blues. There is only one known recording of Joe Cocker’s and Big Blues on an EP given out by Sheffield College during Rag Week and called Rag Goes Mad at the Mojo. It contained a cover of Curtis Mayfield’s “I’ve Been Trying” and a track of “Saved”. joe cokerThe Grease Band (1966鈥1969) In 1966, after a year-long hiatus from music, Cocker teamed up with Chris Stainton, whom he had met several years before, to form the Grease Band.The Grease Band was named after Cocker read an interview with jazz musician Jimmy Smith, where Smith described another musician as “having a lot of grease”.

 

Like the Avengers, Cocker’s group mostly played in pubs in and around Sheffield. The Grease Band came to the attention of Denny Cordell, the producer of Procol Harum, the Moody Blues and Georgie Fame. Cocker recorded the single “Marjorine” without the Grease Band for Cordell in a London studio. He then moved to London with Chris Stainton, and the Grease Band was dissolved. Cordell set Cocker up with a residency at the Marquee Club in London, and a “new” Grease Band was formed with Stainton and keyboardist Tommy Eyre. After minor success in the US with the single “Marjorine”, Cocker entered the big time with a groundbreaking rearrangement of “With a Little Help from My Friends”, another Beatles cover, which, many years later, was used as the opening theme for The Wonder Years.

 

The recording features lead guitar from Jimmy Page, drumming by BJ Wilson, backing vocals from Sue and Sunny, and Tommy Eyre on organ. The single made the Top Ten on the British charts, remaining there for thirteen weeks and eventually reaching number one, on 9 November 1968.聽It also reached number 68 on the US charts. The new touring line-up of Cocker’s Grease Band featured Henry McCullough on lead guitar, who would go on to briefly play with McCartney’s Wings. After touring the UK with the Who in autumn 1968and Gene Pitney and Marmalade in early winter 1969, the Grease Band embarked on their first tour of the US in spring 1969. Cocker’s album With a Little Help from My Friends was released soon after their arrival and made number 35 on the American charts, eventually going gold. joe coker2 During his US tour, Cocker played at several large festivals, including the Newport Rock Festivaland the Denver Pop Festival.

 

In August, Denny Cordell heard about the planned concert inWoodstock, New York and convinced organiser Artie Kornfeld to book Cocker and the Grease Band for the Woodstock Festival. The group had to be flown into the festival by helicopter due to the large crowds. They performed several songs, including “Delta Lady”, “Something’s Comin’ On”, “Let’s Go Get Stoned”, “I Shall Be Released”, and “With a Little Help from My Friends”. Cocker would later say that the experience was “like an eclipse… it was a very special day.”

 

Directly after Woodstock, Cocker released his second album, Joe Cocker!. Impressed by his cover of “With a Little Help from My Friends”, Paul McCartney and George Harrison allowed Cocker to use their songs “She Came in Through the Bathroom Window” and “Something” for the album.Recorded during a break in touring in the spring and summer, the album reached number 11 on the US charts and garnered a second UK hit with the Leon Russell song, “Delta Lady”. Throughout 1969 he was featured on variety TV shows like The Ed Sullivan Show and This Is Tom Jones. Onstage, he exhibited an idiosyncratic physical intensity, flailing his arms and playing air guitar, occasionally giving superfluous cues to his band.聽

 

At the end of the year Cocker was unwilling to embark on another US tour, so he dissolved the Grease Band. Despite Cocker’s reluctance to venture out on the road again, an American tour had already been booked so he had to quickly form a new band in order to fulfil his contractual obligations. It proved to be a large group of more than 30 musicians, including pianist and bandleader Leon Russell, three drummers, and backing vocalists Rita Coolidge and Claudia Lennear.

The new band was christened “Mad Dogs and Englishmen” by Denny Cordell after the No毛l Coward song of the same name. joe coker3 His music at this time evolved into a more bluesy type of rock, often compared to that of the Rolling Stones. During the ensuing Mad Dogs and Englishmen tour (later described by drummer Jim Keltner as “a big, wild party”),聽Cocker toured 48 cities, recorded a live album, and received very positive reviews from Time and Life for his performances. However, the pace of the tour was exhausting. Russell and Cocker had personal problems and Cocker became depressed and began drinking excessively as the tour wound down in May 1970.

 

Meanwhile, he enjoyed several chart entries in the US with “Cry Me a River” and “Feelin’ Alright” by Dave Mason. His cover of the Box Tops’ hit “The Letter”, which appeared on the live album and film, Mad Dogs and Englishmen, became his first US Top Ten hit. After spending several months in Los Angeles, Cocker returned home to Sheffield where his family became increasingly concerned with his deteriorating physical and mental health. During this time, in periods between work, Cocker wrote the overture played by Ted Heathon the occasion the Prime Minister famously conducted a live orchestra whilst in office.聽In the summer of 1971 the A&M Recordssingle release appeared in the US of “High Time We Went”.

 

This became a hit, reaching number 22 on the US Billboard Hot 100 chart, but was not issued on an album until November 1972 on the Joe Cocker album. In early 1972, after nearly two years away from music, Cocker went on tour with a group that Chris Stainton had formed. He opened with a performance in Madison Square Garden which was attended by about 20,000 people. After touring the US, he embarked on a European tour where he played to large audiences in Milan, Italyand Germany. He then returned to the US for another tour in autumn 1972. During these tours the group cut the songs that would be part of his newest album, Joe Cocker. A mixture of live songs and studio recordings, the album peaked at number 30 on the US charts.Joe Cocker with his OBE, 2007

Cocker performing on 16 October 1980 in the National Stadium, Dublin

In October 1972, when Cocker toured Australia, he and six members of his entourage were arrested in Adelaide by police for possession of marijuana. The next day in Melbourne, assault charges were laid after a brawl at the Commodore Chateau Hotel,and Cocker was given 48 hours to leave the country by the Australian Federal Police.

 

This caused huge public outcry in Australia, as Cocker was a high-profile overseas artist and had a strong support base, especially amongst the baby boomers who were coming of age and able to vote for the first time. It sparked hefty debate about the use and legalisation of marijuana in Australia and gained Cocker the nickname of “the Mad Dog”.Shortly after the Australian tour, Stainton retired from his music career to establish his own recording studio. After his friend’s departure and estrangement from longtime producer Denny Cordell, Cocker sank into depression and began using heroin. In June 1973 he kicked the habit, but continued to drink heavily. At the end of 1973, Cocker returned to the studio to record a new album, I Can Stand A Little Rain. The album, released in August 1974, was number 11 on the US charts and one single, a cover of Dennis Wilson and Billy Preston’s “You Are So Beautiful”, which reached the number 5 slot.Despite positive reviews for the album, Cocker struggled with live performances, largely due to his problems with alcohol.

 

One such instance was reported in a 1974 issue of Rolling Stone magazine, saying during two West Coast performances in October of that year he threw up on stage.jcoker12 In January 1975, he released a second album that had been recorded at the same time as I Can Stand a Little Rain, Jamaica Say You Will. To promote his new album, Cocker embarked on another tour of Australia, made possible by the country’s newLabor government. In late 1975, he contributed vocals on a number of the tracks on Bo Diddley’s The 20th Anniversary of Rock ‘n’ Roll all-star album. He also recorded a new album in a Kingston, Jamaica studio, Stingray.

 

However, record sales were disappointing; the album reached only number 70 on the US charts. In 1976, Cocker performed “Feelin’ Alright” on Saturday Night Live. John Belushi joined him on stage doing his famous impersonation of Cocker’s stage movements. At the time, Cocker was $800,000 in debt to A&M Records and struggling with alcoholism. Several months later, he met producer Michael Lang, who agreed to manage him on the condition that he stay sober.

 

With a new band, Cocker embarked on a tour of New Zealand, Australia and South America. He then recorded a new album with session work by Steve Gadd and Chuck Rainey, and a new, young bassist from Scotland, Rob Hartley. Hartley also toured briefly with Cocker’s friends in 1977. In the autumn of 1978, he went on a North American tour promoting his album, Luxury You Can Afford. Despite this effort, it received mixed reviews and only sold around 300,000 copies. In 1979, Cocker joined the “Woodstock in Europe” tour, which featured musicians like Arlo Guthrie and Richie Havens who had played at the 1969 Woodstock Festival.

 

He also performed in New York’s Central Park to an audience of 20,000 people. The concert was recorded and released as the live album, Live in New York.聽He also toured Europe and appeared on the German television recording amphitheatre, Rockpalast, the first of many performances on the show. In 1982, Cocker recorded two songs with the jazz group the Crusaders on their album Standing Tall. One song, ‘I’m So Glad I’m Standing Here Today’ was nominated for a Grammy Award and Cocker performed it with the Crusaders at the awards ceremony. joe coker4 The Crusaders wrote this song with Cocker in mind to sing it. Cocker then released a new reggae-influenced album, Sheffield Steel, recorded with the Compass Point All Stars, produced by Chris Blackwell and Alex Sadkin.

 

In 1982, at the behest of producer Stewart Levine, Cocker recorded the duet “Up Where We Belong” with Jennifer Warnes for the soundtrack of the 1982 film An Officer and a Gentleman. The song was an international hit, reaching number 1 on theBillboard Hot 100, and winning a Grammy Award for Best Pop Performance by a Duo. The duet also won an Academy Award for Best Original Song, and Cocker and Warnes performed the song at the awards ceremony. Several days later, he was invited to perform “You Are So Beautiful” with Ray Charles in a television tribute to the musician.

 

He then joined singer Ronnie Lane’s 1983 tour to raise money for the London-based organisation Action for Research into Multiple Sclerosis, in particular because Lane was beginning to suffer from the degenerative disease. Musicians such as Pete Townshend, Eric Clapton, Jimmy Page,Jeff Beck and Chris Stainton also participated in the tour which included a performance at New York City’s Madison Square Garden. While on another tour that year, Cocker was arrested by Austrian police after refusing to perform because of inadequate sound equipment.

 

The charges were eventually dropped and Cocker was released.聽Shortly after the incident, he released his ninth studio album, Civilized Man. His next album Cocker was dedicated to his mother, Madge, who died when he was recording in the studio with producer Terry Manning. A track from the album, “You Can Leave Your Hat On” was featured in the 1986 film 9陆 Weeks. The album eventually went Platinum on the European charts.

 

His 1987 album Unchain My Heartwas nominated for a Grammy Award, although it did not win. One Night of Sin was also a commercial success, surpassingUnchain My Heart in sales.jcoker14 Throughout the 1980s, Cocker continued to tour around the world, playing to large audiences in Europe, Australia and the United States.

 

In 1988, he performed at London’s Royal Albert Hall and appeared on The Tonight Show.聽After Barclay James Harvest and Bob Dylan Cocker was the first to give Rock concerts in the German Democratic Republic, in East Berlin and Dresden.

 

The venue, the Bl眉herwiese, next to the Rudolf-Harbig-Stadion, bears the vernacular name Cockerwiese (Cocker meadow) today.He also performed for President George Bush at an inauguration concert in February 1989. In 1992, his version of Bryan Adams’ “Feels Like Forever” made the UK Top 40. At the 1993 Brit Awards, Cocker was nominated for Best British Male.Cocker performed the opening set at Woodstock ’94 as one of the few alumni who played at the original Woodstock Festival in 1969 and was very well received.

 

On 3 June 2002, Cocker performed “With A Little Help From My Friends” accompanied by Phil Collins on drums and Queen guitarist Brian May at the Party at the Palace concert in the grounds of Buckingham Palace, an event in commemoration of the Golden Jubilee of Elizabeth II.聽In 2007, Cocker appeared playing minor characters in the film Across the Universe, as the lead singer on another Beatles’ hit, “Come Together”.Cocker was awarded an OBE in the Queen’s 2007 Birthday Honours list for services to music.To celebrate receiving his award in mid December 2007, Cocker played two concerts in London and in his home town of Sheffield.

 

joe coker5 In April and May 2009, Cocker conducted a North American tour in support of his album Hymn for My Soul. He sang the vocals on Little Wing for the Carlos Santana album, Guitar Heaven: The Greatest Guitar Classics of All Time, released on 21 September 2010.

 

In the autumn of 2010, Cocker toured Europe promoting his studio album Hard Knocks. Cocker returned to Australia in 2008 and again in 2011, the latter of which featured George Thorogood and the Destroyers as an opening act.

 

On 20 March 2011, Joe Cocker took part in a benefit concert for Cornell Dupree at B.B. King’s Blues Club in New York. Dupree played on two Cocker albums Stingray (1976) and Luxury You Can Afford (1978). Dupree’s band Stuff was also Cocker’s backing band on a tour promoting Stingray in 1976. While performing a concert at Madison Square Garden on 17 September 2014, veteran rock singer Billy Joel stated that Cocker was “not very well right now” and asked that he be inducted into the Rock and Roll Hall of Fame.

 

In 1963, Cocker began dating Eileen Webster, also a resident of Sheffield. The couple dated intermittently for the next 13 years, separating permanently in 1976. In 1978, Cocker moved onto a ranch owned by Jane Fonda in Santa Barbara, California. Pam Baker, a local summer camp director and fan of Cocker’s music, persuaded the actress to let the house to Cocker. Baker began dating Cocker and they eventually married on 11 October 1987.The couple resided on the Mad Dog Ranch in Crawford, Colorado. Cocker was not related to fellow Sheffield-born musician Jarvis Cocker, despite this being a rumour (particularly in Australia, where Jarvis’s father Mac Cocker, a radio DJ, allowed listeners to believe he was Joe Cocker’s brother). On 22 December 2014, Cocker died of lung cancer at his home in Colorado at the age of 70.

 

Source Wikipedia

 

 

ISTANBUL….RADIOSATELLITE….. ISTANBUL SWIMMING TOURS… ENJOY MUSIC and LIFE


istanbul swimming tours and radiosatellite

istanbul swimming tours and radiosatellite

Istanbul

Istanbul

radiosatellite1

VIDEOS TO WATCH