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.  The film was shot over a period of 50 days in Paris and Mumbai.  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 🙂

 

 

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.  Some of the show’s catchphrases, such as “I love it when a plan comes together”, “Hannibal’s on the jazz”, and “I ain’t gettin’ on no plane!” have also made their way onto T-shirts and other merchandise.

The show’s name comes from the “A-Teams”, the nickname coined for U.S. Special Forces’ Operational Detachments Alpha (ODA) during the Vietnam War, although this connection was never referenced on-screen.

In a 2003 Yahoo! survey of 1,000 television viewers, The A-Team was voted the one “oldie” television show viewers would most like to see revived, beating out such popular television series from the 1980s as The Dukes of Hazzard and Knight Rider.

“In 1972, a crack commando unit was sent to prison by a military court for a crime they didn’t commit. These men promptly escaped from a maximum security stockade to the Los Angeles underground. Today, still wanted by the government, they survive as soldiers of fortune. If you have a problem, if no one else can help, and if you can find them, maybe you can hire… the A-Team.”

The A-Team is a naturally episodic show, with few overarching stories, except the characters’ continuing motivation to clear their names, with few references to events in past episodes and a recognizable and steady episode structure.

In describing the ratings drop that occurred during the show’s fourth season, reviewer Gold Burt points to this structure as being a leading cause for the decreased popularity “because the same basic plot had been used over and over again for the past four seasons with the same predictable outcome”.

Similarly, reporter Adrian Lee called the plots “stunningly simple” in a 2006 article for The Express (UK newspaper), citing such recurring elements “as BA’s fear of flying, and outlandish finales when the team fashioned weapons from household items”.

The show became emblematic of this kind of “fit-for-TV warfare” due to its depiction of high-octane combat scenes, with lethal weapons, wherein the participants (with the notable exception of General Fulbright) are never killed and rarely seriously injured (see also On-screen violence section).

As the television ratings of The A-Team fell dramatically during the fourth season, the format was changed for the show’s final season in 1986–87 in a bid to win back viewers.

After years on the run from the authorities, the A-Team is finally apprehended by the military. General Hunt Stockwell, a mysterious CIA operative played by Robert Vaughn, propositions them to work for him, whereupon he will arrange for their pardons upon successful completion of several suicide missions. In order to do so, the A-Team must first escape from their captivity.

With the help of a new character, Frankie “Dishpan Man” Santana, Stockwell fakes their deaths before a military firing squad. The new status of the A-Team, no longer working for themselves, remained for the duration of the fifth season while Eddie Velez and Robert Vaughn received star billing along with the principal cast.

 

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–Green Berets”.

During the Vietnam War, the A-Team’s commanding officer, Colonel Morrison, gave them orders to rob the Bank of Hanoi to help bring the war to an end. They succeeded in their mission, but on their return to base four days after the end of the war, they discovered that Morrison had been killed by the Viet Cong, and that his headquarters had been burned to the ground.

This meant that the proof that the A-Team members were acting under orders had been destroyed. They were arrested, and imprisoned at Fort Bragg, from which they quickly escaped before standing trial.

The origin of the A-Team is directly linked to the Vietnam War, during which the team formed.

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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 série télévisée américaine en 98 épisodes de 45 minutes, créée par Frank Lupo et Stephen J. Cannell, diffusée entre le 23 janvier 19831 et le 8 mars 1987 sur le réseau NBC.

En France, les saisons 1 à 4 ont été diffusées à partir du 1er juillet 1984 sur TF12. Diffusion de la saison 5 inédite du 5 février 19963 au 16 février 19964 sur TF1. Rediffusion intégrale du 6 juillet 20025 au 8 mai 20046 sur M6. Puis en 20037 sur 13e rue, de juin 2010 à août 2013 sur TMC ainsi qu’à partir du 16 décembre 2013 jusqu’en juillet 2014 sur HD1 et depuis le 19 février 2015 sur Paris Première.

Le 16 juin 2010, un film du même nom est commercialisé par 20th Century Fox8.

 

 

 

 

Pendant la guerre du Viêt Nam, le chef hiérarchique de l’Agence tous risque, le général Morrison, leur a donné l’ordre de voler la banque de Hanoï afin de précipiter la fin de la guerre. La mission est un succès, mais quatre jours après la fin de la guerre, ils retrouvent le général assassiné par les Viet Cong, le quartier général étant entièrement brûlé. Par conséquent, aucune preuve indiquant que l’Agence tous risques agissait sur ordre n’existe. Les membres passent alors devant une cour de justice militaire, celle-ci les condamnant à la prison. Incarcérés aux États-Unis, ils s’évadent rapidement et mènent désormais une vie de mercenaires au service « de la veuve et de l’orphelin », combattant les injustices locales.

Distribution

Acteurs principaux

George Peppard  : colonel John « Hannibal » Smith

Dirk Benedict  : lieutenant Peck « Futé » Templeton (VO : « Face ») (à partir de l’épisode 2)

Dwight Schultz  : capitaine Henry « Looping » Murdock (VO : « Howling Mad »)

Mister T.  : sergent Bosco Albert « Barracuda » Baracus (VO : « B. A. »

Melinda Culea  : Amy Amanda « Triple A » Allen (saisons 1 et 2)

Robert Vaughn  : général Hunt Stockwell (saison 5)

Eddie Velez  : Frankie Santana (saison 5)

Tim Dunigan  : lieutenant Templeton « Futé » Peck (VO : « Face ») (épisode pilote uniquement)

 

 

L’Agence tous risques a été créée par les producteurs américains Stephen J. Cannell et Frank Lupo à la demande du président du réseau NBC, Brandon Tartikoff.

Stephen J. Cannell a été renvoyé de chez ABC au début des années 1980, après avoir échoué dans sa tentative de produire une émission à succès pour la chaîne. Cannell est engagé à la NBC et son premier projet était de créer L’Agence tous risques.

Brandon Tartikoff considère l’émission comme un mélange de Les Douze Salopards, Mission Impossible, Les Sept Mercenaires, Mad Max et Capitaine Furillo, avec « Mr. T conduisant l’engin. »

L’Agence tous risques n’était, au départ, pas considérée comme une future série à succès, mais Stephen J. Cannell explique que George Peppard était persuadé qu’elle deviendrait un succès « avant même que l’on allume la caméra »13. L’émission se popularise ; le premier épisode, diffusée juste après le Super Bowl XVII le 30 janvier 1983, atteint 26,4 % de l’audience sur la chaîne, le classant ainsi quatrième sur l’Échelle de Nielsen.

Le titre original de la série vient des « Special Forces » (SF, « forces spéciales »), que les américains surnomment A-Teams et populairement connues sous le surnom des « bérets verts » (green berets), qui sont une des forces spéciales de l’US Army.

Spécialisées dans la guerre non conventionnelle, les actions commandos et la formation de troupes alliées, elles ont, depuis leur création au début des années 1950, été engagées dans la plupart des conflits impliquant les États-Unis.

La série s’inscrit dans un contexte particulier aux États-Unis, qui voit apparaître divers avatars de vétérans de la guerre du Viêt Nam, comme le détective privé Thomas Magnum ou le sergent T.J. Hooker.

 

 

Rapatriés après la fin officielle de la guerre, en 1975, de très nombreux vétérans américains ont éprouvé de grandes difficultés à se réintégrer dans une société qui ne les reconnaissait plus.

D’une part, les traumatismes physiques et psychologiques des soldats les rendaient extrêmement fragiles, d’autre part, à la frustration patriotique de la population s’est ajouté le rejet de soldats dont l’opinion publique découvrit brusquement les techniques de combat.

En effet, si l’Amérique moyenne soutenait la guerre au début des années 1960, dans un contexte de guerre froide, il en allait tout autrement quinze ans plus tard.

Les milliers de morts et de blessés dans le camp américain ne trouvaient plus aucun sens dans l’opinion publique, tandis que de nombreux journalistes révélaient la nature des combats, opposant des soldats lourdement armés à des combattants mêlés à la population.

Des photos d’enfants brûlés au napalm ont tôt fait de retourner le peuple américain contre une guerre jugée mal préparée, idéologiquement discutée et grande consommatrice d’hommes et d’argent public.

Dans ce contexte d’après-guerre, la société américaine rejette les vétérans du Viêt Nam, une attitude illustrée notamment par la chanson Born in the USA de Bruce Springsteen, le film Rambo ou plus tard le film Né un 4 juillet avec Tom Cruise.

L’Agence tous risques en est une autre illustration, puisque des soldats ayant agi sur ordre de la hiérarchie se retrouvent face à la justice de leur pays, pour un délit qu’ils n’ont commis que dans le cadre de leur fonction.

Évadés, ils seront pourchassés pour ce délit, ne parvenant pas à faire reconnaître par le département de la Défense le contexte dans lequel les faits reprochés ont été commis.

Par ailleurs, d’un point de vue plus strictement formel, la série marque une évolution (ou du moins y participe) dans la structure des personnages. Autrefois seul, tel un Colombo ou une Arabesque, le héros se multiplie, ici par quatre, offrant plus de possibilités d’identification au spectateur.

 

Chaque personnage est nettement marqué dans ses singularités, l’ensemble formant une équipe hétérogène mais néanmoins soudée, où tous les grands types de caractères se reconnaîtront.

Cette formule d’écriture des séries coexistera néanmoins avec d’autres personnages isolés, tels Magnum ou MacGyver, mais elle continuera de se développer pour atteindre un casting étendu dans des séries comparable à  Jump Street, Beverly Hills  ou Urgences. Dans ces derniers exemples, il est possible de voir apparaître une nébuleuse de personnages, chacun développant une histoire parallèle ou imbriquée avec celle des autres protagonistes.

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

Enfin, pour les séries plus récentes, une telle évolution correspond peut-être aussi aux plans de carrière des acteurs, qui profitent des séries pour développer une carrière au cinéma (tels Johnny Depp) ou pas (Jason Priestley).

Dans une telle perspective, les producteurs de la série ne peuvent se permettre d’interrompre une saison à cause du départ du rôle-titre. La multiplication des héros offre une solution à ce problème, puisqu’une série peut se passer d’un personnage dont l’histoire dira qu’il est parti à l’étranger, décédé ou quoi que ce soit qui explique son absence au générique.

 

Saisons une à quatre

 

Les épisodes sont en général construits sur des schémas très semblables. Le début de l’épisode correspond à la prise de contact entre un client qui est terrorisé par une association de malfaiteurs ou un potentat local.

La manière classique de cette rencontre est que le client entre en contact alors qu’Hannibal Smith est déguisé, afin de vérifier que le client n’est pas en réalité à la solde des militaires.

Dans d’autres cas, l’Agence est en train de rouler et tombe sur quelqu’un qui a besoin d’aide. La plupart du temps, les honoraires pour l’intervention de l’Agence ne sont soit pas demandés, soit pas perçus ou sont récupérés d’une autre manière (en prélevant sur l’argent des malfaiteurs par exemple).

Généralement, Looping n’est pas présent dans l’équipe car il est interné dans un hôpital psychiatrique, et l’Agence utilise en général Futé pour aller le récupérer grâce à divers stratagèmes.

Ou alors il s’évade de lui-même pour aller rejoindre l’Agence. Dans beaucoup d’épisodes, il aime avoir un objet ou un animal qui ne le quitte pas jusqu’à la fin, tel qu’un cafard, un homard, une chaussette, avec lequel il agace généralement Barracuda avec ses facéties.

Ensuite, l’Agence qui doit se rendre sur le lieu des crimes et délits des malfaiteurs emprunte parfois l’avion, ce que Barracuda déteste particulièrement auquel cas ils doivent l’endormir.

Une fois sur les lieux, il y a souvent une annonce d’Hannibal aux malfaiteurs indiquant qu’ils doivent désormais compter avec eux. Cela produit en général une bagarre sans armes que l’Agence gagne facilement, tout en laissant curieusement leurs ennemis s’échapper.

Peut-être dans l’espoir que ces derniers, impressionnés par les membres de l’Agence, abandonnent leurs entreprises malhonnêtes et s’en aillent.

Les antagonistes reviennent et au lieu de tuer les membres de l’Agence, les laissent (souvent, sans même les ligoter et/ou les bâillonner) dans une grange, un garage ou un entrepôt, voire une mine.

Privés de leurs armes, ils ont néanmoins à leur disposition du matériel tel que de l’acétylène, de la poudre, des tôles et des tubes d’acier permettant à Barracuda de bricoler des armes ou de refaire fonctionner un engin (voiture, tracteur…) ce qui leur permet de s’échapper, et d’arriver à arrêter les malfaiteurs.

Dans d’autres cas, Looping arrive à prendre le contrôle d’un hélicoptère, souvent sous le nez de son propriétaire, ce qui permet de constituer un appui aérien non négligeable.

L’arrestation finale des méchants se fait parfois par un combat à mains nues, qui oppose toujours les méchants à l’agence en respectant la hiérarchie (Hannibal contre le chef de l’équipe, Barracuda contre le noir ou le plus costaud des méchants), ou alors au terme d’une des innombrables poursuites homériques de la série, qui permettent à chaque fois d’admirer les talents de pilote de Barracuda au volant de sa camionnette ou d’un bolide étrange bricolé par l’agence.

Ils doivent souvent partir rapidement après l’arrestation des méchants pour échapper aux colonels Lynch ou Decker. Dans tous les cas, il n’y a en général, même avec l’utilisation d’armes de guerres mortelles, pas de personnes qui soient tuées, voire sérieusement blessées.

La plupart du temps, les ennemis sont sonnés, ou très légèrement blessés (une douleur à un membre ou à la tête). Il n’y a eu, en tout et pour tout, que deux morts dans toute la série. Cette série est devenue pour cette raison un genre à part entière dans la télévision, puisque c’est la première série violente à avoir été diffusée aux heures de grande écoute aux États-Unis justement en raison de l’absence, ou presque, de morts.

À ce titre, la série apparaît quelquefois peu crédible, notamment dans l’épisode Tirez sur le Cheik, où l’hélicoptère des méchants s’écrase contre une falaise et que leurs occupants en ressortent indemnes.

Cinquième saison

L’avant-dernière saison perdant en popularité[réf. nécessaire], le format de la série a été changé pour la dernière saison (1986-1987).

Après avoir échappé pendant des années aux militaires, l’Agence tous risques est finalement arrêtée. Ils ont le choix entre retourner en prison, être exécutés ou être affectés à une agence gouvernementale dirigée par le général Hunt Stockwell qui réalise des missions secrètes. Ils choisissent de travailler avec Stockwell.

 

Arrêt de la série

Selon le producteur Stephen J. Cannell, la série s’est arrêtée au bout de cinq ans parce qu’elle devenait de plus en plus chère à produire. Qui plus est, les acteurs George Peppard, Dirk Benedict et Mr. T étaient de plus en plus démotivés (ce dernier avait d’ailleurs sa propre série, de 1988 à 1990).

Générique

L’Agence tous risques bénéficie de génériques différents à chaque saison, avec une accroche commune : « Il y a dix ans (en 1972), une unité de commando d’élite stationnée au Viêt Nam fut envoyée en prison par un tribunal militaire, pour un crime qu’ils n’avaient pas commis.

Ces hommes s’évadèrent rapidement de leur prison militaire de haute sécurité, se réfugiant dans les bas-fonds de Los Angeles. Aujourd’hui, encore recherchés par le gouvernement, ils fuient encore et toujours devant leurs poursuivants et survivent comme des mercenaires.

Si vous avez un problème, si vous êtes seul, si personne ne peut vous aider, si vous êtes acculé, si la justice ne peut plus rien pour vous, il vous reste un recours, un seul : l’Agence tous risques. »

Plus tard, au cours de la saison 2, l’accroche fut modifiée : « accusés d’un vol qu’ils n’ont pas commis, n’ayant aucun moyen d’en faire la preuve, ils fuient sans cesse devant leurs poursuivants. Pour subsister, ils emploient leurs compétences. Si la loi ne peut plus rien pour vous, il vous reste un recours, un seul : l’Agence tous risques. »

 

 

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 était une fois au Québec est une série télévisée fantastique américaine créée par Edward Kitsis et Adam Horowitz, basée sur tous les contes de fées. Elle est diffusée depuis le 23 octobre 2011 sur le réseau ABC1 aux États-Unis sur le réseau CTV2 au Canada.

En Belgique, la série est diffusée depuis le 6 août 2012 sur BeTV3 ainsi que depuis le 29 juin 2013 sur RTL-TVI4

En France, depuis le 1er décembre 2012 sur M65 puis à partir du 19 août 2014 sur 6ter6,

En Suisse, depuis le 31 octobre 2013 sur RTS Deux7

Au Québec, depuis le 6 janvier 2014 sur AddikTV8 puis à partir du 1er avril 2015 sur le réseau TVA.

Le jour du mariage de Blanche-Neige et du Prince Charmant, la méchante Reine fait irruption et lance une malédiction.

Tout le monde est inquiet et les jeunes mariés craignent pour leur enfant à venir. Ils décident de consulter Rumplestiltskin / le Ténébreux, un étrange et dangereux personnage.

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

La petite Emma naît et la malédiction se rapproche. Le prince réussit à envoyer sa fille dans un endroit sûr.

Cependant, la Reine arrive et tous sont envoyés dans un monde sans magie, où ils ne se souviennent pas de leur véritable identité.

À Boston, Emma Swan vit une existence solitaire.

Le jour de son 28e anniversaire, Henry, le petit garçon qu’elle a abandonné 10 ans auparavant, lui rend visite.

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Elle ne souhaite pas reprendre contact avec son fils, mais accepte de le ramener chez lui. Sur le chemin, Henry lui montre un livre de contes de fées et explique à Emma que toutes les histoires sont réelles et que les personnages qui y figurent habitent en réalité à Storybrooke dans le Maine, la ville où il vit.

Il ajoute aussi qu’elle est la seule à pouvoir vaincre la malédiction qui règne sur la ville, car elle est la fille de Blanche-Neige et du Prince Charmant. Emma découvre qu’Henry a été adopté par Regina Mills, le maire de la ville qui, d’après Henry, est la méchante Reine.

Emma est sceptique, mais décide finalement de rester quelque temps pour s’assurer que son fils va bien. L’horloge de la ville se remet alors en marche, ainsi que le temps jusqu’alors arrêté.

Jennifer Morrison  : Emma Swan

Lana Parrilla  : Regina Mills / la Méchante Reine

Ginnifer Goodwin  : Mary Margaret Blanchard / Blanche-Neige

Josh Dallas  : David Nolan / le Prince Charmant

Jared S. Gilmore : Henry Mills

Robert Carlyle : M. Gold / Rumplestiltskin / La Bête / Le Ténébreux / Le Crocodile

Émilie de Ravin  : Belle French / Lacey French (invitée saison 1, principale depuis la saison 2)

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

Sean Maguire  : Robin des Bois (récurrent saisons 3 et 4, principal saison 5)

Rebecca Mader  : Zelena, la Méchante Sorcière de l’Ouest (récurrente saisons 3 et 4, principale saison 5)

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

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 Français plus bas svp / French below

Their biggest hits—including “The Sound of Silence” (1964/1965), “Mrs. Robinson” (1968), “Bridge over Troubled Water” (1969), and “The Boxer” (1969)—reached 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 début, 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 (1953–1956)

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 – after speaking to their parents – signed them to his independent label Big Records.

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

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 – 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 — “Sparrow”, “He Was My Brother”, and “The Sound of Silence” — 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 (1964–1965)

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 (1965–66)

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  /  LE LAUREAT  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 (1967–68)

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 (1969–70)

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’ve decided to split with Artie. I don’t think we’ll be recording together again.”

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

Breakup, rifts, and reunions (1971–2003)

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. =>  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–present)

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 américain de folk rock, constitué du guitariste et auteur-compositeur-interprète Paul Simon et du chanteur Arthur Garfunkel. Tous deux se rencontrent pour la première fois dans le Queens en 1953.

Simon and Garfunkel album2

Ils apprennent à s’accorder l’un avec l’autre et commencent à écrire leurs propres compositions. Ils connaissent leur premier succès 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 succès n’est pas confirmé et ils poursuivent ensuite leurs études universitaires chacun de leur côté. Ils se retrouvent en 1963, avec un intérêt accru pour la musique folk, et signent un contrat avec Columbia Records. Leur premier album, Wednesday Morning, 3 A.M. (1964), est un échec commercial à sa sortie et le duo se sépare, Simon décidant de poursuivre sa carrière en solo en Angleterre.

Cependant, une nouvelle version de leur chanson The Sound of Silence connaît le succès sur les ondes américaines en 1965 et atteint la première place du Billboard Hot 100.

Le duo se reforme alors et enregistre un deuxième 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 contrôle créatif. La popularité du duo s’accroît avec la bande originale du film Le Lauréat (1967), composée en majeure partie par leurs chansons.

Leur album suivant, Bookends (1968), les propulse au rang de stars internationales majeures. Néanmoins, les relations entre les deux hommes se dégradent et le duo se sépare peu après la sortie de leur album suivant, Bridge over Troubled Water (1970), qui est leur plus grand succès commercial.

Simon and Garfunkel comptent parmi les artistes les plus populaires des années 1960 et sont considérés comme des icônes de la contre-culture de cette décennie, au même titre que les Beatles et Bob Dylan.

Leurs chansons les plus célèbres, 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 Cóndor Pasa (If I Could), ont  connu un très grand succès international.

Depuis leur séparation, Simon et Garfunkel ont reformé plusieurs fois le duo, notamment à l’occasion d’un concert à Central Park en 1981 qui réunit plus de 500 000 spectateurs, ce qui constitue à l’époque la plus grande affluence de tous les temps pour un concert.

Rencontre et débuts musicaux (1953-1962)

Paul Frederic Simon et Arthur Ira Garfunkel, nés tous deux en 1941, grandissent à New York dans le quartier du Queens de Kew Gardens Hills à seulement trois pâtés de maisons l’un de l’autre1. Ils se passionnent pour la musique dès leur plus jeune âge, notamment avec l’avènement du rock ‘n’ roll2. Garfunkel commence à chanter dans des radio-crochets dès le CM1 et rencontre Simon deux ans plus tard, en 1953.

Leur amitié s’épanouit quand tous deux sont choisis pour jouer dans une adaptation théâtrale d’Alice au pays des merveilles, Simon dans le rôle du Lapin blanc et Garfunkel dans celui du Chat du Cheshire. Ils commencent à chanter ensemble dans des groupes de doo-wop et apprennent ainsi à s’accorder l’un avec l’autre.

Simon et Garfunkel entrent à la Forest Hills High School en septembre 1955 et entreprennent d’enregistrer leurs arrangements sur des bandes magnétiques. Ils écrivent leur première chanson, The Girl for Me, en 1956 et commencent à se produire en tant que duo dans des écoles de musique. Très influencés par Elvis Presley et The Everly Brothers, ils décident de présenter une maquette d’une de leurs compositions, Hey Schoolgirl, à des éditeurs 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 indépendant 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’après le cartoon du même nom.

Garfunkel prend le pseudonyme de Tom Graph, en référence à ses aptitudes en mathématiques et à sa manie de consigner les classements de singles sous forme de graphiques sur du papier millimétré

Simon prend celui de Jerry Landis, d’après le nom de famille d’une fille qu’il a fréquenté.

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

Hey Schoolgirl est alors diffusée régulièrement sur les ondes à l’échelle nationale.

Le single se vend à plus de 100 000 copies en 1957 et se hisse à la 49e place du Billboard Hot 100. Prosen assure efficacement la promotion du duo, en les faisant notamment passer dans l’émission télévisée American Bandstand aux côtés de Jerry Lee Lewis.

Le producteur s’adjuge toutefois la part du lion dans les royalties dégagées par le duo, prélevant 96% de celles-ci

. Garfunkel, qui n’apprécie pas le milieu de l’industrie musicale, informe Simon qu’il souhaite se consacrer à ses études.

Simon décide alors de continuer sa carrière en solo sous le pseudonyme de True Taylor. À sa sortie du lycée, Simon poursuit des études d’anglais au Queens College alors que Garfunkel étudie les mathématiques à l’université Columbia.

Les ventes des disques de Simon ne décollant pas, celui-ci propose à 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 échecs commerciaux, ce qui provoque la fin de leur collaboration avec Sid Prosen.

Simon reprend sa carrière en solo, ce qui entame son amitié avec Garfunkel, qui voit cela comme une trahison.

Cette tension jamais résolue entre les deux hommes influera sur leurs relations durant tout leur parcours commun. Simon achève son premier cycle universitaire et s’inscrit à temps partiel à la Brooklyn Law School.

Un nouveau départ (1963-1964)

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

Simon et Garfunkel s’intéressent chacun de leur côté au mouvement émergeant de la contre-culture et de la musique folk.

Simon devient un habitué de Greenwich Village alors que Garfunkel retourne à l’université Columbia afin de conserver son statut d’étudiant et d’éviter d’être incorporé alors que l’engagement américain au Viêt Nam se précise.

Tous deux se retrouvent pour discuter des nouvelles compositions de Simon et les interpréter au siège de la fraternité étudiante Alpha Epsilon Pi.

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

Ils y interprètent trois nouvelles chansons, Sparrow, He Was My Brother et The Sound of Silence, et captent l’attention du producteur Tom Wilson, qui a déjà travaillé avec Bob Dylan.

Wilson souhaite faire enregistrer He Was My Brother à un groupe britannique mais Simon le persuade de les laisser faire une audition. Leur interprétation 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 enregistré sur trois sessions en mars 1964 et sort le 19 octobre.

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

Simon_&_Garfunkel_932-2092

Simon insiste auprès de Garfunkel pour qu’ils utilisent désormais leurs véritables noms.

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

Dylan est présent à ce concert et une altercation l’oppose à Simon, ce qui sera à l’origine d’une longue rancune entre les deux hommes. L’origine de cette tension reste peu claire, certains biographes affirmant que Dylan aurait délibérément parlé très fort tout au long du concert alors que d’autres soutiennent qu’il aurait totalement dédaigné celui-ci.

Le concert, tout comme d’autres organisés plus tard, n’est pas un succès.

Simon, anticipant l’échec de l’album, part pour l’Angleterre et rencontre Kathy Chitty dans un club de folk où 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’à 3 000 exemplaires en quelques semaines et cet échec pousse Simon à rester en Angleterre tandis que Garfunkel reprend ses études d’architecture.

Le son du succès (1965-1966)

Les démos que Simon enregistre en Angleterre sont diffusées sur les ondes par la BBC et connaissent le succès.

En juin 1965, Columbia fait alors enregistrer à 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 médiocres mais Simon demeure confiant sur son avenir en Angleterre. Pendant ce temps, de l’autre côté de l’Atlantique, un disc-jockey de Boston commence à diffuser The Sound of Silence et la chanson devient populaire dans le milieu étudiant de la côte Est des États-Unis.

Tom Wilson l’apprend et décide de faire réenregistrer la chanson dans une version électrique 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 horrifié lorsqu’il entend la version électrique pour la première fois mais les deux hommes apprécient le succès du single28,29.

Simon revient à New York vers la fin de l’année 1965 afin de reformer son duo avec Garfunkel.

Columbia leur fait enregistrer en décembre un nouvel album et l’intitule « Sounds of Silence » afin de profiter du succès du single.

Ce dernier s’empare de la première place du Billboard Hot 100 en janvier 1966 et dépasse désormais le million d’exemplaires vendus.

En plus d’une réédition 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 façon précipitée 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 intègre 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 dépit du succès commercial remporté par l’album, 21e au Billboard 200, et les singles, le duo est tourné en dérision par de nombreux critiques musicaux qui estiment qu’il ne produit qu’une imitation manufacturée de la folk.

Alors que le duo part en tournée à travers les États-Unis, Columbia réédite Wednesday Morning, 3 A.M. et l’album accède à la 30e place du Billboard 2003.

Simon and Garfunkel en 1966.

Conscients que Sounds of Silence est un travail réalisé dans la précipitation afin de capitaliser sur leur succès soudain, Simon et Garfunkel décident de peaufiner leur prochain album.

Simon insiste d’ailleurs pour avoir le contrôle total pendant la production de celui-ci. Garfunkel considère l’enregistrement de leur version de la chanson traditionnelle « Scarborough Fair » comme le moment où ils sont devenus les véritables 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 caractérise par de vifs contrastes entre les chansons et obtient l’approbation de la critique, qui reconnaît son intégrité artistique, Simon se révélant comme « l’un des auteurs-compositeurs les plus doués de l’époque ».

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

Le duo entame dans la foulée une mini-tournée sur les campus universitaires où tous les concerts se jouent à guichets fermés. Mort Lewis, leur agent artistique, entretient l’image décalée et poétique du duo en refusant qu’ils fassent des apparitions à la télévision à moins que des conditions draconiennes ne soient acceptées par l’émission.

A Hazy Shade of Winter, qui n’a pas été retenu par le duo pour figurer sur Parsley, Sage, Rosemary and Thyme, sort en single deux semaines après la sortie de l’album et se classe 13e du Billboard Hot 100.

Popularité et récompenses : les lauréats (1967-1968)

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

Simon commence alors à travailler sur le prochain album du duo, affirmant qu’il n’est plus intéressé par les singles.

Il est cependant affecté par un blocage de l’écrivain qui a pour conséquence que ce nouvel album ne voit pas le jour en 1967.

À cette époque, il est courant que les artistes sortent deux voire trois albums par an et ce manque de productivité inquiète les dirigeants de Columbia. Clive Davis, le président de Columbia, tente d’accélérer la production de l’album en convoquant Simon et Garfunkel à plusieurs reprises pour leur adresser des discours paternalistes mais les deux amis, déjà méfiants envers l’industrie musicale, tournent cela en dérision en enregistrant un sermon de Davis pour en rire par la suite.

 

Le 16 juin 1967, Simon and Garfunkel se produisent sur la scène 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 succès modéré.

Pendant ce temps, le réalisateur Mike Nichols tourne Le Lauréat et se prend de passion pour la musique du duo, écoutant 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 tête des ventes de disques.

Simon est beaucoup plus réticent, craignant de compromettre son intégrité artistique. Il change d’avis après avoir rencontré Nichols, qui l’impressionne par son intelligence et la qualité de son scénario, et accepte d’écrire de nouvelles chansons pour le film.

L’agent du duo négocie un contrat qui offre à Simon 25 000 $ pour la composition de trois chansons. Simon propose d’abord à Nichols Punky’s Dilemma et Overs mais aucune des deux ne satisfait le réalisateur. Simon revient alors avec une première version de Mrs. Robinson, qui ne porte pas encore ce titre, qui enthousiasme Nichols.

L’album « The Graduate », composé essentiellement de chansons du duo dont Mrs. Robinson, sort le 21 janvier 1968 et s’empare de la première place du Billboard 200 en avril.

Entretemps, l’enregistrement de Bookends, le quatrième album du duo, est enfin terminé après avoir été échelonné sur plusieurs sessions depuis un an et demi, mais plus particulièrement depuis octobre 1967.

La production de l’album est marquée par son perfectionnisme, l’enregistrement de Punky’s Dilemma étant par exemple étalé sur une cinquantaine d’heures. Mrs. Robinson est réécrite et réenregistrée en février 1968, lors des dernières sessions et constitue l’une des chansons-phares de l’album aux côtés d’autres titres célèbres tels que America, A Hazy Shade of Winter et At the Zoo. Bookends, considéré comme l’album « le plus intellectuel » du duo, est composé sur sa première face d’un cycle de chansons plutôt sombres, évoquant une méditation sur le passage du temps, qui sont suivies dans sa deuxième partie par des titres plus légers et au son plus rock. Il marque par ailleurs le déclin 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 très particulier puisque Martin Luther King est assassiné le 4 avril, ce qui provoque une grande émotion et une série d’émeutes à travers les États-Unis.

Bookends prend au mois de mai la première place du Billboard 200, occupée jusqu’alors par The Graduate, tandis que Mrs. Robinson s’installe au sommet du Billboard Hot 100 au mois de juin. Bookends devient à cette date le plus grand succès commercial du duo, ayant profité du phénomène de bouche-à-oreille engendré par la sortie de The Graduate, et les ventes combinées des deux albums dépassent les 5 millions de copies. Lors des Grammy Awards qui se tiennent en mars 1969 et célèbrent les accomplissements des artistes pour l’année 1968, Mrs. Robinson remporte le prix de l’enregistrement de l’année, 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.

 BRIDGE OVER TROUBLED WATER : dernier album et séparation (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 célèbre du monde. Malgré un désaccord avec Clive Davis, qui désirait augmenter d’un dollar le prix de vente de Bookends ce que le duo a refusé et que Davis perçoit comme un manque de gratitude58, Simon et Garfunkel prolongent leur contrat avec Columbia et négocient au passage une augmentation de leur pourcentage de royalties.

Simon est approché par plusieurs producteurs de cinéma qui souhaitent qu’il écrive des musiques de films et refuse notamment une offre pour Macadam Cowboy (1969).

Il décline également une offre d’écriture pour un spectacle de Broadway et collabore brièvement avec Leonard Bernstein sur une messe avant de se retirer du projet. De son côté, Garfunkel est engagé par Mike Nichols pour interpréter l’un des rôles principaux du film de guerre satirique Catch22 , dans lequel Simon devait aussi jouer avant que son rôle ne soit supprimé.

Le tournage de Catch 22 commence en janvier 1969 et dure huit mois car il est entravé par de nombreux problèmes.

Dans l’intervalle, le single The Boxer est publié en avril et se classe dans le top 10 de plusieurs pays. Cette absence prolongée de Garfunkel affecte les relations entre les deux hommes car Simon, qui prépare pendant ce temps le prochain album du duo, se sent abandonné.

Dès le retour de Garfunkel, le duo se met au travail avec ardeur et décline l’invitation qui leur est faite de participer au festival de Woodstock.

En octobre et novembre 1969, Simon and Garfunkel font une mini-tournée aux États-Unis qui se termine par un concert à guichets fermés à Carnegie Hall.

Le duo produit par ailleurs un documentaire musical, Songs of America, qui est diffusé sur CBS le 30 novembre et qui mêle des extraits de leurs chansons à des images d’événements importants des années 1960.

Ce documentaire n’est diffusé qu’une fois en raison des tensions, en rapport avec son contenu politiquement chargé, qu’il provoque sur la chaîne.

L’album « Bridge ove r Troubled » Water sort le 26 janvier 1970, tout comme le single du même nom. Dans cet album, le duo abandonne en partie le son folk rock qui a fait sa gloire pour explorer d’autres sonorités, comme le gospel, la musique sud-américaine, le latin jazz, le rockabilly ou encore le reggae, un mélange d’influences qui contribue à sa « richesse musicale ». L’album contient onze titres dont Bridge over Troubled Water, Cecilia, El Cóndor Pasa (If I Could), The Boxer et The Only Living Boy in New York. L’inclusion d’un douzième titre est longuement discuté sans que les deux hommes n’arrivent à se mettre d’accord sur son choix.

L’album arrive au sommet des classements musicaux dans dix pays dont les États-Unis, le Royaume-Uni et la France. C’est l’album le plus vendu des années 1970, 1971 et 1972 ; il devient à cette époque l’album le plus vendu de tous les temps.

Le single homonyme s’empare lui aussi de la première place des classements musicaux dans plusieurs pays, alors que les autres singles tirés de l’album, Cecilia en avril et El Cóndor Pasa (If I Could) en août, se vendent aussi très bien4.

Malgré cet énorme succès, le processus d’enregistrement s’est révélé très éprouvant pour les deux hommes et les tensions accumulées entre eux rendent leur séparation prochaine presque certaine avant même la sortie de l’album.

Cette séparation n’est cependant pas prévue au départ pour être permanente, Garfunkel souhaitant seulement faire une pause de deux ans et Simon ne prévoyant pas de reprendre sa carrière en solo.

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

Lors de la cérémonie des Grammy Awards 1971, l’album et la chanson Bridge over Troubled Water remportent six récompenses, dont celles de l’album de l’année et de la chanson de l’année. Quelque temps plus tard, Peggy Harper, l’épouse de Simon depuis 1969, pousse celui-ci à rendre la séparation du duo officielle.

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

Réunions occasionnelles

Le duo se reforme pour la première fois au Madison Square Garden en juin 1972 à l’occasion d’un concert de soutien pour George McGovern en vue de l’élection présidentielle américaine.

En 1975, les deux hommes se réconcilient, dans une atmosphère embarrassée, à l’occasion d’un passage à une session d’enregistrement avec John Lennon et Harry Nilsson.

Ils tentent de produire de nouvelles chansons ensemble mais n’en concrétisent qu’une seule, My Little Town, qui paraît à 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 à Simon pour une brève représentation lors d’une émission télévisée consacrée à ce dernier. L’année 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 à New York en 1978.

En 1981, alors que les carrières respectives des deux hommes battent de l’aile, ils sont contactés par le producteur de spectacles Ron Delsener qui leur propose de se produire pour un concert gratuit à Central Park.

Le concert se déroule le 19 septembre 1981 et attire plus de 500 000 personnes, ce qui constitue pour l’époque la plus grande affluence de tous les temps pour un concert. Un enregistrement du concert est réalisé et donne lieu au premier album live du duo, The Concert in Central Park, qui sort le 16 février 1982 et connaît un grand succès commercial international.

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L’événement renouvelle également l’intérêt du public pour le duo, et les deux hommes ont plusieurs conversations à cœur ouvert afin d’essayer de mettre leurs problèmes derrière eux80. En mai et juin 1982, Simon and Garfunkel font une tournée au Japon et en Europe mais leurs vieilles querelles refont surface85. Néanmoins, Warner Bros. insiste pour qu’ils repartent en tournée, ce qu’ils font en février 1983 en Australie et en Nouvelle-Zélande, puis en juillet et août 1983 en Amérique du Nord, et pour qu’ils préparent un nouvel album en commun.

Malgré plusieurs sessions d’enregistrement, leurs différends se révèlent être trop nombreux et Simon enregistre à la place un nouvel album solo, Hearts and Bones, la raison officielle étant qu’il trouve les textes qu’il a écrits trop personnels pour être interprétés par quelqu’un d’autre.

En 1990, le duo est intronisé au Rock and Roll Hall of Fame et les deux hommes interprètent trois chansons ensemble à cette occasion, sans toutefois s’attarder.

Trois ans plus tard, leurs relations s’étant améliorées, ils se réunissent à nouveau en octobre 1993 pour une série de 21 concerts joués à guichets fermés au Paramount Theatre de New York, qui sont suivis par quelques dates en Asie. Cependant, une nouvelle brouille les tient éloignés pour le reste de la décennie4.

En 2003, ils sont récompensés aux Grammy Awards pour l’ensemble de leur carrière et les organisateurs les persuadent de se réconcilier pour cette occasion. Les deux hommes interprètent ensemble The Sound of Silence en ouverture de la cérémonie et jugent cette expérience satisfaisante. Ils mettent alors en place une nouvelle tournée, nommée Old Friends Tour, pendant laquelle ils sillonnent les États-Unis d’octobre à décembre en jouant 40 concerts.

Ils repartent en tournée, pour 20 dates aux États-Unis et 12 en Europe, en juin et juillet 200488. Cette tournée se termine par un concert gratuit au Colisée de Rome qui réunit environ 600 000 personnes89. Un double CD-DVD intitulé Old Friends: Live on Stage immortalise cette tournée.

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

En 2009, le duo se réunit une nouvelle fois pour interpréter trois chansons au Beacon Theatre de New York. Une tournée en Océanie et au Japon est organisée dans la foulée en juin et juillet90. Cette tournée se passe très bien et de nouveaux concerts en Amérique du Nord sont planifiés pour l’été 2010. Cependant, alors qu’ils se produisent le 24 avril 2010 sur la scène du New Orleans Jazz & Heritage Festival, Garfunkel est atteint de sérieux problèmes vocaux. Une paralysie des cordes vocales lui est diagnostiquée et la tournée doit être annulée. Garfunkel ne récupère totalement sa voix qu’après un combat de quatre ans et espère une nouvelle réunion du duo dans le futur91.

Postérité

Simon and Garfunkel sont considérés comme le duo le plus célèbre de l’histoire de la musique populaire. Leurs chansons ont laissé une impression forte et durable sur la génération du baby boom et ils comptent, aux côtés des Beatles et Bob Dylan, parmi les artistes les plus représentatifs du mouvement culturel des années 1960.

En 2004, le magazine Rolling Stone les classe à la 40e place de sa liste des 100 plus grands artistes musicaux de tous les temps, considérant que « l’énorme impact » qu’ils ont laissé sur la décennie est dû principalement à l’alliage entre les talents d’auteur-compositeur de Paul Simon, créateur d’hymnes dans une palette musicale très vaste, et la voix unique d’Art Garfunkel.

Dans le Dictionnaire du Rock, ils sont décrits comme ayant apporté au folk militant un « mélange inégalé de raffinement vocal et de tendresse mélancolique ».

Pour Gilles Verlant et Thomas Caussé, dans la Discothèque parfaite de l’odyssée du rock, « la seconde moitié des sixties est marquée de leur empreinte » grâce à leurs « mélodies fines, légères et reconnaissables entre mille » alors que « le mariage de leurs voix, absolument unique, est au cœur de leur magie, tout comme les textes résolument poétiques et modernes, remplis d’images singulières ».

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  ENGLISH  (EN FRANCAIS PLUS BAS / IN FRENCH BELOW ) 

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 (1943–94), was a Puerto Rican-born baseball player who played professionally for 11 seasons (1963–73), 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 2009–10 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 18–49 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, née le 15 juillet 1977 à Brooklyn dans l’État de New York, est une actrice américaine.

 

Lana.Parrilla.2015

 

Lana Parrilla est née d’une mère italienne artiste-peintre et d’un père porto-ricain, Sam Parrilla. Ce dernier fut un joueur professionnel de baseball américain évoluant dans l’équipe des Phillies de Philadelphie dans les années 1970. Il est assassiné en 1994 à la suite d’une altercation qui a mal tourné. Elle a une sœur aînée prénommée Deena et est la nièce de l’actrice Candice Azzara, qui l’a inspirée dans sa carrière d’actrice.

Après le lycée, Lana Parrilla a déménagé à Los Angeles pour commencer sa carrière où elle a étudié à la Beverly Hills Playhouse.

Elle réside à 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 fiancée en Israël le 29 avril 2013 et s’est mariée le 5 juillet 2014.

Elle développe très jeune un goût pour la comédie, inspirée par sa tante, l’actrice américaine Candice Azzara. Elle suit des cours à Los Angeles avant de débuter dans une série en 1999, Grown Ups durant deux épisodes. Elle enchaîne les séries avec le rôle régulier d’Angie Ordonez dans Spin City en 2000, puis Boomtown en 2002.

LANA PARILLA

 

Elle joue dans des séries 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 rôle de Sarah Gavin.

En 2008, elle incarne Trina Decker dans la série Swingtown. Elle incarne une voisine d’un couple qui va découvrir, grâce à elle, la libération sexuelle.

En 2011, dans la nouvelle série télévisée fantastique américaine Once Upon a Time, elle joue l’un des rôles principaux féminins en incarnant le Maire de Storybrooke, Regina Mills, ainsi que le personnage de la Méchante Reine, belle-mère de Blanche-Neige.

Lana Parrilla a été attaquée à dix ans par un chien, ce qui lui a laissé une cicatrice visible sur le côté droit de sa lèvre supérieure

Elle est également une chanteuse à certaines occasions, prêtant sa voix en fond sonore pour un tube de musique composé par deux des trois fils de son compagnon. Ces derniers forment un groupe de musique appelé 45 Spacer et Lana a contribué à leur tube appelé Naughty Boys, en 2012 ainsi qu’à You and Me en 2013.

Elle a obtenu le rôle régulier d’Angie Ordonez dans la série Spin City en 2000 après avoir dû passer six auditions au total.

Lana Parrilla connaissait toute l’histoire de la Reine Regina dès le pilote de la saison 1 de Once Upon a Time. Les scénaristes Edward Kitsis et Adam Horowitz lui ont révélé le passé du personnage avec Blanche-Neige afin qu’elle incarne au mieux son rôle.

ONCE UPON A TIME

 

Lana et l’acteur Jorge Garcia se connaissent depuis près de vingt ans. En effet, ils ont débuté ensemble leurs cours de théâtre à Los Angeles et sont devenus très amis. Ils se sont retrouvés lors du tournage de la saison 3 de Lost, en 2006, où Garcia incarnait un survivant alors qu’ils étaient logés dans la même hutte. Ils se sont ensuite retrouvés ensemble dans la saison 2 de Once Upon a Time.

Jack DiBlasio, le fils aîné de son compagnon, a fait une apparition dans le dernier épisode de la saison 2 de Once Upon a Time, dans le rôle d’un des Enfants Perdus du Pays Imaginaire.

Elle a une petite plume tatouée au poignet droit, symbole d’espoir.

 

 

Cinéma

2000 : Spiders de Gary Jones : Marci

2000 : Very Mean Men de Tony Vitale : Teresa

2001 : Replicant de Ringo Lam : Marci

2003 : Frozen Stars de David-Matthew Barnes : Lisa Vasquez

2003 : One Last Ride de Tony Vitale : Antoinette

 

Télévision

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

2000 – 2001 : Spin City de Ted Wass (Série TV) : Angie Ordonez

2001 : Semper fi de Michael W. Watkins (Téléfilm)

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

2002 : The Shield de Scott Brazil (Série TV) : Sedona Tellez

2002 : JAG de Terrence O’Hara (Série TV) : Lt. Stephanie Donato

2004 : Six Feet Under (Six Feet Under) de Peter Webber et Miguel Arteta (Série TV) : Maile

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

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

2006 : Windfall : Des dollars tombés du ciel d’Ellen S. Pressman, Matt Shakman (Série TV) : Nina Schaefer

2007 : Lost : Les Disparus de Stephen Williams & Jack Bender (Série TV) : Greta

2008 : Swingtown d’Alex Zakrzewski, Alan Poul (Série TV) : Trina Decker

2008 : Mon identité volée (The Double Life of Eleanor Kendall) de Richard Roy (Téléfilm) : Nellie

2010 : Médium (série télévisée) (Série TV) : Lydia

2010 : Miami Medical (Série TV) : Dr Eva Zambrano

2010 : Chase (Série TV) : Isabella

2011 : Covert Affairs (Série TV) : Julia Suarez

2011 – en cours : Once Upon a Time (Série TV) : La Méchante Reine / Regina Mills

 

 

ALSO ON OUR WEBSITE ABOUT ONCE UPON A TIME /

SUR NOTRE SITE AUSSI    https://radiosatellite.co/2016/01/28/once-upon-a-time/

 

SOURCES WIKIPEDIA

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


LINDA HUNT 3

LINDA HUNT  Aka HETTY in NCIS LA

 

 

 

Linda Hunt, de son vrai nom Lydia Susanna Hunter, est une actrice américaine née le 2 avril 1945 àMorristown (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-président d’une compagnie pétrolière de Long Island, la Harper Fuel Oil. Elle a une sœur, Marcia.

Linda Hunt a étudié à l’université Interlochen Arts Academy. Elle a obtenu l’Oscar de la meilleure actrice dans un second rôle en 1984 pour son rôle dans L’Année de tous les dangers de Peter Weir.

Elle a servi de modèle à 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 écrit 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), Prêt-à-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  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, “Acting onstage is like an explosion each night.

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

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  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 Carnivàle, 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  HETTY  NCIS L.A.

 

SOURCES WIKEPEDIA

 

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

 

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

 

 

 

Person of interest


Person of Interest ou Personne d’intérêt au Québec est une série télévisée américaine créée par Jonathan Nolan et produite par J. J. Abrams.

person of interest

PERSON OF INTEREST est diffusée en simultané depuis le 22 septembre 2011 sur CBS aux États-Unis et sur Citytv pour les deux premières saisons, puis sur le réseau CTV au Canada.

En Belgique, la série est diffusée depuis le 28 août 2012 sur La Une, chaîne du groupe de la RTBF, au Québec, depuis le 5 septembre 2012 sur le réseau V, en France, depuis le 6 mars 2013 sur TF1 et en Suisse, depuis le 30 juin 2013 sur RTS Un.

 

 

La série est aussi rediffusée dans le cadre d’une syndication sur la chaîne du câble américaine WGN America et également sur Netflix États-Unis, depuis l’automne 2015.

Person of Interest  est souvent citée comme étant une des meilleures séries diffusées sur une grande chaîne américaine.

Les critiques soulignent entre autres la capacité que la série a à s’améliorer saison après saison, ses personnages très travaillés ou encore son ambiance réaliste d’une Amérique post-11 septembre.

Si la série est parfois désignée comme étant « la meilleure série de science-fiction actuellement diffusée », Person of Interest s’inscrit dans une thématique bien réelle, notamment depuis les révélations d’Edward Snowden sur la surveillance globale mise en place par les États-Unis, et soulève de nombreuses questions quant au respect de la vie privée. Elle a été nommée pour un Primetime Emmy Awards en 201211,  2012, 2013,2014.

 

John Reese, un ex-agent paramilitaire de la CIA présumé mort, est engagé par le mystérieux milliardaire Harold Finch. Dans le passé, ce dernier a conçu un système de surveillance de masse pour le gouvernement voulant éviter un nouveau 11 septembre. Le système est capable de prédire les actes terroristes dans le monde, en s’appuyant sur de nombreuses données comme les enregistrements des caméras de surveillance et des appels téléphoniques, ou les antécédents judiciaires.

Cependant, la Machine repère aussi les crimes entre citoyens ordinaires considérés comme mineurs par le gouvernement. Les autorités ayant décidé de ne pas tenir compte de ces données, Finch s’est laissé une porte de sortie et reçoit chaque jour les numéros de sécurité sociale des personnes impliquées à New York ou dans ses environs. C’est avec l’aide de Reese qu’il va tenter de retrouver ces « Persons of Interest » (trad. litt. : « Personnes d’intérêt ») et de découvrir si elles ont le rôle de victime ou de coupable dans l’affaire concernée.

Traqués par le lieutenant de police Jocelyn « Joss » Carter, ils sont aidés par un autre lieutenant, anciennement véreux, Lionel Fusco, qui leur fournit des informations et garde un œil sur sa collègue policière. Mais l’arrivée dans New York de deux justiciers va également contrarier plusieurs organisations criminelles.

 

Acteurs principaux

Jim Caviezel: John Reese

Michael Emerson: Harold Finch

Kevin Chapman: le lieutenant Lionel Fusco

Amy Acker: Samantha « Sam » Groves alias « Root » (invitée saison 1, récurrente saison 2, principale à partir de la saison 3)

Sarah Shahi : Sameen Shaw (récurrente saison 2 , principale à partir de la saison 3)

 

 

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 2015–16 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”). 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—after being leaked to the public, Northern Lights was shut down.

The private technology firm Decima Technologies steals some of the Machine’s original code and builds Samaritan, in season three, and replaces Northern Lights in supplying information to the government. Samaritan takes a much more active role in shaping society, and The Machine and its human associates go underground, spending season four under cover.

Much of the series is from the point of view of The Machine, with flashbacks framed as The Machine reviews past tapes in real time.

Over the course of the series, the internal workings of The Machine are shown, including the prediction models and probability trees it uses. In the Machine-generated perspective, individuals are marked by dashed boxes with different colors indicating, for example, what the person’s status is in relation to The Machine and whether they pose a threat. Season four features Samaritan’s point of view, using a different UI—though some episodes jump back and forth between the two UIs.

The Machine in its current iteration started running on January 1, 2002, following 42 failed attempts. During the season 4 episode “Prophets”, a previous generation of The Machine’s source code was shown on screen, which was that of the Stuxnet worm. It generated the first relevant number on February 8, 2005, following three years of training by Finch.

 

Jim Caviezel: John Reese

Michael Emerson: Harold Finch

Kevin Chapman: Lt Lionel Fusco

Amy Acker: Samantha « Sam » Groves Aka « Root »

Sarah Shahi : Sameen Shaw

 

Jim_Caviezel2jpg

JIM KAVIEZEL  AKA  JOHN REESE

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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—surpassing Gone with the Wind—and held that distinction for five years. The film was just as popular throughout the world, breaking previous box-office records in twenty-nine countries.

Following an initial theatrical release that lasted four and a half years, and two successful re-releases, the film sold 283.3 million admissions worldwide and earned a total worldwide gross of $286,214,076. Adjusted for inflation, the film earned $2.366 billion at 2014 prices—the fifth highest grossing film of all time.

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

 

The_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

 

 

 

 

 

 

 

 

 

 

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

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

 

 

 

 

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.

 

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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 né le 27 novembre 1935 à Turin (Italie).

 

 

Acteur de comédie, il a tourné dans son pays d’origine, mais c’est en France qu’il est devenu une vedette et où il a fait l’essentiel de sa carrière dans les années 1970 et les années 1980.

 

Après avoir gagné un radio-crochet dans les années 60, Aldo Maccione est engagé par un théâtre turinois où il se fait remarquer en imitant les stars de l’époque comme Jerry Lewis et Clark Gable. Venu travailler à Paris, il fait les entractes de l’Olympia avec son groupe italien, le quatuor « Les Brutos ». Ils se produisent aux quatre coins de la planète.

ALDO3

 

Entre quelques scopitones (ancêtres des clips) dont un tourné par son futur réalisateur, Claude Lelouch, et quelques émissions télé de variété, il crée un nouveau groupe parodique, « Les Tontos », qui se produit six ans d’affilée à l’Emporium de Barcelone. C’est en accompagnant Sacha Distel à Londres et à l’Olympia qu’il crée et popularise sa marque de fabrique : « Aldo la classe »

ALDO4

 

En 1970, Claude Lelouch, amusé par sa démarche cambrée « empruntée » à Alberto Sordi, lui donne son premier rôle au cinéma dans Le Voyou. En 1972, il retrouve Claude Lelouch pour L’aventure c’est l’aventure où, aux côtés de vedettes comme Lino Ventura, Charles Denner et Jacques Brel, il fait une célèbre démonstration de groupe de sa démarche.

ALDO MACCINE12

 

Dans les années 1970, les rôles comiques se succèdent. Il apparaît dans le premier volet de la Septième Compagnie en 1973 (Henri Guybet reprendra son rôle dans les deux épisodes suivants), mais aussi aux côtés 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 années 1980 s’avèrent glorieuses et il est une vedette qui permet à des comédies de se monter sur son seul nom. Il abandonne son personnage d’« Aldo la classe » à la fin des années 1980 et a du mal à donner un nouveau souffle à sa carrière, faisant néanmoins quelques apparitions dans des films ou téléfilms.

ALDO

 

En 2005, il apparaît dans le film français Travaux, on sait quand ça commence… aux côtés de Carole Bouquet et Jean-Pierre Castaldi, dans le rôle d’un carreleur un peu trop imbu de sa personne.

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Il vit désormais à Saint-Paul-de-Vence dans les Alpes-Maritimes.

 

À partir du 29 janvier 2010, il participe à la troisième saison de La Ferme Célébrités en Afrique qu’il quitte le 5 février 2010, pour cause de problèmes de santé.

 

Le 5 juin 2015, le journaliste et réalisateur Gilles Botineau publie aux Éditions Christian Navarro une biographie entièrement consacrée au comédien. L’ouvrage, titréAldo Maccione, la classe , est préfacé par Claude Lelouch.

 

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Joe Coker


 

John Robert “Joe” Cocker OBE (20 May 1944 – 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. 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. The group mostly played in the pubs of Sheffield, 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. 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 (1966–1969) 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. 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 1968 and 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. 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 Noël 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”), 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. 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. 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. 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 9½ 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. 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 Blüherwiese, 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. 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

 

 

 

 

A new kind of love : Paul Newman and Joanne Woodward


A New Kind of Love is a 1963 American romantic comedy film directed by Melville Shavelson and starring Paul Newman and Joanne WoodwardFrank Sinatra sings “You Brought a New Kind of Love to Me” over the opening credits.

 

 

 

 

A womanizing american reporter assigned in Paris (Paul Newman) mistakes a cynical fashion designer (Joanne Woodward) for a prostitute. He decides to interview her for a series of articles then falls in love with her. The girl goes along with it, first out of revenge as he snubbed her during a past encounter, then out of feelings of her own.

 

 

Cast

Paul Newman…..Steve Sherman

Joanne Woodward…..Samantha (Sam) Blake / Mimi

Thelma Ritter…..Leena

Eva Gabor…..Felicienne Courbeau

George Tobias…..Joseph Bergner

Marvin Kaplan…..Harry Gorman

Maurice Chevalier…..as Himself

Robert Simon…..Bertram Chalmers

Valerie Varda…..Mrs. Chalmers

Joan Staley….Stewardess

Robert Clary….Frenchman @ Restaurant

Awards and nominations

Academy Award

1964: Nominated, “Best Costume Design, Color”

1964: Nominated, “Best Music, Scoring of Music, Adaptation or Treatment” – Leith Stevens

Golden Globe Award

1964: Nominated, “Best Motion Picture Actress – Musical/Comedy” – Joanne Woodward

Laurel Awards

1964: 3rd Place, “Top Female Supporting Performance” – Thelma Ritter

 

Source : WIKIPEDIA

 

New kind of love movie

New kind of love movie

 

 

 

 

Paul Newman, taking his second spin on the marriage-go-round, grabbed the brass ring with Joanne Woodward.

 

On a Hollywood landscape littered with countless broken marriages, the Newman-Woodward pairing became the gold standard: They celebrated 50 years together on Jan. 29.

 

new kind of love And when Newman died Friday at the Connecticut home they shared since 1960, Woodward was still there – until death did them part.

 

Newman once attributed their lasting union to “correct amounts of lust and respect.”

 

ACTOR PAUL NEWMAN DEAD AT AGE 83

He offered an oft-quoted response when asked in Playboy magazine about the temptations of other women: “I have steak at home. Why go out for hamburger?”

 

The couple met and fell in love while Newman made his 1953 Broadway debut in William Inge’s “Picnic,” in which Woodward was an understudy.new kind of love2 newman-woodwoard

 

Five years later, shortly after Newman and his first wife divorced, he married the petite blond in a Las Vegas civil ceremony. The couple moved into an 18th-century Connecticut farmhouse, a decision that Woodward later said solidified their marriage.

 

“We were never Hollywood people,” the Oscar-winning actress told the Daily News in 2001. “We just liked it better here. It also probably helps that we always enjoyed each other’s company.”

 

NEWMAN AND WOODWARD’S ROMANCE

They appeared in several films together, including “The Long Hot Summer,” “Paris Blues” and “Mr. and Mrs. Bridge.” Newman directed Woodward in several other movies, including “Rachel, Rachel” – a Best Picture nominee.

 

When Woodward returned to Sarah Lawrence College to earn her degree at age 60, she graduated with youngest daughter Clea. Newman marked the occasion by delivering the commencement address.

 

NEWMAN AND WOODWARD 50 YEARS OF LOVE & MARRIAGE

NEWMAN AND WOODWARD 50 YEARS OF LOVE & MARRIAGE Pictures source: http://people.premiere.fr/

The high-profile couple enjoyed their anonymity in Westport, Conn., where they helped restore and reopen the Westport Country Playhouse.

 

Woodward, as the theater’s artistic director, cast her husband in the Stage Manager role in a production of “Our Town.” It moved to Broadway, where Newman earned his first Tony nomination in 2003.

 

PAUL NEWMAN AND JOANNE WOODWARD

Paul Newman and his wife Joanne Woodward Pictures source: http://people.premiere.fr/

 

SOURCE : DAILY NEWS

http://www.nydailynews.com/entertainment/tv-movies/joanne-woodward-paul-newman-50-years-article-1.325359

 

Pictures source:  http://people.premiere.fr/