Brigitte Bardot


Brigitte Bardot (également connue sous les initiales de « BB »), née le 28 septembre 1934 à Paris, est une actrice française de cinéma, mannequin, chanteuse et militante des droits des animaux.

Figure féminine des années 1950-1970, elle est une star mondiale, l’égérie et la muse de grands artistes de l’époque. Emblème de l’émancipation des femmes et de la liberté sexuelle, elle incarne des rôles de femme libérée, anticonformiste et parfois fatale.

Elle tourne avec plusieurs grands cinéastes, interprétant des personnages à l’élégante légèreté et à la sensualité photogénique. Elle devient rapidement un sex-symbol et acquiert une renommée internationale. Avec à son actif 45 films et plus de 70 chansons en près de vingt et un ans de carrière, Brigitte Bardot est l’une des artistes françaises les plus célèbres au monde.

En 1973, elle met un terme à sa carrière d’actrice pour se consacrer à la défense des droits des animaux, notamment avec la création de la Fondation Brigitte-Bardot.

Brigitte Bardot naît le 28 septembre 1934 au domicile de ses parents, 5, place Violet, dans le 15e arrondissement de Paris. Son père, Louis Bardot (1896-1975), est un industriel originaire de Ligny-en-Barrois, en Lorraine : issu « de la haute bourgeoisie catholique solidement implantée aux commandes de la Troisième République », il est le propriétaire des usines Bardot (appartenant aujourd’hui à Air liquide), dont le siège se trouve rue Vineuse, à Paris. Il descend aussi de la famille Oudinot dont est issu le maréchal d’Empire Nicolas-Charles Oudinot, duc de Reggio (1767-1847). Sa mère, Anne-Marie Mucel (1912-1978) est la fille du directeur d’une compagnie d’assurances, Isidore Léon Mucel (1881-1958). Artiste contrariée qui souhaitait être ballerine, sa mère, à qui elle dit « vous », reporte son ambition sur sa fille et la contraint à une discipline rigoureuse, n’hésitant pas à la gifler « si son corps s’affaisse », afin que sa disciple y gagne ce « port de tête altier », qui caractérisera l’actrice et sera perçu par certains comme de l’arrogance.

Dans son enfance marquée par une éducation très rigoureuse, Brigitte Bardot souffre d’une amblyopie, qui l’empêche de bien voir de son œil gauche. Elle étudie à l’Institut de la Tour, un établissement catholique situé au 86 de la rue de la Tour (16e arrondissement de Paris). Dissipée, elle souffre de la préférence de ses parents pour sa sœur cadette, Marie-Jeanne (dite « Mijanou », née le 5 mai 1938)13.

Elle se passionne pour la danse classique et fait ses premiers pas, à 7 ans, au cours de Marcelle Bourgat. En 1949, elle entre au Conservatoire de Paris et y obtient un premier accessit. Son père, dont un recueil de poèmes est primé par l’Académie française, est un passionné de cinéma et adore filmer : il existe ainsi de nombreux films de Brigitte enfant, ce qui est rare à cette époque. Hélène Lazareff, amie de sa mère et directrice de Elle et du Jardin des Modes, engage Brigitte Bardot en 1949 pour présenter la mode « junior ». À 15 ans, l’adolescente devient la « mascotte » du magazine Elle, dont elle fait la couverture dès 1949, sa silhouette élancée, la moue boudeuse et le regard sauvage enflammant la pellicule. Le réalisateur Marc Allégret, voyant une de ses photos sur le numéro du 8 mai 1950, demande à la rencontrer. Ses parents s’opposent à ce qu’elle devienne actrice, mais un de ses grands-pères la soutient dans son projet.

À l’audition, elle rencontre l’assistant d’Allégret, Roger Vadim, qui lui donne la réplique pour une scène du film Les Lauriers sont coupés. Le film ne se fait pas, mais ils tombent amoureux. Ses parents s’opposent à cette relation, désespérée la jeune femme fait une tentative de suicide. Son père consent alors à ce qu’elle l’épouse mais pas avant ses 18 ans ; ce qu’elle fait le 21 décembre 1952 deux mois après son dix-huitième anniversaire.

La vie privée de Brigitte Bardot fait l’objet d’une très forte médiatisation, notamment pendant sa carrière professionnelle. Disant avoir connu 17 hommes durant sa vie, elle se marie à quatre reprises.

Pour ses 18 ans, comme il le lui avait promis pendant son adolescence, son père l’autorise à se marier avec Roger Vadim. Le mariage est célébré à l’église Notre-Dame-de-Grâce de Passy (16e arrondissement de Paris) le 21 décembre 1952. Mais lors du tournage de Et Dieu… créa la femme, en 1956, elle tombe amoureuse de son partenaire, Jean-Louis Trintignant. Elle éprouve dès lors davantage d’amitié que d’amour pour Roger Vadim, qui réalise avec difficulté les scènes d’amour entre elle et Trintignant. Ce dernier quitte sa femme, Stéphane Audran, pour vivre avec Brigitte Bardot, qui fait de même avec Vadim. Elle écrit plus tard : « J’ai vécu avec lui la période la plus belle, la plus intense, la plus heureuse de toute cette époque de ma vie ». En 1957, alors qu’il effectue son service militaire, Jean-Louis Trintignant met un terme à leur relation, découvrant que Brigitte Bardot a une liaison avec Gilbert Bécaud ; brève liaison, précédant celle tout aussi éphémère avec Sacha Distel.

Brigitte Bardot et Sami Frey à Saint-Tropez en 1963.

Le 18 juin 1959, elle se marie avec Jacques Charrier, qu’elle a rencontré sur le tournage de Babette s’en va-t-en guerre. Apprenant peu après qu’elle est enceinte, ne désirant pas d’enfant et effrayée à l’idée d’être mère, elle envisage un avortement (précédemment par deux fois enceinte de Vadim, elle eut recours à l’IVG), mais aucun médecin n’accepte d’interrompre sa grossesse. Le 11 janvier 1960, elle donne naissance à l’unique enfant de sa vie, Nicolas Charrier. Les conditions de son accouchement dans son appartement du 71 avenue Paul-Doumer dans le 16e arrondissement de Paris sont particulièrement difficiles, le logement étant notamment barricadé pour échapper à l’objectif des journalistes. Elle déclare par la suite : « Ma grossesse était neuf mois de cauchemar. C’était un peu comme une tumeur qui s’était nourrie de moi, que j’avais portée dans ma chair tuméfiée, n’attendant que le moment béni où l’on m’en débarrasserait enfin ». Elle ajoute (peu après dans un entretien) : « J’aurais préféré accoucher d’un petit chien ».

Le couple divorce le 30 janvier 1963, Brigitte Bardot entretenant une relation avec Sami Frey depuis le tournage de La Vérité (1960). Elle affirme : « Sami, un être rare, sensible, angoissé et érudit qui resta longtemps l’homme de ma vie ». Frey ayant mis un terme à leur histoire à l’été 1963, Brigitte Bardot a une aventure avec le musicien brésilien Bob Zagury.

En mai 1966, elle rencontre Gunter Sachs, qu’elle épouse le 14 juillet à Las Vegas. Rentré en France après un voyage de noce à Tahiti, l’actrice refuse de vivre dans l’appartement de son époux. Bardot tourne À cœur joie, Gunter veut produire un film et le présenter au Festival de Cannes ; les organisateurs acceptent à la condition que l’actrice soit présente, ce qu’elle refuse dans un premier temps. Afin d’éviter un divorce, elle consent à participer à l’évènement, où elle remet une récompense à Michel Simon. La star ne reviendra jamais à Cannes. L’entente du couple ne cesse alors de se détériorer. En parallèle, elle interprète la chanson Harley-Davidson (1967), composée par Serge Gainsbourg, dont elle devient la muse et avec qui elle entame une relation extra-conjugale qu’elle qualifie d’« immense passion ». Mais pour essayer de sauver son mariage avec Gunter Sachs, elle demande à Gainsbourg de ne pas sortir Je t’aime… moi non plus et chante pour lui Bonnie and Clyde ou encore Comic Strip. Brigitte Bardot tourne en Espagne, Gunter l’accompagne. Leur réconciliation ne dure qu’un temps et l’un et l’autre enchaînent les aventures extra-conjugales. Ils divorcent trois ans après leur mariage, le 1er octobre 1969.

Par la suite, elle noue une relation avec Patrick Gilles, puis avec Christian Kalt, Laurent Vergez, Mirko Brozek et Allain Bougrain-Dubourg. En 1992, lors d’un dîner organisé par son avocat, Jean-Louis Bouguereau, à Saint-Tropez, elle fait la connaissance de Bernard d’Ormale, industriel et conseiller de l’homme politique Jean-Marie Le Pen, « un coup de foudre mutuel » écrit-elle plus tard ; ils se marient le 16 août 1992.

C’est en 1962 que Brigitte Bardot engage son premier combat pour la cause animale, en militant pour le pistolet d’abattage indolore dans les abattoirs. En effet, après avoir vu des photos montrant les conditions dans lesquelles les animaux étaient abattus, elle décide de devenir pescétarienne. À sa demande, Pierre Desgraupes accepte de lui accorder — malgré ses réserves, trouvant que le statut de sex-symbol de la star correspond mal à un sujet aussi dur et si peu médiatique — un entretien dans son émission Cinq colonnes à la une, où elle inaugure la rubrique Avocat d’un soir. L’actrice apparaît en direct dans cette émission et affiche une réelle maitrise du sujet le 9 janvier1962. Conséquence du « plaidoyer » de l’actrice, Roger Frey, alors ministre de l’Intérieur, lui accorde une entrevue, où elle se rend avec trois exemplaires de pistolets d’abattage destinés à assommer le gros bétail, afin que la mort lente et consciente par saignement soit abolie dans la plupart des cas, grâce à la projection d’une flèche dans le cerveau qui paralyserait les centres nerveux, qu’elle abandonne sur le bureau du ministre avant de se retirer. La presse donne une large couverture à ce qu’elle nomme alors le « pistolet de Brigitte Bardot », présenté comme procurant à l’animal une mort instantanée et sans qu’il ait le temps de ressentir de la douleur. Le pistolet d’abattage sera généralisé dans tous les abattoirs conventionnés de France en 1972

Source WIKIPEDIA

Photos : Google / Paris Match / Voici / Femme Actuelle / Al Chabaka

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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.

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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).

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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

They were… They are


They are stars

We know them as we saw them in the movies.

But time has passed and everyone is changing.

Here how we knew them
Here they are now mature and greater than before

 

ABBA

ABBA

ABBA

 

 

ART GARFUNKEL (Simon and Garfunkel 

ART AND GARFUNKEL

ART AND GARFUNKEL

 

 

BARBARA EDEN 

Barbara Eden

Barbara Eden

 

 

BARRY GIBB  (Bee Gees )

barry gibb bee gees

barry gibb bee gees

 

 

BOB DYLAN

Bob Dylan

Bob Dylan

 

 

CAT STEVENS

cat stevens

cat stevens

 

 

DAVID MC CALLUM

David Mc Callum

David Mc Callum

 

 

HARISON FORD

Harison Ford

Harison Ford

 

 

JOAN BAEZ

Joan baez

Joan baez

 

 

JULIE ANDREWS

JULIE ANDREWS

JULIE ANDREWS

 

SOUND OF MUSIC TEAM  ( Von Trapp family in movie)

Sound of music team

Sound of music team

 

 

PAUL ANKA

PAUL ANKA

PAUL ANKA

 

 

LEE  AAKER ( Aka RUSTY in RINTINTIN )

LEE AAKER AKA RUSTY in RINTINTIN

LEE AAKER AKA RUSTY in RINTINTIN

 

 

TOM HANKS

Tom Hanks

Tom Hanks

 

 

TOM JONES

TOM JONES

TOM JONES

 

Sources : Google

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

STARS WHEN YOUNG (Part1)


Some stars when young and even kids.

Rare photos. ( 23 photos for this part 1 ) (One of them is not a hollywood star…But was a star in a way)

https://webradiosatellite2.tumblr.com/

THE BEVERLY HILLBILLIES


The Beverly Hillbillies is an American television sitcom that was broadcast on CBS from 1962 to 1971. It had an ensemble cast featuring Buddy EbsenIrene RyanDonna Douglas, and Max Baer Jr. as the Clampetts, a poor, backwoods family from the hills of the Ozarks, who move to posh Beverly Hills, California, after striking oil on their land.

The show was produced by Filmways and was created by Paul Henning. It was followed by two other Henning-inspired “country cousin” series on CBS: Petticoat Junction and its spin-off Green Acres, which reversed the rags-to-riches, country-to-city model of The Beverly Hillbillies.

The Beverly Hillbillies ranked among the top 20 most-watched programs on television for eight of its nine seasons, ranking as the No. 1 series of the year during its first two seasons, with 16 episodes that still remain among the 100 most-watched television episodes in American history. It accumulated seven Emmy nominations during its run. It remains in syndicated reruns, and its ongoing popularity spawned a 1993 film adaptation by 20th Century Fox.

  • Buddy Ebsen : Jed Clampett
  • Irene Ryan : Daisy Moses
  • Donna Douglas : Elly May Clampett
  • Max Baer Jr. : Jethro Bodine
  • Raymond Bailey : Milburn Drysdale 
  • Nancy Kulp : Jane Hathaway

Julie Andrews


Dame Julie Andrews DBE (born Julia Elizabeth Wells; 1 October 1935) is an English actress, singer, and author. Throughout her career of over 75 years, she has received numerous accolades, including an Academy Award, a British Academy Film Award, two Primetime Emmy Awards, three Grammy Awards, and six Golden Globe Awards.

Andrews was made a Disney Legend in 1991, and has been honoured with a Honorary Golden Lion as well as the AFI Life Achievement Award. In 2000, Andrews was made a dame by Queen Elizabeth II for services to the performing arts.

Andrews, a child actress and singer, appeared in the West End in 1948 and made her Broadway debut in The Boy Friend (1954). Billed as “Britain’s youngest prima donna“, she rose to prominence starring in Broadway musicals such as My Fair Lady (1956) playing Eliza Doolittle and Camelot (1960) playing Queen Guinevere. On 31 March 1957, Andrews starred in the premiere of Rodgers and Hammerstein‘s written-for-television musical Cinderella, a live, colour CBS network broadcast seen by over 100 million viewers. Andrews made her feature film debut in Walt Disney‘s Mary Poppins (1964) and won the Academy Award for Best Actress for her performance in the title role. The following year she starred in the musical film The Sound of Music (1965), playing Maria von Trapp and won the Golden Globe Award for Best Actress – Motion Picture Comedy or Musical.

Between 1964 and 1986, Andrews starred in various films working with directors including her husband Blake EdwardsGeorge Roy Hill, and Alfred Hitchcock in The Americanization of Emily (1964), Hawaii (1966), Torn Curtain (1966), Thoroughly Modern Millie (1967), Star! (1968), The Tamarind Seed (1974), 10 (1979), S.O.B. (1981), Victor/Victoria (1982), That’s Life! (1986), and Duet for One (1986). After 1986 her workload decreased, appearing in two films in 1991 and not again until 2000. After the turn of the new millennium, however, her career had a revival. From 2001 to 2004 Andrews starred in The Princess Diaries (2001) and The Princess Diaries 2: Royal Engagement (2004). From 2004 to 2018 she lent her voice to the Shrek and Despicable Me animated films and Aquaman (2018). In 2017 she co-created and hosted a children’s educational show titled Julie’s Greenroom, for which she received two Daytime Emmy Award nominations. Beginning in 2020, Andrews voiced the narrator Lady Whistledown in the Netflix series Bridgerton. She has also worked hosting performance shows such as Great Performances and narrating documentaries such as the 2004 Emmy-winning series Broadway: The American Musical.

In 2002, Andrews was ranked No. 59 in the BBC’s poll of the 100 Greatest Britons. In 2003, she revisited her first Broadway success, this time as a stage director, with a revival of The Boy Friend. Apart from her musical career, she is also an author of children’s books and has published two autobiographies, Home: A Memoir of My Early Years (2008) and Home Work: A Memoir of My Hollywood Years (2019).

Julia Elizabeth Wells was born on 1 October 1935 in Walton-on-Thames, Surrey, England. Her mother, Barbara Ward Wells (née Morris; 1910–1984) was born in Chertsey and married Edward Charles “Ted” Wells (1908–1990), a teacher of metalwork and woodwork, in 1932.

Andrews was conceived as a result of an affair her mother had with a family friend. Andrews discovered her true parentage from her mother in 1950, although it was not publicly disclosed until her 2008 autobiography.

With the outbreak of World War II, her parents went their separate ways and were soon divorced. Each remarried: Barbara to Ted Andrews, in 1943, and Ted Wells in 1944 to Winifred Maud (Hyde) Birkhead, a war widow and former hairstylist at a war work factory that employed them both in Hinchley Wood, Surrey. Wells assisted with evacuating children to Surrey during the Blitz, while Andrews’s mother joined her husband in entertaining the troops through the Entertainments National Service Association. Andrews lived briefly with Wells and her brother, John in Surrey. In 1940, Wells sent her to live with her mother and stepfather, who Wells thought would be better able to provide for his talented daughter’s artistic training. According to Andrews’s 2008 autobiography Home, while Andrews had been used to calling her stepfather “Uncle Ted”, her mother suggested it would be more appropriate to refer to her stepfather as “Pop”, while her father remained “Dad” or “Daddy” to her, a change which she disliked. The Andrews family was “very poor” and “lived in a bad slum area of London,” at the time, stating that the war “was a very black period in my life.” According to Andrews, her stepfather was violent and an alcoholic. He twice, while drunk, tried to get into bed with his stepdaughter, resulting in Andrews fitting a lock on her door.

As the stage career of her mother and stepfather improved, they were able to afford better surroundings, first to Beckenham and then, as the war ended, back to the Andrews’s hometown of Hersham. The family took up residence at the Old Meuse, in West Grove, Hersham, a house (now demolished) where Andrews’s maternal grandmother had served as a maid. Andrews’s stepfather sponsored lessons for her, first at the independent arts educational school Cone-Ripman School (ArtsEd) in London, and thereafter with concert soprano and voice instructor Madame Lilian Stiles-Allen. Andrews said of Stiles-Allen, “She had an enormous influence on me,” adding, “She was my third mother – I’ve got more mothers and fathers than anyone in the world.” In her memoir Julie Andrews – My Star Pupil, Stiles-Allen records, “The range, accuracy and tone of Julie’s voice amazed me … she had possessed the rare gift of absolute pitch”, though Andrews herself refutes this in her 2008 autobiography Home. According to Andrews, “Madame was sure that I could do Mozart and Rossini, but, to be honest, I never was”. Of her own voice, she says, “I had a very pure, white, thin voice, a four-octave range – dogs would come from miles around.” After Cone-Ripman School, Andrews continued her academic education at the nearby Woodbrook School, a local state school in Beckenham.

The sound of music

The sound of Music

The sound of Music

The sound of music Julie Andrews /Christopher Plummer
Cast of Sound of Music

Termed “Britain’s youngest prima donna”, Andrews’s classically trained soprano voice, lauded for its “pure and clear” sound, has been described as light, bright and operatic in tone. When a young Andrews was taken by her parents to be examined by a throat specialist, the doctor concluded that she had “an almost adult larynx.” Despite the continual encouragement to pursue opera by her voice teacher, English soprano Lilian Stiles-Allen, Andrews herself felt that her voice was unsuited for the genre and “too big a stretch”. At the time, Andrews described her own voice as “extremely high and thin”, feeling that it lacked “the necessary guts and weight for opera”, preferring musical theatre instead.

Victor Victoria

As Andrews aged, so did her voice, which began to naturally deepen. Losing her vast upper register, her “top notes” became increasingly difficult to sing while “her middle register matured into the warm golden tone” for which she has become known, according to Tim Wong of The Daily Telegraph.

Musically, she had always preferred singing music that was “bright and sunny”, choosing to avoid songs that were sad or otherwise written in a minor key, for fear of losing her voice “in a mess of emotion”. She cited this as another reason for avoiding opera.

Supercalifragilisticexpialidocious.

SUPERCALIFRAGILISTICEXPIALIDOCIOUS
Mary Poppins
Andre Rieu / Mary Poppins / Supercalifragilisticexpialidocious
A Spoonful Of Sugar / Julie Andrews / Mary Poppins 
Mary Poppins – Chim Chim Cher-ee
Julie Andrews

Additional informations about “the sound of music” : The original Broadway cast. The original Broadway cast was started by Mary Martin. Her singing style was very different than Julie Andrews’s style.

(Mary Martin was Larry hagman’s mother)

Sources Youtube / Wikipedia

BELLES PHOTOS DE FAMILLE ( du TSAR )


The beautiful Grand Duchess Maria Romanova (1899-1918) looks like she could belong in the present.

La super belle Duchesse Maria Romanova ( 1899 – 1918 ) a des airs de jeune fille moderne et actuelle

Quelques photos de la Grand Duchesse, sa soeur et son père le Tsar de Russie.

Grand Duchess Maria Romanova (1899-1918)

Instrumental music TV Series themes


https://radiosatellite.co/2021/05/08/instrumental-music-tv-series-themes/

Instrumental music TV Series themes


HAWAI FIVE O COVER

I DREAM OF JEANNIE. and BEWITCHED

I DREAM OF JEANNIE vs BEWITCHED

BENNY HILL SHOW

THE BENNY HILL SHOW

THE A TEAM

THE A TEAM

MISSION IMPOSSIBLE

MISSION IMPOSSIBLE

HOGAN’S HEROES

HOGAN’S HEROES

ALIAS SMITH & JONES

ALIAS SMITH AND JONES

THE HIGH CHAPARRAL

THE HIGH CHAPARRAL

DALLAS

DALLAS

HAWAI FIVE O. 1968 – 1980

Hawai 5 0

HAWAI FIVE O NEW VERSION

Hawai 5 0

Old tv series


  • who’s the boss
  • rawhide ( with clint Eastwood)
  • the higj chaparal ( manolito )

  • Different Strokes
  • I dream of Jeannie
  • bewitched

BONANZA ….Souvenirs


VIDEO

REAL COWBOYS ON THIS VIDEO


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https://radiosatellite.online/voirvideo?id=53

oldies goodies


https://radiosatellite.online/lire?id=66

Click on link. and watch

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DOUBLE


CLICK ON LINK BELOW …WATCH. AND ENJOY

HAGA CLIC EN EL ENLACE A CONTINUACIÓN … VER. Y DISFRUTAR

НАЖМИТЕ НА ССЫЛКУ НИЖЕ … СМОТРЕТЬ. И НАСЛАЖДАТЬСЯ

CLIQUE NO LINK ABAIXO … ASSISTIR. E APROVEITAR

लिंक पर क्लिक करें क्लिक करें … देखो। और आनंद लो

ΚΛΙΚ ΣΕ ΣΥΝΔΕΣΗ ΠΑΡΑΚΑΤΩ … ΠΑΡΑΚΟΛΟΥΘΗΣΤΕ. ΚΑΙ ΝΑ ΑΠΟΛΑΥΣΕΤΕ

AŞAĞIDAKİ BAĞLANTIYI TIKLAYIN … İZLEYİN. VE KEYFİNİ ÇIKARIN

לחץ על הקישור למטה … צפה. ותהנה

ՍՏԵ LԵՔ ՀԵՏ ՀԵՏՈ ներքևում … Դիտեք: ԵՎ ՎԻՐԵԼ

انقر على الرابط أدناه … و استمتع

CLIQUEZ SUR LE LIEN CI DESSOUS et ….Heu… ENJOY ( Mot françisé par notre équipe) 🙂

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YOUTUBE


La chaine YOUTUBE de RADIOSATELLITE

Vous la présenter.

Vous la faire connaitre

Vous la faire découvrir

https://www.youtube.com/channel/UCJswzoRko4H4SHBgssQIFUA/featured

VIDEO LA PLUS POPULAIRE.

VIDEO LA PLUS RECENTE

VIDEO LA PLUS ANCIENNE

VIDEO LA MOINS POPULAIRE 🙂 ( Eh oui, il en faut )

VIDEOS PREFEREES DES AUDITEURS ( LA PLUS COMIQUE / DRÔLE )

VIDEO BEST MODELS SHOW

VIDEOS TOURISTIQUES ISTANBUL

VIDEOS TOURISTIQUES PARIS

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PEGGY LIPTON


Peggy Lipton, née le 30 août 1946 à New York et morte le 11 mai 2019 à Los Angeles, est  une actrice et ancienne mannequin.

Elle est devenue célèbre grâce à son rôle le plus connu, celle d’une jeune fleuriste nommée Julie Barnes, dans la série télévisée de contre-culture ABC La Nouvelle Équipe (1968-1973) pour lequel elle remporte le Golden Globe de la meilleure actrice dans une série télévisée dramatique en 1970. 

Sa carrière de près de cinquante ans, à la télévision, au cinéma et sur scène, a inclus des apparitions dans diverses autres séries télévisées, notamment dans le rôle de Norma Jennings dans Twin Peaks de David Lynch. Sa carrière de près de cinquante ans, à la télévision, au cinéma et sur scène, a inclus des apparitions dans diverses autres séries télévisées, notamment dans le rôle de Norma Jennings dans Twin Peaks de David Lynch.

Lipton a épousé le musicien et producteur Quincy Jones et est mère de leurs deux filles, Rashida Jones et Kidada Jones, devenues également actrices.

Née à New York le 30 août 1946, Peggy Lipton est élevée dans une famille juive de la classe moyenne. Son père Harold Lipton (1911-1999), est juriste d’entreprise, et sa mère Rita Benson (1912-1986), artiste.

 Ses grands-parents paternels étaient des Juifs de Russie, et sa mère est née à Dublin en Irlande, de parents juifs émigrés d’Europe de l’Est

Peggy Lipton grandit à Long Island avec ses frères, Robert, qui deviendra acteur, et Kenneth. Elle fréquente le lycée Lawrence et l’école professionnelle des enfants. Abusée sexuellement par un oncle, Peggy Lipton devient une enfant nerveuse et solitaire. Des accès de bégaiement l’empêchent parfois de dire son propre nom. 

En 1964, la famille déménage à Los Angeles ; Peggy devient, à ses dires, une « Hippie Topanga Canyon », explorant méditation et yoga, et subsistant de gâteaux de riz et de fromage cottage

Le père de Peggy Lipton a organisé ses premiers travaux de modélisation à New York, tandis que sa mère l’encourageait à prendre des cours de théâtre. 

À 15 ans, Lipton est devenue un mannequin de l’Agence Ford et de là s’ensuivit le succès de sa carrière. Après qu’elle et sa famille ont déménagé à Los Angeles en 1964, Lipton a signé un contrat avec Universal Pictures. 

Elle fait ses débuts à la télévision à l’âge de 19 ans dans la sitcom NBC John Forsythe Show (1965). 

Entre 1965 et 1968, elle est apparue dans les épisodes de la série suivante : Ensorcelé, Le Virginien, ( the virginian ) Les Envahisseurs, La Route de l’Ouest, Le F. B. I., de Walt Disney, Willie et le Yankee, L’Heure  d’Alfred Hitchcock, et M. Novack.

Elle est devenue célèbre avec La Nouvelle Équipe. Apparaissant perdue et vulnérable, comme l’a écrit David Hutchings, son interprétation de Julie Barnes en « canari à l’aile cassée » lui a valu quatre nominations aux Emmy Awards et quatre nominations aux Golden Globes.

 

THE MOD SQUAD

En 1971, elle a remporté un Golden Globe de la meilleure actrice dans une série télévisée dramatique. Mince avec de longs cheveux blonds, habillée en mini-jupes, ou en pantalons pattes d’éléphant, son personnage de Julie Barnes devint une icône de la mode hippie de son temps.

 Au cours de la fin des années 1960 et au début des années 1970, Peggy Lipton s’est liée à une série d’hommes alcooliques, violents, et/ou mariés. 

Elle a également eu une relation avec le Beatle Paul Mc Cartney de 1965 à 1968. 

Lorsque Paul venait aux États-Unis, il passait beaucoup de temps avec Peggy, très amoureuse.

 Malheureusement pour elle, Paul McCartney était un peu tel un marin, une fille dans chaque port. 

En 1968, Paul venu à Miami contacte Linda Eastman afin qu’ils passent la soirée ensemble. Peggy, au courant de la présence de Paul aux États-Unis, accourt à l’hôtel où il est descendu, mais se voit éconduire par Barry Miles comme une vulgaire groupie, elle ne reverra Paul. 

Elle apprendra son mariage avec Linda en 1969, en restera inconsolable au point de consommer de la drogue. Peggy Lipton a évoqué cette période dans sa biographie Respirer (2005), co-écrit par David et Coco Dalton.

Peggy Lipton épouse le musicien et producteur Quincy Jones en 1974 et fait une pause dans le cinéma pour se consacrer à sa famille (avec une exception notable de figurante dans le film Le Retour de la Mod Squad en 1979), à leurs deux filles, Rashida et Kidada Jones. Lipton et Jones se séparent en 1986, et divorcent en 1990. 

En 2004, elle révèle son le cancer du côlon et son traitement. A partir de 2003, Jack Chartier, à l’époque chef d’état-major de Alan Hevesi, puis contrôleur de l’État à New York, verse une somme de 90 000 $ à Lipton pour l’aider à payer ses loyers et factures d’hôpitaux. Il a également investi 44 000 $ supplémentaires en fonds de caisse de retraite pour une entreprise dans laquelle une des filles de Lipton est impliquée

Peggy Lipton for the television series, ‘The Mod Squad,’ c. 1968. (Photo by ABC/Hulton Archive/ Getty Images)

JOHN DENVER


Henry John Deutschendorf, Jr. (December 31, 1943 – October 12, 1997), known professionally as John Denver.

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John was an American singer, songwriter, actor, activist, and humanitarian. He was one of the most popular acoustic artists of the 1970s and one of the greatest songwriters of the 20th century. After traveling and living in numerous locations while growing up in his military family, Denver began his music career in folk music groups in the late 1960s. His greatest commercial success was as a solo singer, starting in the 1970s. Throughout his life, Denver recorded and released approximately 300 songs, about 200 of which he composed.

He performed primarily with an acoustic guitar and sang about his joy in nature, his enthusiasm for music, and his relationship trials. Denver’s music appeared on a variety of charts, including country and western, the Billboard Hot 100, and adult contemporary, in all earning him twelve gold and four platinum albums with his signature songs “Take Me Home, Country Roads”, “Annie’s Song”, “Rocky Mountain High”, and “Sunshine on My Shoulders”.

Doris Day and John Denver
Doris Day and John Denver

Denver further starred in films and several notable television specials in the 1970s and 1980s. In the following decade, he continued to record, but also focused on calling attention to environmental issues, lent his vocal support to space exploration, and testified in front of Congress to protest against censorship in music. He was known for his love of the state of Colorado, which he sang about numerous times. He lived in Aspen, Colorado, for much of his life. He was named Poet Laureate of the state in 1974. The Colorado state legislature also adopted “Rocky Mountain High” as one of its state songs in 2007. Denver was an avid pilot, and died in a single fatality crash of his personal aircraft at the age of 53.

 

Biography

Early years

Henry John Deutschendorf, Jr., was born in Roswell, New Mexico, to Erma Louise Swope and Lt. Col. Henry John Deutschendorf, Sr. an Air Force officer (who set three speed records in the B-58 Hustler bomber and earned a place in the Air Force Hall of Fame).

 Henry Sr. was of German ancestry, and met and married his “Oklahoma Sweetheart”. Denver’s Irish Catholic and German maternal grandmother was the one who imbued Denver with his love of music. In his autobiography, Take Me Home, Denver described his life as the eldest son of a family shaped by a stern father who could not show his love for his children. He is also the nephew of singer Dave Deutschendorf of The New Christy Minstrels.

Because Denver’s father was in the military, the family moved often, making it difficult for Denver to make friends and fit in with people of his own age. Constantly being the new kid was agony for the introverted child, and he grew up always feeling as if he should be somewhere else, but never knowing where that “right” place was. While living in Tucson, Arizona, Denver was a member of the Tucson Arizona Boys Chorus for two years.

Denver was happy living in Tucson, but his father was transferred to Montgomery, Alabama, then in the midst of the Montgomery boycotts. The family later moved to Fort Worth, Texas, where Denver graduated from Arlington Heights High School. Attending high school in Fort Worth was a distressing experience for the disenfranchised Denver. In his third year of high school, he borrowed his father’s car and ran away to California to visit family friends and begin his music career. His father flew to California to bring him back, and Denver unhappily returned to finish high school.

At the age of 11, Denver received an acoustic guitar from his grandmother. He learned to play well enough to perform at local clubs by the time he was in college. He adopted the surname “Denver” after the capital of his favorite state, Colorado. He decided to change his name when Randy Sparks, founder of The New Christy Minstrels, suggested that “Deutschendorf” wouldn’t fit comfortably on a marquee.

 Denver studied Architecture at Texas Tech University in Lubbock and sang in a folk-music group called “The Alpine Trio” while pursuing architecture studies. He was also a member of Delta Tau Delta Fraternity. Denver dropped out of the Texas Tech School of Engineering in 1963, and moved to Los Angeles, where he sang in folk clubs. In 1965, Denver joined the Chad Mitchell Trio, a folk group that had been renamed “The Mitchell Trio” prior to Chad Mitchell’s departure and before Denver’s arrival, and then “Denver, Boise, and Johnson” (John Denver, David Boise, and Michael Johnson).

In 1969, John Denver abandoned the band life to pursue a solo career and released his first album for RCA Records: Rhymes & Reasons. Two years prior, Denver had made a self-produced demo recording of some of the songs he played at his concerts. He included in the demo a song called “Babe I Hate to Go”, later renamed “Leaving on A Jet Plane”. Denver made several copies and gave them out as presents for Christmas.  Producer Milt Okun, who produced records for the Mitchell Trio and the high-profile folk group Peter, Paul and Mary, had become Denver’s producer as well. Okun brought the unreleased “Jet Plane” song to Peter, Paul and Mary. Their version of the song hit number one on the Billboard Hot 100.

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Although RCA did not actively promote Rhymes & Reasons with a tour, Denver himself embarked on an impromptu supporting tour throughout the Midwest, stopping at towns and cities as the fashion took him, offering to play free concerts at local venues. When he was successful in persuading a school, college, American Legion Hall, or local coffee-house to let him play, he would spend a day or so distributing posters in the town and could usually be counted upon to show up at the local radio station, guitar in hand, offering himself for an interview.[citation needed] With his foot-in-the-door for authoring “Leaving on a Jet Plane”, he was often successful in gaining some valuable promotional airtime, usually featuring one or two songs performed live. Some venues would let him play for the “door”; others restricted him to selling copies of the album at intermission and after the show. After several months of this constant low-key touring schedule, however, he had sold enough albums to persuade RCA to take a chance on extending his recording contract. He had also built a sizable and solid fan base, many of whom remained loyal throughout his career.

Denver recorded two more albums in 1970, Take Me to Tomorrow and Whose Garden Was This, including a mix of songs he had written and cover versions of other artists’ compositions.

Career peak

His next album, Poems, Prayers, and Promises (released in 1971), was a breakthrough for him in the U.S., thanks in part to the single “Take Me Home, Country Roads”, which went to number 2 on the Billboard charts despite the first pressings of the track being distorted. Its success was due in part to the efforts of his new manager, future Hollywood producer Jerry Weintraub, who signed Denver in 1970. Weintraub insisted on a re-issue of the track and began a radio-airplay campaign that started in Denver, Colorado. Denver’s career flourished from then on, and he had a series of hits over the next four years. In 1972, Denver scored his first Top Ten album with Rocky Mountain High, with its title track reaching the Top Ten in 1973.

 Between 1974 and 1975, Denver experienced an impressive chart dominance, with a string of four No.1 songs (“Sunshine on My Shoulders”, “Annie’s Song”, “Thank God I’m a Country Boy”, and “I’m Sorry”) and three No.1 albums (John Denver’s Greatest Hits, Back Home Again, and Windsong).

In the 1970s, Denver’s onstage appearance included long blond hair, embroidered shirts emblazoned with images commonly associated with the American West (created by designer & appliqué artist Anna Zapp), and “granny” glasses. His manager, Jerry Weintraub, insisted on a significant number of television appearances, including a series of half-hour shows in England, despite Denver’s protests at the time, “I’ve had no success in Britain… I mean none.”

 Weintraub explained to Maureen Orth of Newsweek in December 1976, “I knew the critics would never go for John. I had to get him to the people.”

After appearing as a guest on many shows, Denver went on to host his own variety/music specials, including several concerts from Red Rocks Amphitheatre near Denver. His seasonal special, Rocky Mountain Christmas, was watched by more than 60 million people and was the highest-rated show for the ABC network at that time.[citation needed]

 

 

His live concert special, An Evening with John Denver, won the 1974–1975 Emmy for Outstanding Special, Comedy-Variety or Music.  When Denver ended his business relationship because of Weintraub’s focus on other projects, Weintraub threw Denver out of his office and called him a Nazi.

 Denver would later tell Arthur Tobier, when the latter transcribed his autobiography,[citation needed] “…I’d bend my principles to support something he wanted of me. And of course every time you bend your principles – whether because you don’t want to worry about it, or because you’re afraid to stand up for fear of what you might lose – you sell your soul to the devil.”

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Denver was also a guest star on The Muppet Show, the beginning of the lifelong friendship between Denver and Jim Henson that spawned two television specials with The Muppets.

He also tried his hand at acting, appearing in the The Colorado Cattle Caper episode of the McCloud television movie on February 24, 1974, and starring in the 1977 film Oh, God! opposite George Burns.

Denver hosted the Grammy Awards five times in the 1970s and 1980s and guest-hosted The Tonight Show on multiple occasions. In 1975, Denver was awarded the Country Music Association’s Entertainer of the Year award.

At the ceremony, the outgoing Entertainer of the Year Charlie Rich presented the award to his successor, but in protest of what he considered the inappropriateness of Denver’s selection, Rich set fire to the envelope containing the official notification of the award. However, Denver’s music was defended by country singer Kathy Mattea, who told Alanna Nash of Entertainment Weekly, “A lot of people write him off as lightweight, but he articulated a kind of optimism, and he brought acoustic music to the forefront, bridging folk, pop, and country in a fresh way… People forget how huge he was worldwide.”

In 1977, Denver cofounded The Hunger Project with Werner Erhard and Robert W. Fuller. He served for many years and supported the organization until his death.

Denver was also appointed by President Jimmy Carter to serve on the President’s Commission on World Hunger, writing the song “I Want to Live” as its theme song. In 1979, Denver performed “Rhymes & Reasons” at the Music for UNICEF Concert. Royalties from the concert performances were donated to UNICEF.

 His father taught him to fly in the mid-1970s, which led to a reconciliation between father and son.

T In 1980, Denver and his father, Lt. Col. “Dutch” Deutschendorf, co-hosted an award winning television special, “The Higher We Fly: the History of Flight”. It won the Osborn Award from the Aviation/Space Writers’ Association, and was honored by the Houston Film Festival.

Denver became outspoken in politics in the mid-1970s. He expressed his ecologic interests in the epic 1975 song “Calypso,” which is an ode to the exploration ship and team of environmental activist Jacques Cousteau. In 1976, he campaigned for Jimmy Carter, who became a close friend and ally. Denver was a supporter of the Democratic Party and of a number of charitable causes for the environmental movement, the homeless, the poor, the hungry, and the African AIDS crisis. He founded the charitable Windstar Foundation in 1976, to promote sustainable living. His dismay at the Chernobyl disaster led to precedent-setting concerts in parts of communist Asia and Europe.

During the 1980s, Denver was critical of the Ronald Reagan Presidential Administration, but he remained active in his campaign against hunger, for which Reagan awarded Denver the Presidential World Without Hunger Award in 1985.

Later years and humanitarian work

He had a few more U.S. Top 30 hits as the 1970s ended, but nothing to match his earlier success. He began to focus more on humanitarian and sustainability causes, focusing extensively on conservation projects. He made public expression of his acquaintances and friendships with ecological-design researchers such as Richard Buckminster Fuller (about whom he wrote and composed “What One Man Can Do”) and Amory Lovins, from whom he said he learned much. He also founded two environmental groups; the Windstar Foundation and Plant-It 2020 (originally Plant-It 2000).

Denver had a keen interest in solutions to world hunger. He visited Africa during the 1980s to witness first-hand the suffering caused by starvation and to work with African leaders toward solutions.

 

In 1983 and 1984, Denver hosted the annual Grammy Awards. In the 1983 finale, Denver was joined on stage by folk-music legend Joan Baez with whom he led an all-star version of “Blowin’ in the Wind” and “Let The Sunshine In,” joined by such diverse musical icons as Jennifer Warnes, Donna Summer, and Rick James.

In 1984, Roone Arledge, president of ABC Sports, asked Denver to compose and sing the theme song for the 1984 Winter Olympics in Sarajevo. Denver worked as both a performer and a skiing commentator. (Skiing was another avocation of Denver’s.) He had written and composed “The Gold and Beyond,” and he sang it for the Olympic Games athletes, as well as local venues including many schools.

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In 1985, Denver asked to participate in the singing of “We Are the World,” but he was turned down. According to Ken Kragen (who helped to produce the song), the reason Denver was turned down was that many people felt his image would hurt the credibility of the song as a pop-rock anthem. “I didn’t agree” with this assessment, Kragen said, but reluctantly turned Denver down anyway.

For Earth Day 1990, Denver was the on-camera narrator of a well-received environmental TV program, In Partnership With Earth, with then–EPA Administrator William K. Reilly.

With Denver’s innate love of flying, he was naturally attracted to NASA and became dedicated to America’s work in outer space. He conscientiously worked to help bring into being the “Citizens in Space” program. Denver received the NASA Public Service Medal, in 1985 for “helping to increase awareness of space exploration by the peoples of the world,” an award usually restricted to spaceflight engineers and designers. Also in 1985, Denver passed NASA’s rigorous physical exam and was in line for a space flight, a finalist for the first citizen’s trip on the Space Shuttle in 1986. But he was not chosen. After the Challenger disaster with teacher Christa McAuliffe aboard, Denver dedicated his song “Flying for Me” to all astronauts, and he continued to support NASA.

Denver testified before the Senate Labor and Commerce Committee on the topic of censorship during a Parents Music Resource Center hearing in 1985. Denver also toured Russia in 1985. His 11 Soviet Union concerts were the first by any American artist in more than 10 years, and they marked a very important cultural exchange that culminated in an agreement to allow other western artists to perform there.

 He returned two years later to perform at a benefit concert for the victims of the Chernobyl disaster. In October 1992, Denver undertook a multiple-city tour of the People’s Republic of China. He also released a greatest-hits CD, “Homegrown,” to raise money for homeless charities.

In 1994, he published his autobiography, Take Me Home, in which he candidly spoke of his marijuana, LSD, and cocaine use, his marital infidelities, and his history of domestic violence. In 1996, he was inducted into the Songwriters Hall of Fame.

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In early 1997, Denver filmed an episode for the Nature series, centering on the natural wonders that inspired many of his best-loved songs. The episode contains his last song, “Yellowstone, Coming Home,” which he composed while rafting along the Colorado River with his son and young daughter.

In the summer of 1997, Denver recorded a children’s train album for Sony Wonder, titled All Aboard! This was produced by long-time friend Roger Nichols.  The album consisted of old-fashioned swing, big band, folk, bluegrass, and gospel styles of music woven into a theme of railroad songs. This album won a posthumous Best Musical Album For Children Grammy for Denver, which was his only Grammy.

 

Personal life

Denver’s first marriage was to Annie Martell of St. Peter, Minnesota. Their wedding was held at the Christ Chapel at Gustavus Adolphus College. Annie was the subject of his hit Annie’s Song, which he composed in only ten minutes while on a ski lift in 1974.

 The couple lived in Edina, Minnesota, from 1968 to 1971. Following the success of “Rocky Mountain High”, Denver purchased a residence in Aspen, Colorado and owned one home in Aspen continuously until his death.  He and Annie adopted a son, Zachary, and daughter, Anna Kate, who John would say were “meant to be” theirs.[4] John once said, “I’ll tell you the best thing about me. I’m some guy’s dad; I’m some little gal’s dad. When I die, Zachary John and Anna Kate’s father, boy, that’s enough for me to be remembered by. That’s more than enough.”  Zachary was the subject of “A Baby Just Like You”, a song that included the line “Merry Christmas, little Zachary” and which he wrote for Frank Sinatra. Denver and Annie Martell divorced in 1982 and the ensuing property settlement caused Denver to become so enraged he nearly choked his ex-wife, then used a chainsaw to cut the marital bed in half. Martell continues to live in Aspen.

Denver

Denver married actress Cassandra Delaney in 1988, after a two-year courtship. Settling at Denver’s home in Aspen, the couple had a daughter, Jesse Belle. Denver and Delaney separated in 1991 and divorced in 1993.  Of his second marriage, Denver would later recall that “before our short-lived marriage ended in divorce, she managed to make a fool of me from one end of the valley to the other”.   In 1993, Denver pleaded guilty to a drunken driving charge, and was placed on probation.

 In August 1994, while still on probation, he was again charged with misdemeanor driving under the influence after crashing his Porsche into a tree in Aspen.  Though a jury trial in July 1997 resulted in a hung jury on the second DUI charge, prosecutors later decided to reopen the case, which was closed only after Denver’s accidental death in October 1997.  In 1996, the FAA decided that Denver could no longer fly a plane due to medical disqualification for failure to abstain from alcohol, a condition that the FAA had imposed in October 1995 after his prior drunk-driving conviction.

Denver’s talent extended beyond music. He was a painter as well, but because of his limiting schedule, he pursued photography. He once said that “photography is a way to communicate a feeling”. Denver was an avid skier and golfer. His love of flying was secondary only to his love for music. He collected vintage biplanes, and in 1974, he bought a Learjet, which he used to fly himself to concerts. He also bought a Christen Eagle aerobatic plane, two Cessna 210 and in 1997, an experimental, amateur-built Rutan Long-EZ.

 

On October 12, 1997, Denver was killed at the age of 53, when his experimental Rutan Long-EZ plane, aircraft registration number N555JD, crashed into the Pacific Ocean near Pacific Grove, California, while making a series of touch-and-go landings at the nearby Monterey Peninsula Airport.  The National Transportation Safety Board’s (NTSB) accident ID is LAX98FA008.  Denver was the only occupant of the aircraft.Image

 

 

In 2000, CBS presented the television movie Take Me Home: The John Denver Story loosely based on his memoirs, starring Chad Lowe. The New York Post observed, “An overachiever like John Denver couldn’t have been this boring.”

Denver’s music remains popular around the world. Previously unreleased and unnoticed recordings are now sought-after collectibles in pop, folk and country genres.[citation needed] Also in demand are copies of Denver’s many television appearances, especially his one-hour specials from the 1970s and his six-part series for Britain’s BBC, The John Denver Show. Despite strong interest in these programs, no sign of “official” release is evident for the vast majority of this material.[citation needed] An anthology musical featuring John Denver’s music, Back Home Again: A John Denver Holiday, premiered at the Rubicon Theatre Company in November 2006.

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On March 12, 2007, the Colorado Senate passed a resolution to make Denver’s trademark 1972 hit “Rocky Mountain High” one of the state’s two official state songs, sharing duties with its predecessor, “Where the Columbines Grow”.  The resolution passed 50–11 in the House, defeating an objection by Rep. Debbie Stafford (R-Aurora) that the song reflected drug use, most specifically the line, “friends around the campfire and everybody’s high”. Sen. Bob Hagedorn, the Aurora Democrat who sponsored the proposal, defended the song as nothing to do with drugs, but everything to do with sharing with friends the euphoria of experiencing the beauty of Colorado’s mountain vistas. Nancy Todd (D-Aurora) said that “John Denver to me is an icon of what Colorado is

On September 24, 2007, the California Friends of John Denver and The Windstar Foundation unveiled a bronze plaque near the spot where his plane went down near Pacific Grove. The site had been marked by a driftwood log carved (by Jeffrey Pine of Colorado) with the singer’s name, but fears that the memorial could be washed out to sea sparked the campaign for a more permanent memorial. Initially the Pacific Grove Council denied permission for the memorial, fearing the place would attract ghoulish curiosity from extreme fans. Permission was finally granted in 1999, but the project was put on hold at the request of the singer’s family. Eventually, over 100 friends and family attended the dedication of the plaque, which features a bas-relief of the singer’s face and lines from his song “Windsong”: “So welcome the wind and the wisdom she offers. Follow her summons when she calls again.”

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To mark the 10th anniversary of Denver’s death, his family released a set of previously unreleased recordings of Denver’s 1985 concert performances in the Soviet Union. This two-CD set, John Denver – Live in the USSR, was produced by Denver’s friend Roger Nichols, and released by AAO Music. These digital recordings were made during 11 concerts, and then rediscovered in 2002. Included in this set is a previously unpublished rendition of “Annie’s Song” in Russian. The collection was released November 6, 2007.

On October 13, 2009, a DVD box set of previously unreleased concerts recorded throughout Denver’s career was released by Eagle Rock Entertainment. Around the World Live is a 5-disc DVD set featuring three complete live performances with full band from Australia in 1977, Japan in 1981, and England in 1986. These are complemented by a solo acoustic performance from Japan in 1984, and performances at Farm Aid from 1985, 1987 and 1990. The final disc has two-hour-long documentaries made by Denver.

On April 21, 2011, John Denver became the first inductee into the Colorado Music Hall of Fame. A benefit concert was held at Broomfield’s 1stBank Center and hosted by Olivia Newton-John. Other performers participating in the event included Nitty Gritty Dirt Band, Lee Ann Womack and John Oates. Both of his ex-wives were in attendance, and the award was presented to his three children.

The John Denver “Spirit” statue is a 2002 bronze sculpture statue that was financed by Denver’s fans.

Henry John Deutschendorf Jr ( 31 Décembre 1943 – 12 Octobre 1997 ) connu sous le pseudo de JOHN DENVER

 

John Denver (31 décembre 1943 – 12 octobre 1997), né Henry John Deutschendorf, Jr. , est un chanteur américain, également compositeur, musicien et acteur. Il est mort à l’âge de 53 ans près de la côte de Monterey en Californie en pilotant un avion Rutan modèle Long-EZ, un avion expérimental en fibre de verre.Image

 

Il est né à Roswell, au Nouveau-Mexique. Son père, Henry Deutschendorf, Sr, était instructeur dans l’Armée de l’air des États-Unis. Denver est né alors que son père était en poste au Roswell Army Air Field. Il a passé son enfance dans diverses bases militaires du Sud-ouest américain. Il fréquente le lycée de Fort Worth dans le Texas, et plus tard inscrit à Texas Tech où il était un membre de la fraternité « Delta Tau Delta ». Son goût pour jouer de la musique est venu à l’âge de douze ans lorsque sa grand-mère lui a donné une guitare acoustique Gibson de 1910. Denver a commencé à se produire dans des clubs locaux ainsi qu’à l’université. Il a laissé tomber l’université en 1964 et s’est déplacé à Los Angeles pour rejoindre le trio Chad Mitchell Trio, un groupe de musique folklorique. En 1966, il écrit la chanson Leaving on a Jet Plane, dont l’enregistrement le plus célèbre provient de Peter, Paul and Mary. Il quitte le groupe connu sous le nom de Denver, Boise et Johnson, en 1969 pour poursuivre une carrière solo. La même année il sort son premier album Rhymes and Reasons, (des rimes et des raisons). Durant les quatre années qui suivent, il sort des albums comme Whose Garden Was This, Take Me to Tomorrow, et Poems, Prayers and Promises et devient une célébrité de la chanson populaire en Amérique.

Une de ses chansons les plus connues Take me home, Country roads enregistrée en 1971 sera reprise en France d’abord par Marie Laforêt sous le titre « Mon pays est ici » puis par Claude François sous le titre « J’ai encore ma maison », et encore quelques années plus tard par Dick Rivers sous le titre « Faire un pont ». Cette même chanson connaîtra également une adaptation en japonais dans le film Si tu tends l’oreille (1995). Elle a pour nom Mimi o sumaseba (耳をすませば) au pays du soleil levant.

John Denver and Placido Domingo
John Denver and Placido Domingo

 Célèbre dans le chant et dans l’écriture de chanson, il connaît une carrière mineure en tant qu’acteur.

Ses films les plus connus étant en 1977 Oh, God! avec George Burns.

En 1994, Denver a écrit son autobiographie intitulée Take Me Home. Il se rend à Aspen dans le Colorado en 1970 suivant son premier succès solo avec la chanson Leaving on a Jet Plane (en partant sur un avion à réaction). Denver est connu non seulement pour ses capacités musicales mais également pour son travail humanitaire.

Il a travaillé intensivement sur des projets humanitaires et a aidé à créer un refuge national en Alaska. Il a également fondé son propre groupe environnemental appelé Windstar Foundation. Denver a montré un vif intérêt pour la lutte contre la famine, et s’est rendu en Afrique au cours des années 1980, œuvrant également avec des chefs africains à la recherche d’une solution.

Défiant toutes les étiquettes conventionnelles, John Denver a tenu un rôle singulier dans la musique américaine : un compositeur dont le travail immensément populaire s’est répandu avec une parenté profonde et en lien avec les gens. Ses chansons sont restées populaires dans le monde. Elles sont caractérisées par leurs mélodies douces, une guitare élégante et son interprétation soul du lyrique. Il est devenu un des quelques chanteurs occidentaux largement connus dans le monde non-européen comprenant l’Afrique, l’Inde et l’Asie du Sud-Est.

John Denver était passionné par deux choses : la musique et l’aviation. Pilote expérimenté, il pilotait ses propres Lear Jet et pratiquait le vol acrobatique. Cependant, c’est cette passion qui a causé sa mort : John Denver s’est abîmé en mer le 12 octobre 1997 aux commandes de son Rutan Long-EZ.

 

 

1969 : Rhymes and Reasons

1970 : Take Me To Tomorrow

1970 : Whose Garden Was This?

1971 : Poems, Prayers and Promises

1972 : Aerie

1972 : Rocky Mountain High

1974 : Farewell Andromeda

1974 : John Denver’s Greatest Hits

1974 : Back Home Again

1975 : An Evening With John Denver

1975 : Windsong

1975 : Calypso, un hommage musical à Jacques-Yves Cousteau et à sa cause

1975 : Rocky Mountain Christmas

1976 : Spirit

1977 : John Denver’s Greatest Hits, Volume 2

1977 : I Want To Live

1977 : John Denver

1979 : A Christmas Together

1980 : Autograph

1981 : Some Days Are Diamonds

1982 : Seasons Of The Heart

1982 : Rocky Mountain Holiday

1983 : It’s About Time

1984 : John Denver’s Greatest Hits, Volume 3

1985 : Dreamland Express

1986 : One World

1989 : Higher Ground

1990 : Earth Songs

1990 : The Flower That Shattered The Stone

1990 : A Christmas Together

1990 : Christmas, Like A Lullaby

1991 : Different Directions

1994 : John Denver – Country Roads

1996 : John Denver – Love Again

SOURCE : WIKIPEDIA 

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