La chaine YOUTUBE de RADIOSATELLITE
Vous la présenter.
Vous la faire connaitre
Vous la faire découvrir
Vous la présenter.
Vous la faire connaitre
Vous la faire découvrir
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.
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
En cette période trouble, nos déplacements étant limités au strict minimum. A l’essentiel , comme on dit. Un petut article d’évasion pour nous souvenir d’une époque pas si lointaine que cela ( Eté 2020 ) mais qui parrait…si loin https://radiosatellite.online/lire?id=29 https://radiosatellite.online
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”.
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.
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.
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. 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.
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.
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, “…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.”
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.
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.
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.
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. 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 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.
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. 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. An anthology musical featuring John Denver’s music, Back Home Again: A John Denver Holiday, premiered at the Rubicon Theatre Company in November 2006.
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.”
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.
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.
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.
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
zade from JORDAN
Chantal Goya & Jean-Jacques DEBOUT
LONDON — Tucked in a trendy co-working complex in West London, just past the food court and the payment processing start-up, is perhaps the most technologically backward-looking record company in the world.
The Electric Recording Co., which has been releasing music since 2012, specializes in meticulous recreations of classical and jazz albums from the 1950s and ’60s. Its catalog includes reissues of landmark recordings by Wilhelm Furtwängler, John Coltrane and Thelonious Monk, as well as lesser-known artists favored by collectors, like the violinist Johanna Martzy.
But what really sets Electric Recording apart is its method — a philosophy of production more akin to the making of small-batch gourmet chocolate than most shrink-wrapped vinyl.
Its albums, assembled by hand and released in editions of 300 or fewer — at a cost of $400 to $600 for each LP — are made with restored vintage equipment down to glowing vacuum-tube amplifiers, and mono tape systems that have not been used in more than half a century.
The goal is to ensure a faithful restoration of what the label’s founder, Pete Hutchison, sees as a lost golden age of record-making. Even its record jackets, printed one by one on letterpress machines, show a fanatical devotion to age-old craft.
“It started as wanting to recreate the original but not make it a sort of pastiche,” Hutchison said in a recent interview. “And in order not to create a pastiche, we had to do everything as they had done it.”
Electric Recording’s attention to detail, and Hutchison’s delicate engineering style in mastering old records, have given the label a revered status among collectors — yet also drawn subtle ridicule among rivals who view its approach as needlessly expensive and too precious by half.
An original Lyrec T818 tape machine that the label has painstakingly renovated, in its London studio.Credit…Tom Jamieson for The New York Times
Hutchison, 53, whose sharp features and foot-long beard make him look like a wayward wizard from “The Lord of the Rings,” dismissed such critiques as examples of the audiophile world’s catty tribalism. Even the word “audiophile,” he feels, is more often an empty marketing gimmick than a reliable sign of quality.
“Audiophiles listen with their ears, not with their hearts,” Hutchison said. He added: “That’s not our game, really.”
“The game is trying to do something that is anti-generic, if you like,” he said. “What we’re doing with these old records is essentially taking the technology from the time and remaking it as it was done then, rather than compromising it.”
To a large degree, the vinyl resurgence of the last decade has been fueled by reissues. But no reissue label has gone to the same extremes as Electric Recording.
In 2009, Hutchison bought the two hulking, gunmetal-gray machines he uses to master records — a Lyrec tape deck and lathe, with Ortofon amplifiers, both from 1965 — and spent more than $150,000 restoring them over three years. He has invested thousands more on improvements like replacing their copper wiring with mined silver, which Hutchison said gives the audio signal a greater level of purity.
The machines allow Hutchison to exclude any trace of technology that has crept into the recording process since a time when the Beatles were in moptops. That means not only anything digital or computerized, but also transistors, a mainstay of audio circuitry for decades; instead, the machines’ amplifiers are powered by vacuum tubes (or valves, as British engineers call them).
“We’re all about valves here,” Hutchison said on a tour of the label’s studio.
Mastering a vinyl record involves “cutting” grooves into a lacquer disc, a dark art in which tiny adjustments can have a big effect. Unusually among engineers, Hutchison tends to master records at low volumes — sometimes even quieter than the originals — to bring out more of the natural feel of the instruments.
He demonstrated his technique during a recent mastering session for “Mal/2,” a 1957 album by the jazz pianist Mal Waldron that features an appearance by Coltrane. He tested several mastering levels for the song “One by One” — which has lots of staccato trumpet notes, played by Idrees Sulieman — before settling on one that preserved the excitement of the original tape but avoided what Hutchison called a “honk” when the horns reached a climax.
“What you want to hear is the clarity, the harmonics, the textures,” he said. “What you don’t want is to put it on and feel like you’ve got to turn it down.”
These judgments are often subjective. But to test Hutchison’s approach, I visited the New Jersey home of Michael Fremer, a contributing editor at Stereophile and a longtime champion of vinyl. We listened to a handful of Electric Recording releases, comparing them to pressings of the same material by other companies, on Fremer’s state-of-the-art test system (the speakers alone cost $100,000).
Hutchison bought the two hulking, gunmetal-gray machines he uses to master records — both from 1965 — and spent more than $150,000 restoring them over three years.Credit…Tom Jamieson for The New York Times
I am often skeptical of claims of vinyl’s superiority, but when listening to one of Electric Recording’s albums of Bach’s solo violin pieces played by Martzy, I was stunned by their clearness and beauty. Compared to the other pressings, Electric Recording’s version had vivid, visceral details, yielding a persuasive illusion of a human being standing before me drawing a bow across a violin.
“It’s magical what they’re doing, recreating these old records,” Fremer said as he swapped out more Electric Recording discs.
Hutchison is a surprising candidate to carry the torch for sepia-toned classical fidelity. In the 1990s, he was a player in the British techno scene with his label Peacefrog; the label’s success in the early 2000s with the minimalist folk of José González helped finance the obsession that became Electric Recording.
Hutchison’s conversion happened after he inherited the classical records owned by his father, who died in 1998. A longtime collector of rock and jazz, Hutchison was entranced by the sound of the decades-old originals, and found newer reissues unsatisfying. He learned that Peacefrog’s distributor, EMI, owned the rights to many of his new favorites. Was it possible to recreate things exactly has they had been done the first time around?
After restoring the machines, Electric Recording put its first three albums on sale in late 2012 — Martzy’s solo Bach sets, originally issued in the mid-1950s.
Hutchison decided that true fidelity applied to packaging as well as recording. Letterpress printing drove up his manufacturing costs, and some of the label’s projects have seemed to push the boundaries of absurdity.
In making “Mozart à Paris,” for example, a near-perfect simulacrum of a deluxe 1956 box set, Hutchison spent months scouring London’s haberdashers to find the right strand of silk for a decorative cord. The seven-disc set is Electric Recording’s most expensive title, at about $3,400 — and one of the few in its catalog that has not sold out.
Hutchison defends such efforts as part of the label’s devotion to authenticity. But it comes at a cost. Its manufacturing methods, and the quality-control attention paid to each record, bring no economies of scale. So Electric Recording would gain no reduction in expenses if it made more, thus negating the question Hutchison is most frequently asked: Why not press more records and sell them more cheaply?
“We probably make the most expensive records in the world,” Hutchison said, “and make the least profit.”
Electric Recording’s prices have drawn head-scratching through the cliquey world of high-end vinyl producers. Chad Kassem, whose company Acoustic Sounds, in Salina, Kan., is one of the world’s biggest vinyl empires, said he admired Hutchison’s work.
“I tip my hat to any company that goes the extra mile to make things as best as possible,” Kassem said.
But he said he was proud of Acoustic Sounds’s work, which like Electric Recording cuts its masters from original tapes and goes to great lengths to capture original design details — and sells most of its records for about $35. I asked Kassem what is the difference between a $35 reissue and a $500 one.
He paused for a moment, then said: “Four hundred sixty-five dollars.”
Yet the market has embraced Electric Recording. Even amid the coronavirus pandemic, Hutchison said, its records have been selling as fast as ever, although the company has had some production hiccups. The only manufacturer of a fabric that Hutchison chose for a Mozart set in the works, by the pianist Lili Kraus, has been locked down in Italy.
The next frontier for Electric Recording is rock. Hutchison recently got permission to reissue “Forever Changes,” the classic 1967 psychedelic album by the California band Love, and said that the original tape had a more unvarnished sound than most fans had heard. He expects that to be released in July, and “Mal/2” is due in August.
But Hutchison seemed most proud of the label’s work on classical records that seemed to come from a distant era. He pulled out a 10-inch mini-album of Bach by the French pianist Yvonne Lefébure, originally released in 1955. Electric Recording painstakingly recreated its dowel spine, its cotton sleeve, its leather cover embossed in gold leaf.
“It’s a nice artifact,” Hutchison said, looking at it lovingly. “It’s a great record as well.”
Source : The New York Times
01h10 PM direction les grands magasins.
L’équipe éditoriale de Radio Satellite a voulu partager avec vous l’ambiance de Noël à Paris. Plus spécialement du côté des grands Magasins
Arrivés à la station de Métro “Chaussée D’antin-Lafayette”, nous nous dirigeons vers la sortie…
Froid de canard…Bon, il ne faut pas se plaindre parce que le temps s’est tout de même (relativement) adouci comparé aux jours précédents.
Direction galerie Lafayette: Nous voulons voir les vitrines de ces galeries. Prendre des photos et les partager. … Pas la peine d’insister….Priorité aux enfants … Debout sur l’estrade, juste devant la vitrine…derrière eux les parents (normal) pour les surveiller…Il était quasi impossible d’approcher et prendre une photo correcte sans avoir le bout du nez, du doigt ou la crinière d’un gamin …. OK… Pas de photos. Cependant, nous pouvons tout de même vous…
View original post 533 more words
An Academy Award winner, MacLaine received the 40th AFI Life Achievement Award from the American Film Institute in 2012, and received the Kennedy Center Honors for her lifetime contributions to American culture through the performing arts in 2013. She is known for her New Age beliefs, and has an interest in spirituality and reincarnation. She has written a series of autobiographical works that describe these beliefs, document her world travels, and describe her Hollywood career.
A six-time Academy Award nominee, MacLaine received a nomination for Best Documentary Feature for The Other Half of the Sky: A China Memoir (1975), and Best Actress nominations for Some Came Running (1958), The Apartment (1960), Irma la Douce (1963), and The Turning Point (1977), before winning Best Actress for…
View original post 1,597 more words
Cary Grant (born Archibald Alexander Leach; January 18, 1904 – November 29, 1986) was an English stage and Hollywood film actor who became an American citizen in 1942. Known for his transatlantic accent, debonair demeanor and “dashing good looks”, Grant is considered one of classic Hollywood‘s definitive leading men.
Nominated twice for the Academy Award for Best Actor (Penny Serenade and None But the Lonely Heart) and five times for a Golden Globe Award for Best Actor, Grant was continually passed over. In 1970, he was presented an Honorary Oscar at the 42nd Academy Awards by Frank Sinatra “for his unique mastery of the art of screen acting with the respect and affection of his colleagues
Archibald Alexander Leach was born at 15 Hughenden Road, Horfield, Bristol, England, to Elsie Maria (née Kingdon) Leach (1877–1973) and Elias James Leach (1873–1935). An only child, Leach had an unhappy upbringing, attending Bishop Road Primary School.
His mother had suffered from clinical depression since the death of a previous child. Her husband placed her in a mental institution and told his 9-year-old son only that she had gone away on a “long holiday”. Believing she was dead, Leach did not learn otherwise until he was 31 and discovered her alive in a care facility. When Leach was 10, his father abandoned him after remarrying and having a baby with his new young wife.
Leach was expelled from the Fairfield Grammar School in Bristol in 1918. After joining the “Bob Pender Stage Troupe”, Leach performed as a stilt walker and traveled with the group to the United States in 1920 at the age of 16 on the RMS Olympic, on a two-year tour of the country. He was processed at Ellis Island on July 28, 1920.
When the troupe returned to the UK, he decided to stay in the U.S. and continue his stage career. During this time, he became a part of thevaudeville world and toured with Parker, Rand, and Leach.
Still using his birth name, he performed on the stage at The Muny in St. Louis,Missouri, in such shows as Irene (1931), Music in May (1931), Nina Rosa (1931), Rio Rita (1931), Street Singer (1931), The Three Musketeers (1931), and Wonderful Night (1931). Leach’s experience on stage as a stilt walker, acrobat, juggler, and mime taught him “phenomenal physical grace and exquisite comic timing” and the value of teamwork, skills which would benefit him in Hollywood.
After appearing in several musicals on Broadway under the name Archie Leach, Leach went to Hollywood in 1931. When told to change his name, he proposed “Cary Lockwood”, the name of the character he had played in the Broadway show Nikki, based upon the recent film The Last Flight.
He signed with Paramount Pictures, where studio bosses decided that the name “Cary” was acceptable but that “Lockwood” was too similar to another actor’s surname. Paramount gave their new actor a list of surnames to choose from, and he selected “Grant” because the initials C and G had already proved lucky for Clark Gable and Gary Cooper, two of Hollywood’s biggest film stars.
Grant appeared as a leading man opposite Marlene Dietrich in Blonde Venus (1932), and his stardom was given a further boost by Mae Westwhen she chose him for her leading man in two of her most successful films, She Done Him Wrong and I’m No Angel (both 1933).
I’m No Angel was a tremendous financial success and, along with She Done Him Wrong, which was nominated for an Academy Award for Best Picture, saved Paramount from bankruptcy. Paramount put Grant in a series of unsuccessful films until 1936, when he signed with Columbia Pictures. His first major comedy hit was when he was loaned to Hal Roach‘s studio for the 1937 Topper (which was distributed by MGM).
The Awful Truth (1937) was a pivotal film in Grant’s career, establishing for him a screen persona as a sophisticated light comedy leading man. As Grant later wrote, “I pretended to be somebody I wanted to be and I finally became that person. Or he became me. Or we met at some point.” Grant is said to have based his characterization in The Awful Truth on the mannerisms and intonations of the film’s director, Leo McCarey, whom he resembled physically. As writer/director Peter Bogdanovich noted, “After The Awful Truth, when it came to light comedy, there was Cary Grant and then everyone else was an also-ran.”
The Awful Truth began what The Atlantic later called “the most spectacular run ever for an actor in American pictures”. During the next four years, Grant appeared in several classic romantic comedies and screwball comedies, including Holiday (1938) and Bringing Up Baby (1938), both opposite Katharine Hepburn; The Philadelphia Story (1940) with Hepburn and James Stewart; His Girl Friday (1940) with Rosalind Russell; and My Favorite Wife (1940), which reunited him with Irene Dunne, his co-star in The Awful Truth. During this time, he also made the adventure films Gunga Din (1939) with Douglas Fairbanks, Jr. and Only Angels Have Wings (1939) with Jean Arthur and Rita Hayworth and dramas Penny Serenade (1941), also with Dunne, and Suspicion (1941), the first of Grant’s four collaborations with Alfred Hitchcock.
Grant remained one of Hollywood’s top box-office attractions for almost 30 years. Howard Hawks said that Grant was “so far the best that there isn’t anybody to be compared to him”. David Thomson called him “the best and most important actor in the history of the cinema“.
Grant was a favorite of Hitchcock, who called him “the only actor I ever loved in my whole life”.
Besides Suspicion, Grant appeared in the Hitchcock classics Notorious (1946), To Catch a Thief(1955), and North by Northwest (1959). Biographer Patrick McGilligan wrote that in 1965 Hitchcock asked Grant to star in Torn Curtain (1966) only to learn that Grant had decided to retire after making one more film, Walk, Don’t Run (1966);
Paul Newman was cast instead, oppositeJulie Andrews. Producers Broccoli and Saltzman originally sought Cary Grant for the role of James Bond in Dr. No but discarded the idea as Grant would be committed to only one feature film and the producers decided to go after someone who could be part of a franchise.
In the mid-1950s, Grant formed his own production company, Granart Productions, and produced a number of films distributed by Universal, such as Operation Petticoat (1959), Indiscreet (1958),That Touch of Mink (co-starring with Doris Day, 1962), and Father Goose (1964). In 1963, he appeared opposite Audrey Hepburn in Charade. His last feature film was Walk, Don’t Run three years later, with Samantha Eggar and Jim Hutton.
Grant was the first actor to “go independent” by not renewing his studio contract, effectively leaving the studio system, which almost completely controlled what an actor could or could not do. In this way, Grant was able to control every aspect of his career, at the risk of not working because no particular studio had an interest in his career long term.
He decided which films he was going to appear in, often had personal choice of directors and co-stars, and at times even negotiated a share of the gross revenue, something uncommon at the time. Grant received more than $700,000 for his 10% of the gross for To Catch a Thief while Hitchcock received less than $50,000 for directing and producing it.
Grant was nominated for two Academy Awards, for Penny Serenade (1941) and None But the Lonely Heart (1944), but never won a competitive Oscar; he received a special Academy Award for Lifetime Achievement in 1970. Accepting the Best Original Screenplay Oscar in 1965, Father Goose co-writer Peter Stone had quipped, “My thanks to Cary Grant, who keeps winning these things for other people.” In 1981, Grant was accorded the Kennedy Center Honors.
Grant poked fun at himself with statements such as “Everyone wants to be Cary Grant—even I want to be Cary Grant”, and in ad-lib lines—such as in the film His Girl Friday, saying, “I never had so much fun since Archie Leach died”. In Arsenic and Old Lace (1944), a gravestone is seen bearing the name Archie Leach. According to a famous story now believed to be apocryphal, after seeing a telegram from a magazine editor to his agent asking “How old Cary Grant?” Grant reportedly responded with “Old Cary Grant fine. How you?
Cary Grant retired from the screen at 62 when his daughter Jennifer was born, in order to focus on bringing her up and to provide a sense of permanency and stability in her life.
While bringing up his daughter, he archived artifacts of her childhood and adolescence in a bank-quality room-sized vault he had installed in the house.
His daughter attributed this meticulous collection to the fact that artifacts of his own childhood had been destroyed during the Luftwaffe’s bombing of Bristol in the Second World War (an event that also claimed the lives of his uncle, aunt, and cousin as well as the cousin’s husband and grandson), and he may have wanted to prevent her from experiencing a similar loss.
Although Grant had retired from the screen, he remained active.
In the late 1960s, he accepted a position on the board of directors at Fabergé. By all accounts this position was not honorary, as some had assumed; Grant regularly attended meetings and his mere appearance at a product launch would almost certainly guarantee its success. The position also permitted use of a private plane, which Grant could use to fly to see his daughter wherever her mother, Dyan Cannon, was working.
He was a keen motoring enthusiast and, like many other Hollywood stars of the era, owned many notable cars. One of the first he owned was a 1929 Cadillac Cabriolet. His love of Cadillacs never waned and he later purchased a Cadillac Eldorado Biarritz. Other cars that he owned included an MG Magnette and a Sunbeam Alpine series one roadster.
In the last few years of his life, Grant undertook tours of the United States in a one-man show, A Conversation with Cary Grant, in which he would show clips from his films and answer audience questions. Grant was preparing for a performance at the Adler Theatre in Davenport, Iowa, on the afternoon of November 29, 1986, when he sustained a cerebral hemorrhage (he had previously suffered a stroke in October 1984). His wife did not know what was going on and she went to a local pharmacy to get aspirin. He died at 11:22 p.m. in St. Luke’s Hospital at the age of 82.
The bulk of his estate, worth millions of dollars, went to his fifth wife, Barbara Harris, and his daughter, Jennifer Grant
In 2001, a statue of Grant was erected in Millennium Square, a regenerated area next to Bristol Harbour in his city of birth, Bristol.
In November 2005, Grant came in first in the “The 50 Greatest Movie Stars of All Time” list by Premiere magazine. Richard Schickel, the film critic, said about Grant: “He’s the best star actor there ever was in the movies.
|1932||This Is the Night||Stephen||With Lili Damita, Charles Ruggles, and Thelma Todd|
|Sinners in the Sun||Ridgeway||With Carole Lombard and Chester Morris|
|Singapore Sue||First Sailor||Musical Comedy short subject|
|Merrily We Go to Hell||Charlie Baxter||UK title: Merrily We Go to _____With Sylvia Sidney and Fredric March|
|Devil and the Deep||Lieutenant Jaeckel||With Tallulah Bankhead and Gary Cooper|
|Blonde Venus||Nick Townsend||With Marlene Dietrich|
|Hot Saturday||Romer Sheffield||With Nancy Carroll and Edward Woods|
|Madame Butterfly||Lieutenant B.F. Pinkerton||With Sylvia Sidney and Charles Ruggles|
|1933||She Done Him Wrong||Capt. Cummings||With Mae West and Noah Beery, Sr.|
|The Woman Accused||Jeffrey Baxter||With Nancy Carroll|
|The Eagle and the Hawk||Henry Crocker||With Fredric March and Carole Lombard|
|Gambling Ship||Ace Corbin||With Jack La Rue and Glenda Farrell|
|I’m No Angel||Jack Clayton||With Mae West|
|Alice in Wonderland||The Mock Turtle||With W. C. Fields and Gary Cooper|
|1934||Thirty-Day Princess||Porter Madison III||With Sylvia Sidney and Edward Arnold|
|Born to Be Bad||Malcolm Trevor||With Loretta Young(Heavily censored by the Hayes Office)|
|Kiss and Make-Up||Dr. Maurice Lamar||With Helen Mack and the WAMPAS Baby Stars of 1934|
|Ladies Should Listen||Julian De Lussac||With Frances Drake and Edward Everett Horton|
|1935||Enter Madame||Gerald Fitzgerald||With top-billed Elissa Landi|
|Wings in the Dark||Ken Gordon||With top-billed Myrna Loy|
|The Last Outpost||Michael Andrews||With Claude Rains|
|Sylvia Scarlett||Jimmy Monkley||Directed by George CukorWith Katharine Hepburn|
|1936||Big Brown Eyes||Det. Sgt. Danny Barr||With Joan Bennett and Walter Pidgeon|
|Suzy||Andre||With Jean Harlow and Franchot Tone|
|The Amazing Quest of Ernest Bliss||Ernest Bliss||US title: Romance and RichesAlt title: The Amazing Adventure|
|Wedding Present||Charlie||With Joan Bennett|
|1937||When You’re in Love||Jimmy Hudson||UK title: For You AloneWith Grace Moore|
|Topper||George Kerby||With Constance Bennett|
|The Toast of New York||Nicholas “Nick” Boyd||With Edward Arnold and Jack Oakie|
|The Awful Truth||Jerry Warriner||Directed by Leo McCarey
With Irene Dunne and Ralph Bellamy
Introduced the “Cary Grant persona”
|1938||Bringing up Baby||Dr. David Huxley||Directed by Howard Hawks
With Katharine Hepburn and Charles Ruggles
|Holiday||John “Johnny” Case||Directed by George Cukor
With Katharine Hepburn
UK title: Free to Live
|1939||Gunga Din||Sgt. Archibald Cutter||Directed by George Stevens
With Victor McLaglen and Douglas Fairbanks, Jr.
|Only Angels Have Wings||Geoff Carter||Directed by Howard Hawks
With Jean Arthur, Thomas Mitchell and Rita Hayworth
|In Name Only||Alec Walker||With Carole Lombard and Charles Coburn|
|1940||His Girl Friday||Walter Burns||Directed by Howard Hawks
Remake of The Front Page
With Rosalind Russell and Ralph Bellamy
|My Favorite Wife||Nick||Co-written by Leo McCarey
Directed by Garson Kanin
With Irene Dunne and Gail Patrick
|The Howards of Virginia||Matt Howard||UK title: The Tree of Liberty
With Martha Scott
|The Philadelphia Story||C.K. Dexter Haven||With Katharine Hepburn and James Stewart|
|1941||Penny Serenade||Roger Adams||Nominated—Academy Award for Best Actor
Directed by George Stevens
With Irene Dunne and Edgar Buchanan
|Suspicion||Johnnie||Directed by Alfred Hitchcock
With Joan Fontaine
|1942||The Talk of the Town||Leopold Dilg aka Joseph||With Ronald Colman and Jean Arthur|
|Once Upon a Honeymoon||Patrick “Pat” O’Toole||Directed by Leo McCarey
With Ginger Rogers
|1943||Mr. Lucky||Joe Adams/Joe Bascopolous||With Laraine Day and Charles Bickford|
|Destination Tokyo||Capt. Cassidy||With John Garfield and Dane Clark|
|1944||Once Upon a Time||Jerry Flynn||With Janet Blair|
|Arsenic and Old Lace||Mortimer Brewster||With Priscilla Lane and Peter Lorre|
|None But the Lonely Heart||Ernie Mott||Nominated—Academy Award for Best ActorWritten and directed by Clifford Odets
With Ethel Barrymore
|1946||Without Reservations||Himself (cameo)||With Claudette Colbert and John Wayne|
|Night and Day||Cole Porter||Directed by Michael Curtiz|
|Notorious||T.R. Devlin||Directed by Alfred Hitchcock
With Ingrid Bergman and Claude Rains
|1947||The Bachelor and the Bobby-Soxer||Dick||UK title: Bachelor KnightWith Myrna Loy and Shirley Temple|
|The Bishop’s Wife||Dudley||With Loretta Young and David Niven|
|1948||Mr. Blandings Builds His Dream House||Jim Blandings||With Myrna Loy and Melvyn Douglas|
|Every Girl Should Be Married||Dr. Madison W. Brown||With Betsy Drake|
|1949||I Was a Male War Bride||Capt. Henri Rochard||UK title: You Can’t Sleep Here
With Ann Sheridan
|1950||Crisis||Dr. Eugene Norland Ferguson||With Jose Ferrer|
|1951||People Will Talk||Dr. Noah Praetorius||With Jeanne Crain|
|1952||Room for One More||George “Poppy” Rose||With Betsy Drake|
|Monkey Business||Dr. Barnaby Fulton||Directed by Howard Hawks
With Ginger Rogers and Marilyn Monroe
|1953||Dream Wife||Clemson Reade||With Deborah Kerr and Walter Pidgeon|
|1955||To Catch a Thief||John Robie||Directed by Alfred Hitchcock
With Grace Kelly
|1957||The Pride and the Passion||Anthony||With Frank Sinatra and Sophia Loren|
|An Affair to Remember||Nickie Ferrante||A same-script remake of Love Affair (1939 film), both directed by Leo McCareyWith Deborah Kerr|
|Kiss Them for Me||Cmdr. Andy Crewson||Directed by Stanley Donen
With Jayne Mansfield and Suzy Parker
|1958||Indiscreet||Philip Adams||Nominated—Golden Globe Award for Best Actor – Motion Picture Musical or Comedy
Directed by Stanley Donen
With Ingrid Bergman
|Houseboat||Tom Winters||With Sophia Loren|
|1959||North by Northwest||Roger O. Thornhill||Directed by Alfred HitchcockWith Eva Marie Saint, James Mason and Martin Landau
Famous scene of Grant being chased by a biplane
|Operation Petticoat||Lt. Cmdr. Matt T. Sherman||Nominated—Golden Globe Award for Best Actor – Motion Picture Musical or Comedy
With Dina Merrill and Arthur O’Connell
|1960||The Grass Is Greener||Victor Rhyall, Earl||Nominated—Golden Globe Award for Best Actor – Motion Picture Musical or ComedyDirected by Stanley Donen
With Deborah Kerr, Robert Mitchum and Jean Simmons
|1962||That Touch of Mink||Philip Shayne||Nominated—Golden Globe Award for Best Actor – Motion Picture Musical or Comedy
Directed by Delbert Mann
With Doris Day and Gig Young
|1963||Charade||Peter Joshua / Alexander Dyle / Adam Canfield / Brian Cruikshank||Nominated—BAFTA Award for Best Foreign Actor
Nominated—Golden Globe Award for Best Actor – Motion Picture Musical or Comedy
Directed by Stanley Donen
With Audrey Hepburn, Walter Matthau and James Coburn
|1964||Father Goose||Walter Christopher Eckland||Directed by Ralph Nelson
With Leslie Caron and Trevor Howard
|1966||Walk, Don’t Run||Sir William Rutland||With Samantha EggarRemake of The More the Merrier|
A lire aussi ( A french article)
Her recurring role, between 1964 and her death in 1968, as Aunt Clara in the comedy series, Bewitched (1964–1972) brought her widespread recognition, and for which she was posthumously awarded an Emmy Award for Outstanding Supporting Actress in a Comedy Series.
She was born Marion Lorne MacDougall in West Pittston, Pennsylvania, a small mining town halfway between Wilkes-Barre and Scranton, of Scottish and English immigrant parents. While her year of birth is listed as 1885 on her tombstone, it was usually listed as 1888 when she was alive and the Social Security Death Index lists it as 1883. She studied at the American Academy of Dramatic Arts in New York City.
Career Lorne debuted on Broadway in 1905; she also acted in London theaters, enjoying a flourishing stage career on both sides of the Atlantic Ocean.
In London she had her own theater, the Whitehall, where she had top billing in plays written by Walter Hackett, her husband. None of her productions at the Whitehall had runs shorter than 125 nights.
After appearing in a couple of Vitaphone shorts, including Success (1931) starring Jack Haley, she made her feature film debut in her late 60s in Strangers on a Train (1951), directed by Alfred Hitchcock.
The role was typical of the befuddled, nervous, and somewhat aristocratic matrons that she usually portrayed.
From 1952-55, Lorne was seen as perpetually confused junior high school English teacher Mrs. Gurney on Mr. Peepers. From 1957–58, she co-starred with Joan Caulfield in the NBC sitcom Sally in the role of an elderly widow who happens to be the co-owner of a department store. Although afraid of live television, declaring “I’m a coward when it comes to a live [television] show”, she was persuaded to appear a few times to promote the film The Girl Rush with Rosalind Russell in the mid-1950s.
Between 1958–64, she made regular appearances on The Garry Moore Show (1958–64). Her last role, as Aunt Clara in Bewitched, brought Lorne her widest fame as a lovable, forgetful witch who is losing her powers due to old age and whose spells usually end in disaster. Aunt Clara is obsessed with doorknobs, often bringing her collection with her on visits.
Lorne had an extensive collection of doorknobs in real life, some of which she used as props in the series. Death She appeared in twenty-seven episodes of Bewitched, and was not replaced after she died of a heart attack in her Manhattan apartment, just prior to the start of production of the show’s fifth season, at the age of 84 on May 9, 1968. Lorne is buried at Ferncliff Cemetery in Greenburgh, New York.
Posthumous The producers of Bewitched recognized that Lorne’s performance as Aunt Clara could not be replicated by another actress. Comedic actress Alice Ghostley was recruited to fill the gap as “Esmeralda”, a different type of befuddled witch with wobbly magic whose spells often went astray.
Coincidentally, Lorne and Ghostley had appeared side-by-side as partygoers in the iconic comedy-drama film The Graduate , made the year before Lorne’s death. She received a posthumous Emmy Award for Outstanding Supporting Actress in a Comedy Series for her work on Bewitched. The statue was accepted by Bewitched star Elizabeth Montgomery. Personal life She was married to playwright Walter Hackett, who died in 1944. WIKIPEDIA SOURCES Personal life She was married to playwright Walter Hackett, who died in 1944.
For RadioSatellite : Instrumental music / Lounge / Jazz :
Guido : Presenting his program : In the Zone (Lounge) (Netherlands)
Michael Maretimo : Presenting his program : Maretimo Sessions (Lounge) (Nethelands)
Steve Hart : Presenting his program : Cool Nights ( Soft Jazz) (New Zealand)
For RadioSatellite2 : Oldies Pop from 60s to 80s + Soft Jazz + Blues + Country Music
Artie Martello : Presenting his daily program : Mostly Folk ( Folk, Pop and Americana) (USA)
Steve Hart : Presenting his daily program : Cool Nights ( Soft Jazz) (New Zealand)
Rojene Bailey : Presenting his “week end” program : Blues Time In the City ( Blues) (USA)
Paul Farrar : Presenting his program : Paul Farrar Comedy Show (Comedy)(UK)
Jason Curtman : Presenting his daily program : The Jason Curtman Show (American Oldies RocknRoll and pop ) (USA)
Ben Morris : Presenting his program : Rockin Back the clock (UK)
Matthew Lasar, Paul Riismandel, and Jennifer Waits : Presenting their program: Radio Survivor (Reports / news and interviews about radios and webradios) (USA)
CLICK ON VIDEO BELOW TO DISCOVER SHOWS ON RADIOSATELLITE & RADIOSATELLITE2
Music composition + Audio and Video creation : by Pierre .
Just Click to listen live RADIO SATELLITE
Cliquez sur le bouton pour écouter RADIO SATELLITE
The series revolves around the ship’s captain (played by Gavin MacLeod) and a handful of its crew, with several passengers – played by various guest actors for each episode – having romantic and humorous adventures. It was part of ABC’s popular Saturday-night lineup that included Fantasy Island until that series ended in 1984.
The original 1976 made-for-TV movie on which the show was based (also titled The Love Boat) was itself based on the nonfiction book Love Boats by Jeraldine Saunders, a real-life cruise director. Two more TV movies (titled The Love Boat II and The New Love Boat) would follow before the series began its first season in September 1977.
The executive producer for the series was Aaron Spelling, who produced several TV series for Four Star, and ABC from the 1960s into the 1980s.
In 1997, the episode with segment titles “Hidden Treasure,” “Picture from the Past,” and “Ace’s Salary” (season 9, episode 3) was ranked No. 82 on TV Guide’s 100 Greatest Episodes of All Time. The Love Boat ran for nine seasons plus four specials. A made-for-TV movie, titled The Love Boat: A Valentine Voyage, starring four of the original cast members, aired on February 12, 1990.
Gavin MacLeod as Captain Merrill Stubing
Bernie Kopell as Dr. Adam “Doc” Bricker, ship’s physician
Fred Grandy as Burl “Gopher” Smith, Yeoman Purser (seasons 1–9)
Ted Lange as Isaac Washington, bartender
Lauren Tewes as Julie McCoy, Cruise Director (seasons 1–7, 9 (1 episode), 4 specials)
Jill Whelan as Vicki Stubing, the captain’s daughter (seasons 3–9, 4 specials, made-for-TV movie, plus a guest star appearance in Season 2 episode 8)
Ted McGinley as Ashley “Ace” Covington Evans, ship’s photographer (seasons 7–9),
Pat Klous as Judy McCoy, Julie’s sister and successor as cruise director (seasons 8–9)
MacLeod, Kopell and Lange are the only cast members to appear in every episode of the TV series as well as the last three made-for-TV movies. Grandy was in every episode throughout the run of the series, but was not in the last of the TV movies. MacLeod was not the captain of the Pacific Princess in the first two TV movies and did not appear in them, although when his character was introduced there was a mention of him being “the new captain”.
(The Ship of Love)
#Canada : #TheFunCruise
(The Ship of Love)
(The Love Boat)
The Love Boat
The Love Boat
(The Love Ship)
The Love Boat
(The Love Boat)
(The Love Boat)
(The Pleasure Boat)
(Cruise ship of Love)
(Ship of Love, Ship of Fun)
(Love on Board)
(The Boat of Love)
(The Love Boat)
The Love Boat
(The Boat of Love)
Source : GRID RS2 / GRILLE DES PROGRAMMES RS2
We, ( in our studios) consider that the best way to express our feelings : It’s “music” “videos” and “pictures”. Words could be used but as we ( you) are coming from different countries and readers / listeners are from north america to Russia … From South America to Middle East…From Africa to Asian countries..Well, Music, photos and videos are the best way to express what we like, what we could feel.
Here is an “old” video for an interview : “Eric Clapton”, presenting for the first time his golden hit ” tears in heaven”. We found it on the social networks and of course we are glad to share it with you.
We are waiting for you on “Radio Satellite2” follow us and listen to RadioSatellite2 at work or at home ( or while doing your exercices and sport, in installing our Free applications for your Apple device, Android Device or BlackBerry Device…) for free ( yes..already said ) 🙂
Donc arriva l’époque où Polygram (Contraction de Phonogram et Polydor )( 2 marques d’éditions musicales de la maison mère PHILIPS) lança le CD ( vers 1980 )
Polygram étant le mariage des allemands ( Polydor ) et Phonogram (Pays bas)
Les japonais n’étaient pas en reste…A partir de leur île, ils ont lancé auss des tests via SONY MUSIC ( EX CBS Music ) rachetée aux USA
Donc acheter des albums en CD étaient “encore à la mode” même si d’aucuns préféraient le LP : Le plaisir d’avoir une couverture / pochette d’album ( belle photo ); les photographes et artistes pouvaient exprimer leurs désirs via de grandes belles images.. Chose que le CD a relegué au 2e plan… La couverture étant “trop petite pour être appréciée artistiquement”
Par la suite, ce fut progressivement, l’explosion du dématérialisé : Le MP3
Nous passâmes de l’achat de l’album entier… Souvent pour 12 titres, seuls 4 ou 5 maxi nous interessaient…Les autres, c’était Kif kif… Juste parce qu’on aimait l’artiste qu’on achetait l’album
Donc, nous disions : Passage de l’album entier vers l’achat du/ des titres que nous voulions… Super… On disait.. c vrai… quelle économie d’argent !!
Ce qui était vrai. Oui.
Le petit bémol, que nous pouvons soulever…Nous, producteurs de radios, les professionnels de la musique, du moins, dans le domaine de la diffusion: Concernant cette méthode : Vis à vis des amateurs, des acheteurs de musique, des auditeurs lambda… Cette méthode a fait en sorte que les gens aient perdu une certaine culture musicale quant à l’artiste…. Ils connaissaient super bien le titre acheté et que “la radio ” leur a fait découvrir….Mais rien…aucune connaissance des autres titres du même chanteur… Rien.. Nada…Que dalle…
Du coup… Bien que le rôle des radios fut primordial, les années 50 60 70 80 et 90…. Ce rôle fut encore plus vital…Le citoyen auditeur ne pouvait découvrir les titres QUE si la radio passe CE titre…
A moins d’acheter tout l’album de l’artiste..Mais..Vous nous direz “Pourquoi acheter l’album entier? Si nous sommes interessés par 1 ou 2 titres”.. VRAI
Notre réponse: Comment sauriez-vous, si ces autres titres…Vous les aimerez? ou non? Si la / les radios ne vous permettent pas l’écoute et l’habitude…
Il faut préciser ici : Qu’écouter un extrait de titre est possible évidemment sur les plateformes de ventes.. Mais par expérience, lorsque l’acheteur de musique “passe à l’action” c’est après avoir écouté ce titre …4… 5 ou 10 fois …Le temps de bien assimiler ce nouveau titre découvert…Le temps aussi qu’il entende son entourage, les médias…en parler.. Donc c’est un tout…
Rares sont les achats qui se font suite à une seule écoute d’extrait ou sur coup de tête.
Du coup… L’explosion du numérique a engendré aussi l’explosion des RADIOS NUMERIQUES dont nous en faisons partie au sein de RADIO SATELLITE2
Notre différence? Nos atouts? C’est tout BENEF pour vous, chers lecteurs / auditeurs de musique
1) Nous n’avons pas de limite Géographique: Contrairement aux ancêtres de la radio FM : Nous diffusons de la musique sur toute la planète… Sans aucune limite…Là où internet existe..Nous existons. D’ailleurs, même les radios FM ont crée par la suite, leurs webradios aussi.
Donc pas d’antennes… Pas de contraintes musicales…
Résultat ? Nos musiques ( du moins au sein de RADIO SATELLITE2 ) : chansons francophones ( Belges, acadiennes,Suisses…) Américaines, Russes, turques…
Toutes les BELLES musiques sont diffusables pour nous. Peu importe la langue: Une belle orchestration, un super arrangement musical, une belle musique mélodieuse? On achète.. On diffuse.
2) Autre avantage? Notre INDEPENDANCE: Nous ne sommes PAS des radios commerciales. Donc pas d’actionnaires, pas de compte à rendre à des actionnaires, pas de publicités, pas de jeux SMS où la question est souvent simpliste…Donc réponse aussi facile…Le but étant juste de faire payer l’auditeur X euros via des SMS
Donc pas de tout ceci chez les webradios en général.
La radio étant une passion. Etant professionnels du monde de la radio certes, cependant, nos activités professionnelles ( pour vivre ) sont ailleurs.
La radio que nous vous proposons sert à offrir aux auditeurs un choix riche, haut en couleurs, sans frontières géographiques et sans langue unique ( Nos animations sont faites en Anglais et en Français )
Reste LA question que de nombreuses personnes pose : Comment vous écouter? 🙂
Facile: Si vous êtes dans votre bureau: face à l’ordi: Notre site:
En cliquant sur le logo bleu , en haut , à droite…Vous êtes redirigés sur une autre site . Là, cliquez sur le lecteur et voilà la musique. RIEN A INSTALLER
Si vous êtes comme nous? Mobiles… Ne voulant pas être face à un ordi ( souvent en voiture…à pied… A la montagne.. Dans votre salle de gym/sport…Au lit, faisant une sieste ou juste allongé… En train de faire du rangement..)
Nous vous conseillons vivement d’installer sur votre téléphone (APPLE donc IPHONE ou IPAD ) ANDROID ( Samsung et bien d’autres marques) … BLACKBERRY si c’est la marque de votre smartphone/ mobile..
Installez GRATUITEMENT l’application à partir des APPLE STORE / GOOGLE STORE ou GOOGLE PLAY )
Comme vous avez déjà , sans doute, installé d’autres applications sur votre téléphone… Soit par la méthode de “recherche” ( search) donc saisir
RADIO SATELLITE2 ( le 2 collé )
Soit en cliquant sur ces liens ( via votre mobile…Par votre ordi, cela ne servira qu’à ouvrir le site mais en cliquant dessus via votre connection mobile, vous pourrez installer l’appli selon votre marque utilisée)
Si vous possédez un IPHONE / IPAD :
Si vous possédez un ANDROID ( SAMSUNG et certaines autres marques): Voir le store: ce doit être GOOGLE
Si vous possédez un BLACKBERRY
Donc facile.. Simple de nous écouter en final…
N’hésitez pas surtout que grâce à Radio Satellite2, vous pourrez découvrir des horizons que les radios traditionnelles ne vous permettent pas.
En espérant vous retrouver parmi nos fidèles auditeurs (déjà plus de 300 000 fidèles auditeurs de par le monde, sans compter ceux qui nous écoutent de temps en temps… )