dimanche 17 juin 2018

Love Is A Gift

Un très joli montage video pour une très jolie chanson !






Singers Olivia Newton John 1970 One In 300 :
Chris Slade Who Joined As Drummer In Toomorrow After 299 Others Had Auditioned.

This Is The Face Of Toomorrow. And That's Not A Misprint.
Toomorrow Is The Name Of A New Pop Group Created By James Bond Film Producer Harry Saltzman And American Record Producer Don Kirschner At A Cost Of Well Over 1 Million. Of That 15 000 Was Spent Securing The Services Of 21-year-old Olivia Newton-john (pictured Right) As Lead Singer.
We Had Already Signed Another Girl When We Found Olivia ' Mr Saltzman Said Yesterday. 'apart From That Olivia Was Under Contract To Someone Else.'
'It Cost Us 15 000 To Buy Out Her Existing Contract And Pay Off The Original Girl. We Reckon She's Worth Every Penny.'
Olivia Who Refuses To Change Her Name To Something More 'showbizzy' Was Born In Cambridge Where Her Professor Father Was Head Of The Boy's High School. He Later Moved To Australia Where He Is Now Deputy Vice-chancellor Of Newcastle New South Wales University - And This Was Where Olivia Grew Up....


Nouvelle proposition sur le légendaire TWIST OF FATE..


Magnéto : Grease turns 40 !

To celebrate, here are two songs from the movie sung on the Donny & Marie show. 9/22/1978

Hommage inspiré de 'Grease'

Et ça le fait !
Quand Scott Hoying du groupe Pentatonix s'inspire de GREASE pour son clip "Ghost" !

"Ghost", un hymne ironique sur les fantômes (qui, pour ceux qui ne connaissent pas, est l'art de ne pas renvoyer les appels ou les textes d'un amoureux potentiel sans raison apparente, disparaissant ainsi dans l'éther).



Très jolie illustration de qui vous savez !

"My relationship with Olivia is what matters to me"
Delta Force – Rising above the haters.

She is as popular as she is polarising, but Delta Goodrem has learnt to rise above the backlash and focus on her evolution as an international artist.

The Sunday Times
17 Jun 2018

Delta Goodrem a répondu à la critique après sa performance dans le biopic Olivia: Hopelessly Devoted To You.

La chanteuse de 33 ans raconte cette semaine dans le magazine Stellar qu'elle est fière de son travail sur la mini-série et qu'elle a fait de son mieux dans ce rôle exigeant.

" Je sais que la vie ne peut pas être un lit de roses. Je prends le fait que j'apprends toujours. Je ne prétends pas être parfaite. Je fais juste de mon mieux. Je suis un travailleuse acharnée ", a-t-elle dit.

Welcome to the new reality for celebrities. In the same week an Australian magazine claimed Delta Goodrem was locked in a bitter feud with Olivia Newton-John, the two singers were having dinner in Melbourne.

Despite what was being reported — that Newton-John was “losing sleep” and “horrified” over Goodrem’s portrayal of her in the Seven Network miniseries Olivia Newton-John: Hopelessly Devoted to You — Goodrem had invited her friend and mentor to a meal at her dad’s house. It was one of several times the two caught up during Newton-John’s trip home to promote her Cancer Wellness & Research Centre.

“My relationship with Olivia is what matters to me,” Goodrem tells STM. “I do not play into the delusions of others. I do not play into the storyline being made. I can’t control them. And it is irresponsible. Where is the line between reality and illusion? There needs to be accountability — hypocrisy is rife.”
Around the same time more headlines flew — stories written by websites trawling Twitter to cherry-pick nasty comments about Goodrem’s performance in the series. As the program went to air, online commentators claimed Goodrem had sunk the first episode, despite not appearing on screen for the first 40 minutes. A few even claimed actor Morgan Griffin, who played the young Newton-John, had a better voice than her older co-star. The problem with this claim was she was miming to vocals laid down by Goodrem.

Others fixated on an interview in which Newton-John said she would not watch the show.

Some pointed out the program’s low ratings compared with its time-slot competition — the Nine Network’s The Voice, which Goodrem, 33, first joined as a coach when the series launched in 2012. Goodrem now tells STM she foresaw the criticism. “The backlash was so predictable,” she says. “I could have written some of the comments myself in advance, they were so obvious. It would be nice if we had a little more oxygen towards people appreciating the hard work of Australian actors and the people who work on TV shows.”

The dual airing of the programs came in the wake of Goodrem releasing a new single and performing at the Commonwealth Games opening ceremony.
It all created a perfect storm for a little fatigue — and the kind of kneejerk negativity that now makes her yawn.

“I totally get it,” Goodrem says. “There’s been so much of me this year. It’s just that all these projects happened to come up or come out in the first half. It’s an amazing problem to have, 17 years into my career. I’m very proud of that. And I focus on that.”

Not surprisingly, she is sick of discussing what it is about her that rubs some people the wrong way. And she long ago stopped reading the more unforgiving commentary.

“Unfortunately, we’re living in a time when the negative view is what gets the most oxygen,” she says. “It’d be nice if clickbait was positive. It’d be nice if it was even half-and-half — I’d settle for 50/50. I know life can’t be a bed of roses. I take on the fact I’m always learning. I don’t profess to be perfect at anything. I just do my very best. I’m a hard worker.

“I was having this full-circle moment with the Olivia project. When I got signed (as a teenager) they asked me who I wanted to be, and I said Olivia Newton-John. “Now I get to sing these songs like I Honestly Love You, the first songs I remember singing — this was my childhood coming to life. Nothing was going to stop my heart being completely filled with love and appreciation for getting to do this.”

Goodrem’s career has, ironically, taken a similar trajectory to Newton-John’s.

The miniseries shows how Newton-John suffered criticism in the ’70s and ’80s for musical choices and acting decisions. But she didn’t have social media to contend with. Nasty comments were filtered out when managers read through fan mail. These days they pop up directly onto the celebrity’s phone.

As with Newton-John, some struggle to accept Goodrem might just be that nice — surely there has to be a dark side.

“I wouldn’t have been around this long if I didn’t genuinely have lovely connections with people,” Goodrem says.

“The (backlash on social media) is actually quite boring; it’s not even a conversation for me any more — except for the fact that I don’t get why people are wasting their time.”

The latest season of The Voice will draw to its conclusion tonight, and after six years, Goodrem still takes her role as a coach as seriously as she did when she first walked onto set.

“They’re stepping into a new world,” she says of contestants.
“It’s like you get to revisit the very start of your own career. You have to go back into your memory and help them walk through what they’re going through.”

Goodrem’s career experiences — she signed her first record deal at the age of 15 — have put her in the ideal place to comment.
“I know how utterly heartbreaking it can be for kids,” she says.

“I’ve experienced both sides. I wouldn’t change that. It’s made me who I am today. I’m intuitive because I’ve been tested. And how cool to be able to pass that on to other people.”

Goodrem continues this hands-on relationship with her fans. Earlier this year she embarked on a string of appearances to sign copies of the soundtrack to the miniseries. In an era of digital downloads and streaming, face-to-face promotion of physical albums is practically a dying art. But it is something Goodrem is happy to do. In the past she’s stayed at shopping centres for seven hours, not wanting to disappoint anyone who’s waited.

Some artists do a quick, clinical signature and remain aloof; Goodrem is a hugger who takes photos, remembers people’s names and life stories and tries to make the meet-and-greet as personal as possible.

“People share these beautiful stories with me,” she says. “Phones are great, but the real human touch is something I cherish. People can’t imagine the connections I’ve made over the years that I’m so thankful for. So I just don’t understand why people would want to try and suggest there’s anything but love there. Love is stronger. That’s my everyday.”

She is wary of talking about it for fear some may feel she is merely exploiting it, but Goodrem also speaks to cancer patients around the country on a regular basis. As a survivor of Hodgkin lymphoma, she knows what they’re going through.

“Of course I’m going to reach out,” she says. “I’ll spend 40 minutes on the phone with a kid in a battle with cancer. I get so many messages about (people) going through the battle. If I can slightly improve someone’s day by talking to them, having a real conversation and hopefully giving them some strength, that’s a beautiful thing.

“It’s an incredible gift to be able to make someone feel better, even if it’s for just a day. That’s real life. The other stuff is not real life. The other stuff — the hate — it just washes off me. Part of me wants to thank those


people who made me this strong to be able to brush it off — because it’s really freeing.”

She has been inspired by the legacy of Newton-John, a fellow survivor who created her Cancer Wellness & Research Centre and fully committed to supporting it, even during her latest health battle. In May 2017, Newton-John announced her breast cancer had returned after 25 years in remission.
“I’d love to make a difference and have the kind of impact she does — it’s incredible,” Goodrem says.
For now, though, she plans to make more new music and spend time at her house in LA, where a team headed by A-list music manager Irving Azoff (Bon Jovi, the Eagles, Christina Aguilera) is based. “It’s been a huge year already,” she says. “I look forward to putting my feet up for a second.”

In April, her single Think About You became Goodrem’s 21st top-20 hit. The lyrics — about picturing a man naked — were seen as her Physical moment, as when Newton-John’s image matured overnight.

“I’ve taken a relaxed approach this year,” Goodrem admits. “There doesn’t have to be so much gravity on every single thing you do. I maybe haven’t been so playful in my music before. Even back at school I remember being silent when I was doing singing and dancing because I just wanted to learn, but for the rest of the classes you couldn’t shut me up. Now I feel I’ve finally merged all sides of my personality. I’m free to be exactly who I am. It’s a great bridge to the next phase of music for me.”
While she reveals she’s about to become an aunt for a second time (through brother, Trent, and his wife Carly), Goodrem — who was once engaged to Brian McFadden and has been linked to everyone from Nick Jonas to Harry Styles — still politely declines to discuss her love life.

“Most people are fine with that, but it has meant some magazines now just make up their own versions, which my family don’t really find that amusing,” she says. “So I don’t know which worked better.”

samedi 16 juin 2018

Love Is letting Go of Fear

DJ TONY reprend du service avec une jolie proposition sur la chanson "Love Is letting Go of Fear" !



La compilation australienne Hopelessly Devoted: The Hits vient de faire son entrée dans le classement des meilleures ventes d’albums ...
Joli score pour une nième compilation sans réelle pertinence !






'Grease' Turns 40 !

John Travolta and Olivia Newton-John Reflect on Classic Film's Legacy (Exclusive)





GREASE est sortie aux USA un 16 juin 1978 .. un 3 octobre en France !

L’histoire d’amour entre Danny Zuko (John Travolta) et Sandy Olsson (Olivia Newton-John) date de 1978. Cet anniversaire bien spécial est donc l’occasion de se replonger dans ce classique intemporel en 10 faits "méconnus".

Weekend 16 Jun 2018

Grease se déroule en 1958 et raconte l’histoire d’amour entre deux étudiants du secondaire qui se sont rencontrés pendant les vacances d’été.
Il s’agit de l’adaptation d’une comédie musicale, présentée à Broadway en 1971. Et aucun des acteurs n’était assez jeune pour incarner un adolescent, John Travolta avait 23 ans au moment du tournage, Olivia Newton-John, 28, et Stockard Channing… 33 ans !

Au départ, Henry Winkler, le Fonz dans la série Happy Days devait incarner Danny. Mais l’acteur a refusé afin de ne pas être associé à un certain type de rôle. Puisque John Travolta avait déjà été la vedette de Saturday Night Fever et qu’il était resté en bons termes avec Robert Stigwood, producteur des deux films, c’est lui qui a été choisi.

Dès que John Travolta a accepté le rôle principal de Danny Zucko, il a fait des pieds et des mains pour qu’Olivia Newton-John, chanteuse country plus connue que lui, tienne celui de Sandy. Surprise, elle a insisté pour faire un test afin de s’assurer de leur chimie.
C’est également l’acteur qui a suggéré que Randal Kleiser (avec qui il avait travaillé dans le téléfilm The Boy in the Plastic Bubble) réalise Grease. SUCCÈS PLANÉTAIRE !

Au Québec, Grease a pris l’affiche sous le titre Brillantine, référence au produit lissant pour cheveux, barbes et moustaches, inventé par le parfumeur français Édouard Pinaud et présenté à l’Expo universelle de Paris en 1900.
Au Mexique et au Vénézuéla, Grease a été traduit par Vaselina.

La trame sonore est devenue le deuxième album le plus vendu aux ÉtatsUnis en 1978, la première place étant détenue par… Saturday Night Fever.

Le pantalon noir porté par Olivia Newton-John dans la scène finale lorsqu’elle chante You’re The One That I Want était tellement serré qu’il devait être cousu sur elle tous les matins. Convaincus qu’Olivia Newton-John devait chanter une ballade, les producteurs en ont demandé une au milieu du tournage.
La chanson Hopelessly Devoted to You a été enregistrée et filmée après toutes les autres scènes et a obtenu une nomination aux Oscars.

Pourquoi le générique de début est-il animé ? Parce qu’au début, les producteurs souhaitaient faire de cette comédie musicale un film d’animation !

Grease a rapporté 394 millions $ au box-office international, détrônant La mélodie du bonheur (1965) comme comédie musicale ayant rapporté le plus d’argent en salle. Mamma Mia ! (2008), puis Les Misérables (2012), et enfin La Belle et la Bête (2017) ont ensuite pris sa place.

En 1982, Grease 2 a pris l’affiche avec Maxwell Caulfield et Michelle Pfeiffer dans les rôles principaux. Le long métrage a été un flop retentissant, n’engrangeant que 15 millions $ pour un budget de 13 millions $.

Grease almost went dark

Ottawa Sun
16 Jun 2018

Grease co-creator Jim Jacobs has divulged the details of an early film script in which Danny Zuko takes his own life.
The much-loved movie starring John Travolta and Olivia Newton-John is celebrating its 40th birthday today.
Based on the 1971 stage musical of the stage name, Jacobs recalled that there was much interest in the project once he and co-creator Warren Casey allowed the film rights to become available.
Director and producer Ralph Bakshi, best known for Fritz the Cat — the first animated feature to receive an X rating in the U.S., was the first person to enquire about helming the picture, and had a particularly controversial vision. “They wanted to do it as a cartoon like Fritz the Cat, and they had certain changes with the script,” Jacobs explained in an interview with Yahoo Entertainment. “I said, ‘How does it end?,’ because Warren and I were kicking each other under the table; they said, ‘Well, Danny Zuko commits suicide.’ ”

vendredi 15 juin 2018





Grease turns 40

It's just a sort of floating insult, shopping for a subject to light on.

Weekend Herald
16 Jun 2018

The makers of the film musical Grease got just about everything they could wrong. Firstly, producers Allan Carr and Robert Stigwood miscast everyone by several years. Characters who should have been 18 or under were played by people aged 23 (John Travolta as Danny), 28 (Olivia Newton-John as Sandy), 33 (Stockard Channing as Rizzo) and 26 (Jeff Conaway as Kenickie).

They took a gritty, grungy rock nostalgia musical with an industrial town setting and sanitised it into a California beachside dreamland in which Newton-John didn’t look out of place. They employed as director, at the urging of Travolta, 30-year-old Randall Kleiser, whose previous feature–length credit had been Travolta’s soppy, no-singing, no-dancing TV vehicle, The Boy in the Plastic Bubble.

They dropped, or relegated to background noise, several excellent songs from the stage version to make room for purpose-written and anomalous tunes. There was the incongruous disco-inflected title song by the Bee Gees’ Barry Gibb, because the Bee Gees were big at the time and Stigwood was also the group’s manager. Not content with stealing show-stopper Greased Lightning from Kenickie, whose song it was on stage, Travolta had the syrupy Sandy written for him. And Newton-John’s personal songwriter John Farrar turned out Hopelessly Devoted to You and You’re the One That I Want for his star. And audiences loved it. Its $6 million budget has returned $395m — and counting.


Some of Alan Carr’s original ideas for the movie included re-inventing Danny’s character as a gas-station attendant — complete with a number called called Gas Pump Jockey. He also planned to cast 60s sitcom irritant Paul Lynde as Rydell High’s principal. Instead of genuine 50s idol Frankie Avalon performing Teen Angel ,we nearly had Donny Osmond. And Carr thought it would be swell to have the Beach Boys performing Greased Lightning. Sid Caesar is a stand-out as Coach Calhoun, but Carr had originally given that part to Deep Throat porn star Harry Reems.


Although Grease did its best, just how much high school life could be sanitised in a musical wasn’t on full display until 2006’s generically named Disney confection High School Musical, starring Zac Efron and Vanessa Hudgens as two apparently hormone-free teens who made Danny and Sandy look like Bonnie and Clyde.


Although it received some good notices on its release, more thoughtful critics gave Grease a less-than-enthusiastic reception.

“After seeing [Travolta] in three movies, I am convinced that he has exhausted his slender bag of tricks,” wrote John Simon in the National Review. “Even that smiling, blue-eyed colt face of his, like that of an anthromorphised Walt Disney horse, has become a mere whinnying platitude.”

“It has no book to speak of,” complained Stanley Kauffmann in the New Republic. “To put it another way, the book is unspeakable. The music goes in one ear and out the same ear. It has no kind of focus in atmosphere or tone. It doesn't even have a look. It's just a sort of floating insult, shopping for a subject to light on.”

“A bogus, clumsily jointed pastiche of late-50s high school musicals, studded with leftovers from West Side Story and Rebel Without a Cause,” said Pauline Kael in The New Yorker. At least she recognised it was going after the nostalgia dollar.


Grease capitalised on the peak of a wave of nostalgia for all things 1950s. For a postVietnam, disillusioned America, the Eisenhower years of conformity and relative innocence seemed like a golden age, especially if you weren't there for it. Around the same time as Grease, the 50s were also celebrated in the likes of TV's Happy Days and Laverne and Shirley, movies such as The Lords of Flatbush and rock 'n' roll revival acts such as Sha Na Na (who appear in Grease's climactic dance scene, singing a jukebox-load of 50s hits that were not in the stage show).

As Scott Miller wrote in Sex, Drugs, Rock and Roll, and Musicals, "Grease, generally considered a trivial little musical about the Fabulous 50s, is really the story of America's tumultuous crossing over from the 50s to the 60s, throwing over repression and tradition for freedom and adventure (and a generous helping of cultural chaos), a time when the styles and culture of the disengaged and disenfranchised became overpowering symbols of teenage power and autonomy."

Quite right. Also, you can hum the tunes.


The film was released under the name Vaselina in some Spanish-speaking countries.


Travolta and Newton-John may hold some sort of record for movie couple most willing to be reunited for your talk show. They met up again on the Merv Griffin Show in 1981, just three years after the movie came out. They were on the Dick Cavett Show in 1983, promoting their second movie together, Two of a Kind. This now all-but-forgotten flop on every front was one of those God's-fed-up-with-mankind-but-angels-convince-him-not-to-destroy-the-Earth-if-they-can-find-two-decent-people, feel-good rom-coms. And in 2012 they fronted up to the Australian Today show and Ellen to promote This Christmas, an album of seasonal songs.


Sequels are notoriously prone to failing to measure up to the originals they attempt to honour, but the little-seen Grease 2 in 1982 was one of the all-time lows in sequel-making. There was, of course, no successful, long-running stage show on which to base it. None of the original leads was interested in returning. And it seemed no one even wanted to make it - the director's job went to the original movie's choreographer, Patricia Birch, with the result that although much of the dancing is very good, even that is not as good as it might have been if Birch hadn't been in constant crisis mode. Grease 2 flips the original's conceit - the boy is the goody two shoes and the girl is the raunchy player. The former is played by Maxwell Caulfield, who went on to not much more, and the latter by Michelle Pfeiffer in a screen debut she would probably rather forget.


Grease is described as the highest-earning musical of the 20th century. It was the highest-earning musical ever until 2008, when it was overtaken by a movie that, if anything, outdid it in terms of miscasting and complemented it with dance routines that consisted mainly of running, then jumping, then standing still. At least the performers in Grease, unlike Meryl Streep and Pierce Brosnan, could pick up a tune and carry it for a few bars without dropping it.

However, thanks to Bjorn Ulvaeus and Benny Andersson, Mamma Mia had some great songs that have helped propel it to a box office take of $610m - and counting.



Un big merci à Kay

British female solo artists with the most Number 1s

Dans la serie des classement qui ne font pas changer le cours des choses le site anglais officialcharts vient d'effectuer le classement des chanteuses anglaises qui ont eu le plus de numero 1 dans les charts ....
The winner is : Jess Glynne que je ne connais pas du tout ! 7 numéro 1 pour cette jeune artiste ! Notre bonne vieille Olivia née à Cambridge n’aura que 2 numéro 1 ...un avec Travolta (you're the one ..) et l’autre avec ELO (xanadu) !

Jess Glynne has set a new record as she tops the Official Singles Chart with I'll Be There. This seventh Number 1 means Jess is still the British female solo artist with the most chart-topping singles, but now she's even farther in front of the competition, ahead of Cheryl, long-time record holder Geri Halliwell, and Rita Ora.


There are a number of British female solo singers on three Number 1s each, and some of them are still active so could well be moving up the leaderboard soon. Here's the list, with the time it took them to score their current clutch of chart-toppers:

Jessie J
3 years, 8 months between Price Tag (2011) and Bang Bang, with Ariana Grande and Nicki Minaj (2014)

Pixie Lott
2 years, 3 months between Mama Do (2009) and All About Tonight (2011)

Alexandra Burke
17 months between Hallelujah (2008) and Start Without You (2010)

Leona Lewis
2 years between A Moment Like This (2006) and Run (2008)

Lily Allen
7 years, 5 months between Smile (2006) and Somewhere Only We Know (2013)

Olivia Newton-John
Born in Cambridge, fact fans ! Olivia's first Number 1 was You're The One That I Want in 1978 and her last was 2 years later – Xanadu in 1980.






En mode "répet" pour le gala de L'unicef !