Dalida

At 54 years old, Dalida has this physical status:

Iolanda Gigliotti (born in Egypt to Italian parents)

In 1954, she won the Miss Egypt beauty contest and began a 31-year singing career, selling 170 million albums and singles worldwide.

She died by suicide in 1987.

Early years

Iolanda Gigliotti was born in Cairo, Egypt's Kingdom of Egypt, on January 17th. Pietro Gigliotti (1904-1945), as well as her mother Filomena Giuseppina (1904–1971) were born in Serrastretta, Calabria, Italy. Pietro studied music in school and played violin in taverns; Giuseppina was a seamstress. Dalida immediately gained Italian nationality through the jus sanguinis of both Italian parents.

The young couple married in Cairo's Shubra district, where between Iolanda's older brother Orlando (1930–1992) and younger brother Bruno (1936), they became well established in the neighborhood. In addition to earnings from Giuseppina's work, the family's social standing increased as Pietro became primo violino at Cairo's Khedivial Opera House, and the family bought a two-story house.

Iolanda, a ten-month old baby, had an eye infection and had to wear bandages for 40 days. To soothe her, her father would play lullabies on the violin. Between the ages of three and five, she underwent eye surgery. "I was [sic] enough of it," she later recalled, "I would rather see the world in a blur than wear glasses." Iolanda attended Scuola Tecnica Commercielle Maria Ausiliatrice, an Italian Catholic school located in northern Shubra.

Allied forces took her father and other Italian men from their quarter to the Fayed prison camp in the desert near Cairo in 1940. When Pietro was released in 1944, he returned home as a completely different individual, so violent that Iolanda and other children in the neighborhood were afraid of him. "I hated him when he beat me," she later recalled, "I hated him more than ever before he beat my mother and brothers." I wanted him to die, and he did." In 1945, Iolanda was twelve years old when Pietro died of a brain absces. The experience influenced her search for a male companion the rest of her life.

Iolanda's teen years, she was involved in acting due to her uncle's work as a projectionist for a local cinema, and she has often attended school performances at the end of the semester. She joined a pharmaceutical company in 1951 and began as a copy typist. Though she was required to work to support her family, Iolanda had aspired to be an actress.

Miranda's best friend Miranda told her that she would participate in Miss Ondine, a minor Cairo beauty pageant, but that her mother would not find out quickly enough. When Iolanda won the second prize and Miranda took second place in a second runner-up, they were photographed and published in Le journal d'Égypte and Le progrès égyptien. Iolanda's hair was cut short the next day, after her mother found out the next day. Eventually, her mother relented, and Iolanda quit her job to begin modelling for Donna, a Cairo-based fashion house.

"Iolanda" was one of three Egyptian film directors' film premieres; Marco de Gastyne starred her in The Mask of Tutankhamun (1954) and Niazi Mostafa (1954), on which she appeared with her newly adopted stage name Dalila because, as she explained in 1968, "it was a common name in Egypt, and I liked it a lot." The third bid was a longer-term film producer's long-term hire, but she resigned after Gastyne encouraged her to try her luck in Paris.

Dalila left Egypt for Paris on December 25, 1954. The impresario Vidal, a room in Gastyne's apartment, was her first residence. She worked with a variety of producers, auditioned for film roles, but failed every time. Vidal moved her to a smaller apartment where her first neighbor, Alain Delon, was still unknown to the public, with whom she had a brief acquaintance.

Dalila's struggle with acting roles since 1955 encouraged her to try singing. Vidal introduced her to Roland Berger, a friend and instructor who agreed to teach her singing lessons seven days a week for a low price. He was stringent and used to yell, with Dalila's reaction even more blaming. They did not finish their lessons by slamming the door, but the next day she would return. Berger arranged for her to perform in Le Drap d'Or on Champs-Élysées, where she was first noticed by Jacques Paoli, the director of another cabaret, La Villa d'Este. Paoli hired her for a string of performances that were well-received, and Dalila attracted her first notice of the French public, including Bruno Coquatrix, who invited her to compete in Les Numéros 1 de demain, which was also invited to perform at his singing competition Les Numéros 1 de demain. "Hearty and a voice are abundant in color and volume, and it has all that men love: gentleness, sensuality, and eroticism," Coquatrix said in future years. Dalila was also interviewed by author and screenwriter Alfred Marchand, who advised her to change her name to Dalida: "Your pseudonym mimics too much the film Samson and Delilah, and it will not do anything to raise your profile." Why don't you switch the second 'l' with a 'd,' as God the father does? She accepted the change right away.

Dalida debuted on April 9, 1956, winning Etrangère au Paradis, the first nationality to perform. Eddie Barclay, the owner of France's biggest recording house, and Lucien Morisse, the current radio station's new creative director, met in Bar Romain (now Petit Olympia) and discussed what to do in the evening. Barclay wanted to watch a film, but Morisse wanted to attend the singing competition, which was then the biggest venue in Paris. They settled their dispute by playing 421, a dice game that Morisse won. After Dalida won the competition and arranged a meeting with her, they were incredibly impressed and decided to speak with her. That event was later reproduced in biopics and books and became synonymous with Dalida's professional career. The three guys went on to play a vital role in her career.

Personal life

A string of failed relationships and personal challenges marred Dalida's private life. Luigi Tenco, an Italian singer, songwriter, and actress, performed in the San Francisco Festival in January 1967. Despite Dalida's success, he performed "Ciao amore ciao" ("Bye Love, Bye"), which he performed with Dalida but Tenco falter despite Dalida's appearance. Tenco died by suicide on January 27, 1967, after finding that his song had been barred from the final competition. Tenco was discovered by Dalida in his hotel room with a bullet wound in his left temple, as well as a note advising that his behavior was against the jury and the public's wishes during the competition. Dalida and he had been engaged prior to Tenco's suicide. Dalida attempted to die by heroin overdose at the Prince de Galles hotel in Paris one month later. She spent five days in a coma and several months convalescing. Dalida performed on stage again in October of the following year.

Lucio, a 22-year-old Italian student, became pregnant in December 1967. She had an abortion that made her infertile.

Lucien Morisse, her late husband (1956–1961), died by suicide in September 1970, shooting himself in the head.

Mike Brant, her close friend, died in April 1975 from an apartment in Paris. He was 28 years old at the time. When Dalida opened concerts for her in 1971 in l'Olympia, he contributed to his fame in France.

Richard Chanfray, her grandmother from 1972 to 1981, died by suicide in July 1983 by inhaling his Renault 5 car's exhaust gas.

Dalida committed suicide on the night of 2nd to the third of May 1987 by overdosing on barbiturates. "La vie m'est insupportable," she wrote on a note. "Pardonnez-moi" is a French word that stands for "pardonnez-moi." ("Ity is unbearable for me." ") "Forgive me."

Dalida is buried at the Montmartre Cemetery, 18th Division, Chemin des Gardes.

Source

Career

Lucien handed Dalida his card to meet in his office as soon as possible after his success in Les Numéros 1 de demain, which she accepted with open arms. On the second floor of Morisse's house, she sang of the a cappella verses and tapping the fingertips. For a new audition in front of Eddie Barclay in person, he was clearly content. Rue de Madrid, Dalida, Barclay's office, got a one-year deal on May 2nd, with a modest 1% on record sales, with the promise of increasing it if desired success was achieved. Although Morisse was in charge of radio broadcasting, Coquatrix had devised a plan to grab the headlines. He wanted to promote her through a series of concerts, including two concerts in Olympia, two weeks in Bobino, and a tour of the provinces.

In June, her first album "Madona" was recorded on June and was first released on EP with three other songs. On Radio Europe n° 1, "Madona" was played on August 28, 1956, Dalida's first radio appearance. The record was met with sufficient success, and Le Torrent, a month later, received a similarly warm reception. Dalida performed live throughout the latter part of 1956, when her promoters concentrated on creating a song that would make her a celebrity; Morisse asked lyricist Jacques Larue to write a French language version of "Guaglione," the winning song of the newly awarded fifth Festival di Napoli, which would become Bambino.

Morisse's debut album "Bambino" was released in early December only as a promotional single, but Morisse's debut album Son nom est Dalida was released by the end of the month, sparking more public attention than any of her previous albums. The album was immediately followed by "Bambino," the album's third EP. Bambino debuted at number seven in January 1957 and went on to become France's most popular pop standard hits of the 1950s, including France, Belgium, Canada, and Switzerland. Women began to imitate Dalida's makeup, leading to an explosion of Rimmel sales, while the men saw in her a gift, sensibility, and sexiness as the song shook Doris Day's "Whatever Will Be" off the top of the French charts. "The first sex-symbol of the song" was Coquatrix's name. "Bambino" was Dalida's first number one hit, and it became the country's longest-running number one for the first time in history, with a total of 39 weeks, still holding the record. Dalida made it a night star and received her first gold disc, the first time a woman had been recognized for over 300,000. "Bambino" was marketed in 2007 by Bertrand Dicale of Le Figaro as "a launch that indicates what will happen in the coming decades... a start of really modern times where the singer is more relevant than song." Dalida made her first television appearance in early 1957, and her deal was extended for four years straight after she began promoting it. "On stage, Dalida appears in beauty and warmth, emphasized by a display of extreme sobriety."

Dalida performed her first concert at the Olympia on Friday, and was largely applauded. Then performed in a two-week series of concerts in Bobino in April, and in the summer, a fan club was established, the first such club to be devoted to a female artist. During live performances, Bambino's long history was echoed by new recordings such as Miguel, and Tu n'as pas très bon caractère, which eventually replaced Bambino as France's top one. When the newly renovated Olympia appeared for the first time with the red neon façade sign, Dalida returned to Olympia in September as the opening act for Gilbert Bécaud. Bécaud and Dalida, the hall's new iconic symbol, were the first two names to appear in it. Dalida's second album success there, as well as a return to studio in mid-October for what was to be one of her old favorites, Histoire d'un amour. Dalida received her second gold disc after being in the top ten for eight months.

"Gondolier," Dalida's experimental work with exotica, was released over Christmas in 1957. Dalida performed a television appearance where her dress' shoulder strap fell down as a result of the exotica song with accentuated vocals. The return of the 1970s made the time popular, and public began to see it on television during normal times of society. Despite this, "Gondolier" debuted at number one on both French and Canadian charts, remained in top ten for nearly a year, and became her biggest hit since "Bambino." Pardon's B side is also well-received, with its number one in Canada ranked first. Then Dalida has also appeared in France, Belgium, and Luxembourg more often.

A radio programmer in Barclay's Hoche studios in Paris by the end of April 1958 heard Dalida's "Dans le bleu du ciel bleu." The radio station was flooded with phone calls from people asking for a copy of the tape and when it would be available immediately after it was handed to the antenna. Dalida's debut as the song renamed "Gondolier" as number one in France, set a new chart record of France for five songs simultaneously in the top ten. It was followed by her receiving RMC's song of the year award, which she continued to win for six years in a row. She embarked on her first "TDF" tour with Dalida (Tour de France with Dalida); a daily presence in the stage city of the 1958 Tour de France, which she repeated several times in future decades. During the summer, she appeared in Algiers to raise the morale of French troops combating the Algerian War, as well as a new series of galas in France and Belgium that ended with two hours of autograph signing. Dalida released her third album Gondolier in the summer, as well as numerous new songs such as "Je pars," "Ae mon cur" and "Les Gitans," which earned Dalida a gold disc. Dalida started French rock 'n' roll, but also opened the door for international rock artists like Paul Anka to enter the market.

Dalida returned to film in late 1958 for her first on-screen role in four years, as a supporting role of a singer-spy in the French mystery film Rapt au deuxième bureau. She appeared alongside Eddie Barclay in Brigade des mummies a few months later, both playing as themselves. Both these two B movies were also used for advertising her three songs "Inconnue mon amour," "L'amour chante," and "Aime-moi" and were released in September 1958 and March 1959, respectively.

She appeared at Bobino on October 9th, this time for three weeks as the headliner, where she promoted her latest hits "Du moment s'aime" and "Come prima" reached the top charts for the third week. "Come prima" became the most popular holiday hit of France and Belgium in January 1959, when Dalida was seen promoting it on a Christmas-themed television set, triggering the top charts. "Si je suis revivre un jour ma vie" on record, also achieved success on Canadian charts. Catherine Rihoit's biographer said she "got her into the palms of society, retaining her position as a favorite singer of all age groups in the francophonie" during the late '50s television shows. Dalida was in New York with Morisse on December 26, 1958, where they met Norman Granz, the American impresario who had welcomed her to Hollywood and gave her a fifteen-year contract to begin her career in the United States. She turned down the offer quickly, claiming she wanted to focus on her musical career in France, where she was already well-known with a loyal fan base.

Dalida toured extensively in 1959, playing sell-out dates in France, Egypt, Italy, and Germany. To please these new audiences, she began recording songs in other languages as her fame rose outside of France. She spoke in five languages and interpreted her songs in 11 languages: German, Egyptian Arabic, English, Lebanese Arabic, Spanish, French, Greek, Greek, Hebrew, Italian, Japanese, and Dutch. She appeared on television in February as part of a television appearance, delivering her latest interpretation of "Hava Nagila." Minister of information was honoured by the prestigious music award in France on March 2nd, alongside Yves Montand, for France's most popular singer. "Ne joue pas" and "C'est ça l'amore" in Flemish were among her own tracks covered by the singer's "Speel niet met m'n hart" and "Ik zing amore," respectively, the only time she performed in Flemish during her time.

Dalida was back in the studio in late summer recording her first major international hit. "Le jour ou la pluie viendra" was recorded in three languages, boosting Dalida to the top ten in six European nations from 1958 to 1959. In September and October, the German language version "Am Tag als Regen kam" topped German charts for ten weeks, earning her her second gold disc. It was Germany's best-selling year of the year, and it was one of the country's most popular songs. She was given a Goldener Löwe award by RTL for Germany's best-selling musical artist of the year's best-selling musician of the year's best-selling musician of the year's, and she was honored with fanfare playing "Am Tag als der Regen kam" verses on the closing night of the Berlin Film Festival on September 28, 1959. The song was her first international success, with a half-million copies and then becoming one of her biggest successes in Germany.

Dalida's top ten hits in French charts in 1959, most notable "Ciao, ciao Bambina" and "Guitare et tambourin"; both winning gold discs. RAI and Lupo d'oro awards for Italy's best-selling musical artist of the year were given to her in Italy. Those were her first two international awards, which increased her international recognition. Dalida also performed in sold out concerts in Berlin, Athens, and Cairo, delivering a touching appearance in front of a large audience in Rivoli cinema, where she used to attend as a child. Dalida's performance at Théâtre de l'Étoile, in France, lasted three weeks, where a jukebox was installed in recognition of her name Mademoiselle Jukebox, the most listened to artist on jukeboxes. She released her fifth and sixth albums; Le disque d'or de Dalida and Love in Portofino; and she had already sold three and a half million albums, the highest among European artists.

In February, Dalida debuted "T'aimer follement," a chart topper in France and Belgium. With "Romantica" in April, then she embarked on her first world tour and debuted at the top of the charts once more. Following "Am Tag als der Regen kam," the third release of the year "Les enfants du Pirée" brought Dalida significant commercial success, becoming her second biggest international hit. In three of them, it ranked in the top two in six European countries and Canada, leading charts. After its debut in June 1960, where it remained for 20 weeks, it became the first French artist to sell over one million copies globally, and the tube de l'été expression was introduced after it. Dalida eventually recorded it in five different languages and made a video for television broadcasting Toute la chanson. "The first video in France that made a leap from the time of old videos" with a harbor theme, featuring Dalida singing and lying on a fishing net and artificial wind.

The triumph was followed by her second victory of Italian awards Oscar di Popolarità and a Lupo d'Oro for the year's best-selling musical artist of the year. Dalida, a French singer, was not satisfied with the emergence of the new musical style yé-yé because the new artists' debuts would only occupy the charts and then irretrievably fade. Also, since the introduction of new radio services for youth like Salut les copains, both the music hall songs and singers, like Dalida, are also considered completely obsolete. In September, Dalida learned that she'd need to make a drastic change to save her image, she covered the United States' "Itsi bitsi petit bikini." Today, one of her signature songs, it was the first big yé-yé hit in France and was dubbed the second tube de l'été, displacing "Les enfants du Pirée" from top of charts. "Itsi petit bikini" introduced Dalida to a whole new generation of young fans after securing her position as a lead singer in France. The record was also her second to sell over a million and her thirteenth golden disc.

After which was identified solely for Italian public, success was followed by "Milord," a number one in Austria, Germany, and Italy. Dalida also completed a year-long world tour, appearing in European, Canada, and several Arab nations. She released EP "Joyeux Nol" in December, one of France's best-known holiday carols, and with New Year's show Réveillon de Paris breaking the television audience record of nearly six million viewers, nearly six million viewers.

Dalida covered "Garde Moi la Derniere Danse," which reached top two, in January 1961. With another year-long world tour, she busted herself in Teheran on February 18th, in front of Iranian royal family in their Sa'dabad Palace. The tour's last leg featured Dalida's first solo concert residency at Olympia, which opened on December 6th, bringing a total of nearly 200 dates. Several commentators declared it as "attestation of an end and downfall of Dalida" due to her latest love affair, divorce from Morisse, and the recent yé-yé rena. According to Beuve-Méry of Le Monde, Dalida "brought the house down" as the month-long show was a sell-out success, with the premiere night broadcast live by Radio Europe N°1. Édith Piaf, one of many performers, congratulated her: "You are a winner, like me." It will be you, after me." Dalida also set the most popular public attendance and longest-running concert residency at the Olympia, with a total of 52,000 spectators in a matter that would not have been broken by herself in 1981. Dalida completed her world tour in Olympia's Belgian equivalent Ancienne Belgique in Bruxelles on December 30th.

Dalida released a collection of new Italian songs on Canta's Italiano EP in 1961, as well as several top ten hits internationally, such as "Nuits d'espagne" and "Tu ne sais pas." "Pépé" was a top-one hit in Austria and Germany in April, as well as "24 mille baisers" in Austria and France. Dalida internationale and Loin de moi have two other albums on sale. Dalida completed her film debut in Italy in the first film in which she appeared principal roles. It was originally shot as "Femmina, e che dollari!" but "Parlez moi d'amour" was revoiced and renamed for French audiences, and renamed for French audience as "Parlez moi d'amour," after one of tracking tracks. Several other Dalida recordings, including the posthumously released "Ho trovato la felicità," are also included in the film. Che femmina... e che dollari, contrary to her other films. The moderate revenue eventually outweighed the poor budget, not a commercial failure. "Shealing her appearance of the early 60's as it's also her first color film," Rihoit said, "all the energy and acting potential that Dalida does not have as a performer and broadcasts to the screen is immediately apparent."

Dalida had returned to tour after a short break, this time in Canada, where Tu peux le prendre had landed at number one. Dalida's most recent yé-yé debut "La Leçon de Twist" was broadcast on a popular youth French television show Toute la Chanson on Friday. Accompanied on the piano by then-leading French teen idol Johnny Hallyday, he also taught Dalida the moves for what she described as "the most patient of teachers of this new rhythm." The result was a surprise, boosting her track to the top of the French and Belgian charts in a straight. "La Leçon de Twist" was followed by another success of the same type, "Achète-moi un Juke-box." "Oh dad, buy me a jukebox" to listen to Elvis Presley, Les Chaussettes Noires, and Johnny Halliday, among others.

-And Dalida?

But what is she doing here, if they should all be paying attention to her? "Despite her popularity during yé-yé, Dalida joking on her own account referring to the present day in France, where the youth were fond of young singers." Anyway, the record stood at number one for two weeks in spring.

Dalida toured Italy and Vietnam from April to July. When she appeared in Saigon, her celebrity contributed to traffic jam, but the local authorities interrupted her performance during a rendition of "La Leçon de Twist" because the song was deemed as a political act. Dalida's cover of "Le petit Gonzales," a collection of "Speedy Gonzales," peaked in France, Belgium, Canda, and Spain the following month, and was described as "one of the most memorable and nostalgic recordings of the yé era" by Le Parisien in 1987. By the year's end, the album with the same name had been published.

Despite Dalida's debut in 1961 for the album "Loin de moi" and spawning a series of music videos followed by almost all yé-yé newcomers, her best critically and commercially received scopitone was recorded in September 1962 in which she paid tribute to Allies' disembarkation in Normandyon 6 June 1944. Dalida, a young Claude Lelouch, who later became one of France's most popular directors, walked through a war-torn forest in the midst of the bombs and accompanied live scenes from the Second World War. An unusual picture of Dalida attracted the attention of the public and was a hit in cafes. "Le jour le plus long" topped charts in France for two weeks alongside Dalida's performance of the song on September 26th in front of a crowd of 2,000 people on the first floor of the Eiffel Tower on the first floor of the Eiffel Tower for two weeks, earning her her another gold disc.

Dalida completed 1963, giving live appearance around the globe and reaching out more to Canadian youth, as the yé-yé recorded the largest swing in this period in France. Her world tour was a success, with sold out concerts in Europe from Portugal to Poland, Canada, Asia, Fort-de-France, Latin America, and Arabia's Arabian countries. She became Algeria's first artist to appear after the proclamation of independence. Dalida devoted the late summer season to filming in Hong Kong, so she and Serge Gainsbourg appeared in B movie L'Inconnue de Hong Kong for three months. Despite the fact that the film was a commercial disappointment, Dalida received rave reviews.

Dalida was honoured with the Oscar Mondiale del Successo dei Juke Box award in January 1963 for the most listened artist on Europe's jukeboxes. Later the same month, she made a change from yé-yé reporting Ben E. King's "Stand by Me" to "Le jour du retour," a summer number one hit in Canada, and "Eux," which were later released in five languages. After she was named with the Oscar mundial du succès du disque for drawing the most international sales by a French artist in 1963, "Eux" was released, and Dalida named her fourteenth studio album after it.

The 1963 world tour was postponed until 1964, but with several short breaks in between. After Dalida's five-month run, the tour's French leg began on April 11, 1964, the group's first leg, which was solely by bike during its five-month run, with a public audience of over 200,000. "The most memorable moment of tour," "Dalida" wowed with blond hair for the first time and stunned the audience that she hadn't recognized her at first glance," her brother Orlando said at Draguignan on August 14th. Dalida accepted the local truck drivers' offer to be their godmother of honor at the concert in Pont-sur-Yonne on September 2nd. The tour was replicated with concert residency in Olympia two days later when Dalida and other celebrities; Charles Aznavour, Francoise Hardy, Johnny Hallyday, and Sylvie Vartan were welcomed to the Olympia's entrance by the Olympia's roofless trucks, carrying a parade through Paris's streets. The festival attracted even more attention due to the sold-out three-week residency that had already received a lot of television coverage. "We can hardly wait for her [Dalida] to turn up, we've been screaming for an hour, and the scene has been so mad," a teenage fan said, "the whole Paris came to see [parade].

Dalida's appearances on television during 1964 were poorly promoted, with titles like "Ce coin de terre," "Ne t'en fais pas pour ça" and "Chaque instant de" falling to only top ten on the charts, eventually reaching only the top twenty. "La il a dit" debuted at number six in Canada earlier this year, but Dalida returned to the studio in November to record "Amore scusami," the orchestral pop sentimental ballad that was a new genre to her repertoire. The song was rushed into release and quickly became a hit at the end of the year, earning Dalida his first gold record in two years after "Le jour le plus long." Following the success of "Amore scusami," an album of the same name was released on September 17th. Dalida's debut in 1956 was given a platinum disc for her sales over ten million dollars. It was the first time in the music industry that a term "platinum disc" was used.

Dalida decided not to appear at the San Diego Music Festival but instead released EP Sanction 65, which featured her new Italian top ten hit "Ascoltami." Performing new shows at Bobino and Tête de l'Art in the ensuing months, she was in the top ten in France and Belgium with a cover of Rita Pavone's "Viva la pappa" that sparked a lot of curiosity among children's public. "La sainte totoche," a B-side book written and composed by Charles Aznavour, topped at number six in Turkey and was lauded by prestige critic Lettres françaises as it "evokes the women forgotten by their husbands." Dalida played concerts in Fort-de-France, where she was welcomed by more than 20,000 ardent Martinicans who created the city's stagnation. "Only the President of the Republic had an ovation of this magnitude when he visited France in March 1964." Juliana Brown, the winner of the Dalida Song Contest who had been named in her honour, was rewarded the next day by Dalida herself. According to a questionnaire conducted by IFOP on April 24, 1965, Dalida was voted the best French singer of the decade, ahead of Édith Piaf.

Dalida recorded "La Danse de Zorba," a song from 1964 comedy film Zorba, which became her first international success after "24 mille baisers" in early 1961. Dalida's music has risen to seven international charts, debuting in the top three in six countries and gaining top in two countries. Its more than a million copies, it also received two more golden discs in France and Brazil; where it was also honoured with the Cico Viola award for the year's best selling record. Dalida's Summertime, 1965, was a highlight of the year's Tube de l'été, alongside Christophe's Aline and Hervé Villard's Capri c'est fini, with daily appearances on television dancing to song on a Sirtaki.

Dalida appeared in Morocco and Algeria during summer and was involved in the production of Menage all'italiana, alongside Ugo Tognazzi and then debutante Romina Power, and she also released one of her first recordings in single format Wenn die Soldaten.

The song "Il silenzio" appeared on the fourth EP of the year in October. It was also a chart-topping success in Europe, Canada, and Latin America, peaking in France and Italy, where it was the year's best selling record of the year, beating "La Danse de Zorba" and receiving a gold disc. "Le flamenco" and "Scandale dans la famille" were both well-received in Belgium and Canada along with "Le flamenco" and "Scandale dans la famille." "Il silenzo"'s success made for the most fruitful year in Dalida's career up to date, and the album of the same name was released that year.

1966 was marked by an extensive year-long world tour, beginning in Paris on February 13th and ending in Toulouse on December 31. Dalida toured Canada, Latin America, Arab states, and Europe, with more than 150 dates. The year began with the hit "El Cordobés," a result of friend rivalry with bullfighter Manuel Benitez, to whom Dalida dedicated the song after they had a brief friendship. Dalida began using family members, including her cousin Rosy as her secretary, and brother Bruno as her artistic director in the same period. They released the popular Italian album Pensiamoc ogni sera and three others EPs before the end of the year. "Parlez moi de lui" did not succeed in commercial life, but she became one of her first power ballads based on her own life and was released in the United States by Cher as "The Way of Love." On the other hand, Bang Bang was the top-one hit in Argentina and Italy, where it also had the year's best selling record. "Petit homme" was internationally recognized and was joined by Dalida, who was accompanied by the Damonda Quartet in lively live performances with tambourine. Dalida has also appeared in French satiric film La Morale de l'histoire, which also included the unreleased song "Je sortirais sans toi." Luigi Tenco, a young avant-garde singer-songwriter, was introduced to her first RAI show "La danza di zorba" in duet during the summer. Her Italian managers suggested that she attend Tenco's next San Francisco Music Festival later this year. Despite defying it in previous years, she attended this year as part of a mystery with Tenco.

Dalida's success in France and Turkey in January 1967 with "Mama," pushed the Italian charts back to the top of Italian charts later this year. Tenco's "Ciao amore, ciao" was released alongside as they selected it for their competition song at San Diego's Sanco Music Festival. On January 26, the festival premiered, and the performers performed their own version. Tenco gave a poor interpretation while Dalida closed the evening with ovation, but they were eventually disqualified in the first round due to stage fright and alcohol. Tenco was discovered dead in their hotel room by Dalida on the following night, triggering a tragic conclusion. The suicide letter revealed how he died by suicide as a result of hoax and bribed jury, according to the author, but the biggest question was how the mafia was involved. Although the public knew nothing about their friendship, it was still affecting Dalida, and the upcoming concert in Boulogne-Billancourt, which was postponed until January 31. She appeared on television show Palmares des chansons on Sunday, dedicating her rendition of "Parlez moi de lui" to Tenco. The result was largely sentimental, but she didn't have a hint of a nagging sadness. Dalida attempted to die on February 26th but she died in a hospital and spent five days in a coma. The truth about her Tenco stints broke out, leaving her worldwide stunned. For three months, her career was on hold.

On the brink of tears, she made her first television appearance after four months interpreting "Les grilles de ma maison," a version of Tom Jones' "Green, Green Grass of Home." "I was afraid that everything would be foreign to me," the song says. "I was afraid that it would be changed, but it's good to open the grilles of my house." At the same time, Italian album Piccolo ragazzo became a hit on international charts, and "Ciao amore, ciao" topped many international charts, earning Dalida another gold disc. She also arranged a four-month comeback tour from June to September, which culminated in her return to the Tour de France's capital. The late summer saw the re-release of 1959'Hava naguila" and the debut of "Je reviens the seeker," Tenco's French version of "Son tornata da te" in a late summer. Dalida released her first compilation album, De Bambino à Il silenzio, in September, accumulating her gross hits from 1956 to 1965, which was also one of the oldest hits albums ever.

Dalida premiered her third Olympian concert residency, which lasted for a month, on October 5th. Dalida, who performed "J'ai décide de vivre," "Entrez sans frapper" and "Loin le temps," is a french word that is translated into more complex lyrics. Dalida achieved a major success at the venue, dressed in a long white dress and a promise that she will travel non-stop on tours in future years. According to the media, she was dubbed Saint Dalida. Jacqueline Cartier wrote: "Dalida killed Mademoiselle Bambino in France-Soir" adno.

The new Dalida is born!

"I'm from the United States!"

Dalida, the most popular television show in Italy, won with "Dan dan dan" in January 1968, which ranked second in Italy after competing for four months. Dalida reprised film in Io ti amo, playing as stewardes Judy alongside Alberto Lupo. The film was a minor success, but although it was shot in color and several of her new songs premiered in, it was also recognized for her latest Italian chart topper and gold-certified "L'ultimo valzer" and a critically acclaimed music video. Dalida embarked on a two-year world tour that lasted until early 1970. It was Dalida's longest tour up to date, and she was part of it, winning the main prize at a popular Italian summer festival Cantagiro in 1968. For the first time in his career, Dalida performed in Yugoslavia and in poorer areas of Africa. The tour came to an end in Iran in February after Gabon in December and Tahiti in January 1970.

Early 1968, "Si j'avais des millions" and "La bambola") were minor hits, but Dalida's "Le temps des fleurs" soared to critical success in France in September. It was an instant hit with a fair chart success in several other countries, which eventually became available in two more languages. The EP was reissued for five more times, setting a personal record for Barclay, earning a gold certificate and an album of the same name was released. "Le temps des fleurs" finally announced the end of a long EP era with an issue in a single style.

"I wanted to praise a quality, a great lady of France," Dalida said in a Paris city hall on December 5th, 1968. She is France's only woman from show business to receive such esteem. Dalida became a Parisian citizen of distinction after being named the Godmother of Montmartre pulbots, the old word for homeless children of the quartier where she lived, during the same ceremony.

Dalida released several less popular albums such as "Zoum zoum", "L'an 2005" and "Les violons de mon pays," which were not widely distributed on television and radio in Turkey and France, with some success in Turkey and France. "Oh lady Mary" was introduced in fall and became her last Italian hit. Dalida danced casatchok on her latest album "Petruschka" which was followed by the debut of three new albums; Canta in Italiano, In Deutsch and Ma mère me disait, Poland's top sales leader. Dalida was also honoured with MIDEM, an Italian award for the best selling artist of the year, and her first Radio Luxembourg singer of the year award, which she continued to win for many years.

Dalida and her brother Orlando were already planning to create their own record store in order to control her musical output and establish their own studio. Concerto pour une voix, Dalida's last record under Barclay's banner, was released on April 15, 1970. Dalida signed a deal International Shows, which was recently established in Orlando, making him one of the country's most prominent independent producers of French show industry. Darladada's first appearance was also the first of a long line. The Greek folklore song was first playing on radios for a month, and it was announced as single on July 15th. "Darla driladada" was a overnight success, selling 75,000 copies in the first week and setting a new record for weekly sales in France. The song became Dalida's second tube de l'été, remaining three weeks at the top of French sales charts during summer and earning gold certification in a month. Dalida's second record under her new name; "Ils ont changed ma chanson," a cover of "What Have They Done to My Song Ma" reflects a drastic change in her repertoire in recent years. It was a moderate success in terms of revenue, but it received her second Radio Luxembourg award. "Pour qui pour quoi," her last album in EP form, was followed by "Ils ont changed ma chanson," the first album to be released under International Exhibition.

Dalida planned to book herself at Olympia in October 1971 for her big Parisian comeback after four years. Bruno Coquatrix did not believe in her change of style and refused to produce the performance, so Dalida rented and paid the venue by herself. Dalida premiered a sold-out three-week concert residency on the 24th of November, with Mike Brant as the opening act. Dalida triumphed once more, with public and critics praising a new repertoire nicknaming her "the queen of the theatre" and "a modern Phaedra." Given the success, Coquatrix offered "Dali" to her whenever she wanted "without having to pay a single cent." Both Premiere Nights were recorded on video and as live album Olympia 71, released a year later with Il faut du temps, when the film was first released in 2012.

Dalida performed a number of successful world concerts from 1971 to 1972, including in Asia, Canada, Europe, Lebanon, and Latin America. She continued to choose her latest songs solely for their poetic value, but also paid less attention to their commercial exposure, heading to Asia to get a better idea of herself. Dalida would appear on television as "Comment faire pour oublier" or "Avec le temps," as Jacques Pessis explained: "Mates of crazed fans were chanting "Dali" for the first time, the new name for her. She molded her early 1970s appearance without even trying... just showing her natural emotions at the time." Dalida experimented with religious themes in songs "Jésus bambino" and "Jésus Kitsch," inspired by Jesus Christ Superstar Dalida. With "Parle plus bas," a cover of Godfather's title song, she returned to high sales in September 1972. It reached its peak in number two and sold over one-half million copies in France before the year and received the gold medal.

Dalida made her duet "Paroles, paroles" with her longtime friend Alain Delon, who had chosen on her own in the late 1970s. Lyrics tell a tale about a man giving a woman "caramels, bonbons et chocolat" (how stunning are you), to "paroles, paroles" (words, words) implying that his words are nothing but hollow. The single, "Pour ne pas vivre seul," topped charts in France, Japan, Mexico, and Portugal, as well as several other countries, and had a good result in several other nations. In addition to earning a triple gold medal, the organization also produced a dozen international covers, causing international singers to record it in their native languages. Dalida and Delon never performed the song live, but Dalida and Edward Dalton performed on television and concerts, using his voice in playback. "Paroles paroles" became one of France's most popular songs in the upcoming decades, as well as a Dalida signature track. The expression "paroles, paroles" has entered everyday life, and Pessis wrote, "is often used to evoke those who make promises and never keep them."

Dalida's "Je suis malade" became her new song in late July, and it would become her signature song. Serge Lama's writer wrote and released it earlier this year, but it wasn't until Dalida that it was discovered that "I cried and I knew I had to record it" when it was first seen on television. Dalida's desire to popularize Lama rather than simply getting a kick out of it made her issue go from B-side to single "Vado via." Her version became a hit following the emergence and two shows, but Lama's original caught national attention. Dalida's gestures and facial expressions during her appearance of "Je suis malade" were a natural extension of her personal connection to lyrics that deal with abandonment and despair. The performances of the song during the next decade left a major impression on French society and gave Dalida's image as the "absolute drama queen" of Vanity Fair. Both Lama and composer Alice Dona often lauded Dalida for making the song a hit and also for raising Lama's career. "Je suis malade" became a song routinely performed at competitions and was mostly in honor of Dalida.

Dalida's promotional single "Il venait d'avoir 18 ans" appeared on B-side "Non ce n'est pas pour moi" by the end of 1973. She also released Julien, which includes the majority of her 1973 songs. The song "Il venait d'avoir 18 ans" quickly became a hit, and in 1974, it was re-introduced as B-side to single A-side Gigi l'amoroso, but only as B-side. "Il venait d'avoir 18 ans" tops in Québec, number 4 in Belgium, number 13 in Germany, and number 37 in Italy, while Gigi l'amoroso reached the highest selling single in Benelux and charted number 1 in Switzerland, number 2 in Spain, number 1 in Italy, number 2 in France, and number 59 in Italy, while Frank Sinatra's Strangers won the top single in Belgium, number 3 in Belgium, number 3 in Belgium, d d d d's" peaked top in Belgium, number 3 in Belgium, number 3 in Belgium, and chartet, number 3 in Germany, number 1 in Germany, number 3 in Italy, number 1 in Switzerland, number 1 in Monté, number 1 in Italy, number 3 in Montébec, number 1 in France and number 2 in Mont 59, number 1 in Italy, number 59, number 1 in Italy, 59, 59, number 59, number 59, 59, 59, number 3 in 59, l d 59, number 3 in Mont l l, number 61, number 3 in Montébec, number 3 in l 59, number 3 in Mont 59, number 1 in Mont l 59, number 1 in Montébec, number 3 in Mont 59, l 59, number 1 in Mont 59, 59, 59, 59, 59, 59 in Italy, 59, number 3 in Monté 59 59 59, 59, 59, 59, 59 in Italy, 59, 59, 59, top 59 in 59, 59 in Italy, 59, 59, 59, top l 59, 59 in Italy, top 6 in Monté 59 59, 59, top 3 in 59, top 59, top 59, 59, top 10 59, top 6 in Monté 59, 59, top 18 ans, number 4 in France and number 59, top, 59, 59, top 10 59, and number 3 in France, and number 59. Both songs appeared at her first appearance in Olympia, 1974. The entire four weeks were sold out and a triumph for the singer, who was followed by an album Olympia 75.

In February 1975, French music critics named the artist with the Prix de l'Académie du Disque Français. This time of record-breaking sales will be followed by touring from 1974 to 1975. She and her partner Richard began to perform "Et de l'amour de l'amour" during 1975. This single attained a record-breaking number 16 in France.

Dalida released a new album in 1975 and 1975 that collected some songs from singles as well as some new songs from 1974 to 1975. The bulk of the songs were from the same genre, except for the disco-genre song "J'attendrai." This album, which was released as a single in January 1976, debuted at number one on the French charts, and was the first disco hit in France and a disco hit in French language. Dalida is the narrator of French disco, which is a feat. Around the same time, the success of the variety show in France was on the rise, and Dalida began making television appearances on a weekly basis in France and Europe.

Following her disco success in mid-1976, she released a new album of entirely new songs, the bulk of which were disco. "Besame mucho" was the most popular one in France and Turkey's number 7 was the most popular one. Both in private and professional life, 1977 was a fruitful year for Dalida. She has three albums to her credit. Following her first victory at Olympia in 1977, one of them, live Olympia 77, was released. The other two albums were entirely new songs. "Salma Ya Salama" was the first Ra hit in the world. The song was originally performed in Arabic, and it was later translated into French, Italian, and German. Parts of the lyrics are based on an old Egyptian folk song about homesickness and the Egyptian nation.

Dalida appeared in two nights in Carnegie Hall in New York in November 1978, covering the world, including the United States, for the second time since the 1950s. The New York Times praised Dalida's appearance and emphasized its intimacy and acuity as she began to talk midway through the concert, revealing her personality. The bulk of the audience was made up of French citizens. The concerts were nearly sold out, but she had another triumph. She had been offered a second time a contract to perform in the United States, but she turned down the opportunity again. An ardent fan attempted to kidnap her with a hammer but did not succeed.

"The Lambeth Walk" sung in English and French is one of Dalida's hit shows. During 1977, Serge Lama's song "Je suis malade," written and performed by Serge Lama, was turned into a hit by Dalida, though she first performed it in 1973. "Monday, Tuesday... Laissez-moi danser," Dalida's 1979 hit "Monday, Tuesday... The album was a smash hit, peaking at number one on the French charts. She released the semi-biographical album "Comme disait Mistinguett," where she, through music, talks about herself in a fun way. "Reo do Brasil," the 1980 debut of a major disco hit, was a mark on her debut. "Gigi l'amoroso" was released in Then she released the album Gigi in Paraguar, a sequel to her previous hit "Gigi l'amoroso."

Lester Wilson Wilson, a 1979 Dalida, met Lester Wilson. Aggrieing to collaborate, he became her choreographer for the forthcoming spectacle in the Palais des Sports, which was scheduled for January 1980. Dalida performed for three hours per day for fifteen days, with ten costume changes and twelve dancers in front of a crowd of over 90,000. Palais des Sports of Paris was the biggest playing venue in Paris and one of France's largest, and the same triumph was replicated in Olympia.

Dalida unveiled the double live album Le spectacle des Sports 1980, which also arranged a new European tour and a small World tour. Except Yugoslavia and the USSR, she toured around Western and Eastern Europe. In addition, she has appeared in Brazil, USA, and Canada. When she returned to France, she arranged a tour that took in more than 20 sold-out concerts per month throughout France's towns and cities. In 1980, she suffered with her personal life, which was reflected in the song "ma voie."

Dalida stopped playing on tape and began playing slower, moody, deep-minded songs on 1980s instruments. In 1981, she met St. Germain, who was a student at the University of On the St. Germain.

She appeared at the Olympia in Paris from March to April 1981, emulating her famous 1980 tour. That was her last concert at the Olympia in 1981, when the Olympia closed the following year (it re-opened in 1989). On the night of her debut, she became the first artist to be given a diamond disc in recognition of her 45 million album sales. Olympia was followed by the unveiling of her last named Olympia album, Olympia 81, but this time, it was not broadcast live. She refused to be a model for Marianne of France. Dalida began recording dance songs, which had shortly taken over disco in French clubs. Special Dalida, a 1981 television show, starred her in a New Year TV special. She co-hosted and performed her own songs.

She appeared on television shows often unreleased songs at the start of 1982, shortly followed by the unveiling of a new dance album, Special Dalida. The dance numbers "Jouez bouzouki," "Danza," and the moody "Nostalgie" are among the album's most popular songs. Dalida began a new world tour in 1982 and spent the majority of 1982 to 1984 in Rio de Janeiro, Europe to Asia. She made a number of TV appearances in the 1980s, about every second week. Dalida released "La chanson du Mundial," a French song that was featured in the summer of 1982, as well as many other artists. (#17 in France).

She recorded several songs in the first part of 1983, the most notable of which being "Mourir sur scène." The dance-pop album has incredibly detailed lyrics and has remained a huge hit, one of Dalida's signature songs. The majority of her 1983 songs were collected on her album, Les p'tis mots, which also included songs such as "Lucas" and "Bravo."

Her personal challenges had risen again by the start of 1984; she could not devote as much time to her work as she would have liked. However, she released "Soleil" and "Kalimba de Luna" as a new series of mainly dance songs. Dali, a compilation of all her songs that were released that year, was released in mid-1984. A television special was later released on VHS titled Dalida Idéale; it was produced in 1984 and directed by the then-highly rated Jean-Christophe Averty to advertise the album. It includes Dalida's ability to perform in seven languages and dancing her way through a significant number of her older hits with the best video effects available at the time, as well as wearing more than 40 outfits from the best French and international fashion designers, retaining her "Glamour" and "DIVA" trademarks from the late seventies.

She has successfully managed to keep the new radio station NRJ on air by her appearances.

The eye problems of Dalida have been resurfaced. She underwent two major eye surgery in 1985 and put her career on hold as the stage lights became too difficult for her to handle. "Reviens-moi," a reprint of George Michael's "Last Christmas" covers, was released by the artist. She appeared on live performances in early 1985 as well as several TV appearances. As her eyes recovered in mid-1985, she took on the role of a young grandmother in the Youssef Chahine film The Sixth Day. Despite widespread media criticism, especially from intellectuals, the latter will be a commercial failure in France. There will be only more than 50,000 entries. She had always wanted to be a singer but had to abandon her singing career and primarily dedicated herself to the film. In late 1985, she returned to France to market the film.

Le Visage de l'amour debuted in 1986 with more new songs and singles from the album, which became her last album. "Le temps d'aimer" and "Le Vénitien de Levallois" were two songs that failed to make it to the top of the charts on their first day. She did promote the album, but not as well as she did before, due to personal circumstances that hadn't been bad since 1967. Dalida, on the other hand, spent more time alone or with friends in an attempt to amuse herself, neglecting her work. Dalida stopped recording new stuff in the recording studio and instead dedicated herself to performing concerts. Dalida was first known for the fantastic "show" performances from 1980 to 1982, as she was still organising a number of concerts on a monthly basis and singing her previously-known hits. "Je suis toutes les femmes," "Gigi in paradisco," "Il faut survival reggae," "Come disait la Mistinguett" was one of the glamorous disco-dance songs from the same period.

Dalida was already suffering from severe depression by the start of 1987 and was battling it. Despite the fact that no new songs had been released, she toured internationally from Los Angeles to the Middle East. Many of her songs appeared on television, as well as several notable television appearances on talk shows from 1986 to 1987, being part of the music spotlight in 1978. Nuit des César's last live television appearance was on March 7, 1987. Her last live performance took place in Antalya, Turkey, from 27 to 29 April 1987, just before she died. Her appearance was not captured by Turkey's national television, which was the country's only television station.

Source