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Iolanda Cristina Gigliotti (; 17 January 1933 – 3 May 1987), professionally known as Dalida, was an Italian-French singer and actress born in Egypt. She sang in eleven languages and sold millions of records internationally. Her best known songs are " Bambino", " Les enfants du Pirée", " Le temps des fleurs", " Darla dirladada", " J'attendrai", and " Paroles, paroles" featuring spoken word by Alain Delon.

First an actress, she made her debut in the film '' A Glass and a Cigarette'' by Niazi Mustapha in 1955. One year later, having signed with the Barclay record company, Dalida achieved her first success as a singer with "Bambino". Following this, she became the most important seller of records in France between 1957 and 1961. Her music charted in many countries in Europe, Latin America, North America, and Asia. Among her greatest sales successes were "Le jour où la pluie viendra", " Gigi l'amoroso", " J'attendrai", and " Salama ya salama". She sang with singers such as Julio Iglesias, Charles Aznavour, Johnny Mathis and Petula Clark.

Although she shot a few films alongside her career as a singer, she effectively reconnected with cinema with '' The Sixth Day'', a film by Youssef Chahine released in 1986. The film was successful in Egypt where three million people gathered in Shubra to see Dalida at the preview. In France, although the film was hailed by critics, it became a commercial failure.

Dalida was deeply disturbed by the suicide of her partner Luigi Tenco in 1967. Despite this, she moved ahead with her career, forming the record label International Show with her brother Orlando, recording more music and performing at concerts and music competitions, but she continued to suffer bouts of depression. She took her own life on 3 May 1987.

Early years

Childhood in Cairo

Dalida was born Iolanda Cristina Gigliotti in Cairo, Kingdom of Egypt, on 17 January 1933. Her father Pietro Gigliotti (1904–1945) and mother Filomena Giuseppina (''née'' d’Alba; 1904–1971) were born in Serrastretta, Calabria in Italy. Pietro studied music in school and played violin in taverns; Giuseppina was a seamstress. By birth, Dalida automatically gained Italian nationality through ''jus sanguinis'' of both Italian parents.

Unable to make a living in their hometown, the young couple moved to the Shubra district of Cairo the year they were married, where, between the births of Iolanda's older brother Orlando (1930–1992) and younger brother Bruno (1936), the Gigliotti family became well established in the community. In addition to earnings from Giuseppina's work, their social status benefited when Pietro became primo violino at Cairo's Khedivial Opera House, and the family bought a two-storey house.

At 10 months old, Iolanda caught an eye infection and had to wear bandages for 40 days. Her father would play lullabies on the violin to soothe her. She underwent eye operations between the ages of three and five. Having to wear glasses throughout elementary school, for which she was bullied, she later recalled: "I was enough of it, I would rather see the world in a blur than wear glasses, so I threw them through the window." Iolanda attended the Scuola Tecnica Commerciale Maria Ausiliatrice, an Italian Catholic school located in northern Shubra.

In 1940, Allied forces took her father and other Italian men from their quarter to the Fayed prison camp in the desert near Cairo. When Pietro was released in 1944, he returned home as a completely different person, so violent that Iolanda and other children in the neighbourhood were scared of him. She later recalled, "I hated him when he beat me, I hated him especially when he beat my mom and brothers. I wanted him to die, and he did." Iolanda was twelve when Pietro died of a brain abscess in 1945. That trauma influenced her search for a male partner the rest of her life.

Modelling, acting

In her teen years, Iolanda developed an interest in acting due to her uncle's job as a projectionist for a local cinema, and often participated in school performances at the end of the semester. She graduated in 1951, and began working as a copy typist in a pharmaceutical company the same year. While required to work to financially help her family, Iolanda still had acting ambitions.

Shortly thereafter, her best friend Miranda encouraged her to compete in Miss Ondine, a minor Cairo beauty pageant which she entered on the assurance that it was just for fun and that her mother would not find out. When Iolanda unexpectedly won second prize and Miranda won second runner-up, they were photographed and published in newspapers ''Le journal d'Égypte'' and ''Le progrès égyptien''. The next day when her mother found out, she forcibly cut Iolanda's hair short. Eventually, her mother relented and Iolanda left her job to start modelling for Donna, a Cairo-based fashion house.

Three Egyptian film directors placed Iolanda in their productions; Marco de Gastyne cast her in ''The Mask of Tutankhamun'' (1954) and Niazi Mostafa cast her for a supporting role in '' A Glass and a Cigarette'' (1954), on which posters she appears with her newly adopted stage name Dalila because, as she explained in 1968, "it was a very frequent name in Egypt and I liked it a lot." The third offer was a longer period contract by an Egyptian film producer that she turned down after Gastyne advised her to try her luck in Paris.

Relocation to Paris and decisive 421 dice game

On 25 December 1954, Dalila left Egypt for Paris. Her first residence was a room in an apartment of Gastyne's friend, the impresario Vidal. She met with a number of directors, auditioned for movie roles, but failed each time. Vidal relocated her to a smaller apartment where her first neighbour was Alain Delon (then still unknown to the wider public), with whom she had a brief relationship.

Dalila's difficulty in finding acting work throughout 1955, led her to try singing. Vidal introduced her to Roland Berger, a friend and professor who agreed to give her singing lessons seven days per week at a low price. He was strict and used to yell, with Dalila responding even more loudly. Their lessons sometimes ended with her slamming the door, but she always returned the next day. Seeing her progress, Berger arranged for her to perform in the cabaret ''Le Drap d'Or'' on Champs-Élysées, where she was spotted by Jacques Paoli, the director of another cabaret, ''La Villa d'Este''. Paoli engaged her for a series of performances that proved popular, and Dalila received her first attention of the public in France among which was Bruno Coquatrix, the director of Olympia, who invited her to perform at his singing contest ''Les Numéros 1 de demain''. In future years, Coquatrix said: " r voice is full of colour and volume, and has all that men love: gentleness, sensuality and eroticism." Dalila was also spotted by author and screenwriter Alfred Marchand, who advised to change her name to Dalida: "Your pseudonym resembles too much the movie '' Samson and Delilah'' and it won't help to boost your popularity. Why don't you replace the second 'l' with a 'd', like God the father?" She immediately accepted the change.

On 9 April 1956, Dalida participated in the singing contest ''Les Numéros 1 de demain'', performing ''Etrangère au Paradis''. Prior to the competition, Eddie Barclay, owner of the largest recording house in France, Barclay, and Lucien Morisse, artistic director of the newly established radio station Europe n°1, met in Bar Romain (now Petit Olympia) and discussed what to do that evening. Barclay wanted to watch a film, whereas Morisse wanted to attend the singing competition, which was being held at Olympia Hall, then the largest venue in Paris. They settled their disagreement by playing 421, a dice game, which Morisse won. Together with their friend Coquatrix, they were greatly impressed after Dalida won the contest, and arranged a meeting with her. That event was later perpetuated in biopics and books, and became regarded as fateful for Dalida's career. The three men went on to play a large part in launching her career.

Career

''Les années Barclay'' – The Barclay years

First contract and overnight success with Bambino

After the performance in Les Numéros 1 de demain, Lucien handed Dalida his card to meet in his office as soon as possible, which she accepted without hesitation. A few days later, on the second floor of the building at 26 rue François ler, she performed "''Barco Negro''", a recent hit by Amália Rodrigues, humming the a cappella verses and tapping the fingertips on a corner of Morisse's desk. Visibly satisfied, his interlocutor demanded more work on mini-flaws, for a new audition in front of Eddie Barclay in person. On 2 May 1956 in Barclay's office at 20, Rue de Madrid, Dalida signed a renewable one-year contract, with a modest percentage on record sales, with the promise of increasing it if the expected success was accomplished. While Morisse was responsible for radio promotion, Coquatrix had developed a strategy to grab the headlines. He planned to promote her through a series of concerts, including two concerts at the Olympia, two weeks in Bobino, and a tour of the provinces.

Her first song "''Madona''" was recorded in June and was first released in August on EP with three other songs. "''Madona''" was played on 28 August 1956 on Radio Europe n°1, which was Dalida's first radio appearance. The record achieved sufficient success and was followed by second EP, Le Torrent, a month later, which received an equally encouraging welcome. Dalida continued performing live throughout the latter part of 1956, while her promoters worked on developing a song that would make her a star; Morisse asked lyricist Jacques Larue to write a French language version of "''Guaglione''", the winning song of recent fifth Festival di Napoli, which would become ''Bambino''.

"''Bambino''" was released in early December only as a promo single, but quickly receiving more public interest than all of her previous recordings, Morisse started to heavily promote it and it was placed as title song to Dalida's debut album ''Son nom est Dalida'' that was issued by the end of same month. The album was immediately followed with a third EP titled "''Bambino''". After debuting at number seven in January 1957, ''Bambino'' reached number one and went on to become the biggest-selling and one of the most beloved pop standard hits of the 1950s in France, Belgium, Canada and Switzerland. As the song knocked Doris Day's "'' Whatever Will Be, Will Be''" off the top of the French charts, women began to emulate Dalida's makeup, resulting in the explosion of Rimmel sales, while the men saw in her a talent, sensuality and sexiness. Coquatrix then named her "the first sex-symbol of the song". "''Bambino''" was Dalida's first number-one hit, and through 1957 it became the longest-running number-one in the world history, with a total of 39 consecutive weeks, still holding a record. It made Dalida an overnight star and gained her first gold disc, the very first time such an award had been received by a woman, on 19 September 1957 for sales of over 300,000. As the French music industry was then still in the background, "''Bambino''" was described in 2007 by Bertrand Dicale of Le Figaro as; "''a launch that announced what will happen in the coming decades ... a start of really modern times where singer is more important than song''". Promoting it in early 1957, Dalida also made her first TV appearance, and her contract was immediately extended for four years. Then she also received her first criticism from a journalist: "''On stage, Dalida appears in beauty and warmth, highlighted by a presentation of extreme sobriety.''"

First Olympia concert, new success with Gondolier, tourings and return to film

On the night of 27 February 1957, Dalida held her first concert at the Olympia, as the opening act for Charles Aznavour, and was widely applauded. Then, in April, she performed in a successful two-week series of concerts at Bobino, and in the summer a fan club was established, the first such club to be devoted to a female artist. Among live performances, the prolonged success of Bambino through 1957 was followed with new recordings like ''Miguel'', and ''Tu n'as pas très bon caractère'' that eventually replaced ''Bambino'' as number one in France in October. Dalida came back to Olympia in September as opening act for Gilbert Bécaud, when the newly renovated Olympia appeared for first time with the red neon facade sign. The future iconic symbol of the hall, Bécaud and Dalida became the first two names to appear in it. After her second success there, Dalida released her second album '' Miguel'' and returned to studio in mid-October to record, what was to become one of her old standards, Histoire d'un amour. Staying in top ten for eight months, it earned Dalida her a second gold disc.

Dalida's experimenting with exotica resulted with "''Gondolier''", released over Christmas in 1957. For the exotica song with accentuated vocals, Dalida delivered a TV appearance where, while sailing the imaginary gondola, her dress' shoulder strap fell down. The reappearances of the video in the 1970s made the moment notable, and public started considering it iconic as Dalida dared to do such thing on television during conventional times of society. Nevertheless, "''Gondolier''" debuted at number one on both French and Canadian charts where it spent four months, remained in top twenty for almost a year and became her biggest hit since "''Bambino''". Its B side ''Pardon'' also proved popular, reaching number one in Canada. Then Dalida also started to perform more frequently in France, Belgium and Luxembourg.

By the end of April 1958, a radio programmer heard Dalida recording "''Dans le bleu du ciel bleu''" in Barclay's Hoche studios in Paris. Immediately asking for a copy of the tape and passing it on the antenna, the radio station was flocked with phone calls of people asking for the number of the disc and when would it be available. As the song replaced "''Gondolier''" as number one in France, Dalida scored a still-running chart record of France of five songs simultaneously in the top ten. It was followed by her receipt of RMC's singer of the year award, which she went on to win for six consecutive years. In June she embarked upon her first "TDF avec Dalida 58" tour (Tour de France with Dalida); a daily appearance in the stage city of the 1958 Tour de France, which she repeated several time in future decades. Then she also performed in Algiers during summer, supporting the morale of French soldiers fighting the Algerian War, and held a new series of galas in France and Belgium that ended regularly with two hours of autograph signing. During that summer Dalida released her third album ''Gondolier'', and also recorded several new songs like "''Je pars''", "''Aïe mon cœur''" and "''Les Gitans''"; all sales successes each earning Dalida a gold disc. With ''Je pars'', Dalida started French rock 'n' roll and also paved the way for foreign rock artists to enter the market, like Paul Anka.

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

On 9 October, she again performed at Bobino, this time for three weeks as the headline performer, where she promoted her latest releases "''Du moment qu'on s'aime''", that peaked the charts same week, and "'' Come prima''". Topping charts in January 1959, where it remained during most of winter, "''Come prima''" proved to be an ultimate holiday hit of France and Belgium, as Dalida could be seen promoting it on a Christmas-themed television set. Record's B side song "''Si je pouvais revivre un jour ma vie''" also achieved success topping Canadian charts. According to her biographer Catherine Rihoit, her live television appearances "got her into the palms of society, keeping her position as a favorite singer of all age groups in the francophonie", and marked an era of late '50s television shows. On 26 December 1958 Dalida was in New York with Morisse where they met Norman Granz, the American impresario of Ella Fitzgerald, who invited her to Hollywood and offered a fifteen-year contract to launch her career in the USA. She quickly rejected the offer, saying that she wanted to focus on her musical career in France where she was already well-known with a secure fan base.

"Am Tag als der Regen kam" and international recognition; best selling singer in Europe

Dalida toured extensively in 1959, playing sold-out dates in France, Egypt, Italy, and Germany. As her fame spread outside France, she started to record songs in other languages to cater for these new audiences. She understood five languages ​​and interpreted her songs in eleven languages: German, Egyptian Arabic, English, Lebanese Arabic, Spanish, French, Greek, Hebrew, Italian, Japanese and Dutch. In February, during a TV appearance, she performed her recent version of "Hava Nagila". On 2 March, Minister of informations awarded her, alongside Yves Montand, with the Bravos du music hall, the most prestigious music award in France, for the most popular singer in France. During the summer, she covered her own recordings "''Ne joue pas''" and "''C'est ça l'amore''" in Flemish as "''Speel niet met m'n hart''" and "''Ik zing amore''", respectively, the only time in her career she sang in Flemish.

In late summer, Dalida was back in the studio to record her first major international hit. In the period from 1958 to 1959, "'' Le jour ou la pluie viendra''" was recorded in three languages, which led Dalida straight to the top three in six different European countries. The German language version "''Am Tag als der Regen kam''" topped German charts for ten weeks in September and October, earning her another gold disc. It was the best-selling record of the year in Germany, and remained one of the most successful songs in history of the country. During the closing night of the Berlin Film Festival on 28 September 1959, she was presented with a Goldener Löwe award by RTL, for the best-selling musical artist of the year in Germany, and saluted with fanfare playing "''Am Tag als der Regen kam''" verses. The song was her first international recognition, reaching a half-million accumulated copies and eventually remaining one of her biggest success in Germany.

In the course of 1959, Dalida collected five Top 10 hits in French charts, most notably "'' Ciao, ciao Bambina''" and "''Guitare et tambourin''"; both earning gold discs. In Italy, RAI awarded her with Oscar di popolarità and Lupo d'oro awards for the best-selling musical artist of the year in the country. Those were her first two foreign awards that furthered her international recognition. Dalida also performed in successful sold out concerts in Berlin, Athens and Cairo, delivering a sentimental performance in front of a crowd in Rivoli cinema that she frequented as a child. On 23 September 1959, Dalida sang in a successful three-week run at Parisian Théâtre de l'Étoile, where a jukebox was installed in recognition of her being named Mademoiselle Jukebox, the most listened to artist on jukeboxes in France. By the end of the year, she released her fifth and sixth albums; ''Le disque d'or de Dalida'' and ''Love in Portofino'', and had already sold three and a half million records, highest among all European artists.

"Les enfants du Pirée" and "Itsi Bitsi petit bikini"; transition to yé-yé and first Olympia concert residency

Dalida debuted 1960 with "''T'aimer follement''", a chart topper in France and Belgium in February. Then she embarked upon her first world tour and reached top of the charts again, with "'' Romantica''" in April. The third release of the year "'' Les enfants du Pirée''" brought Dalida huge commercial success becoming her second big international hit after "''Am Tag als der Regen kam''". It reached top two in six European countries and Canada, topping charts in three of them. After its debut atop of French charts in June 1960, where it remained for 20 weeks, it became the first song by a French singer to sell over one million copies internationally, and the tube de l'été expression was invented after it. Dalida eventually recorded it in five different languages and made a video for TV emission ''Toute la chanson''. With a harbor theme, showing Dalida singing and lying on a fishing net and artificial wind blowing, it made journalist Jacques Chancel call it; "the first video in France that really made a shift from the era of outdated videos".

The success was followed with her second win of Italian awards Oscar di Popolarità and a Lupo d'Oro for the best-selling musical artist of the year. Back in France, Dalida was not pleased with emergence of the new musical style yé-yé as the new singers would only occupy the charts and then irretrievably disappear. Also, since the appearance of new radio programs for youth like '' Salut les copains'', both the music hall songs and singers, like Dalida, started to be regarded completely obsolete. As Dalida realized that she had to make a drastic change to retain her image, in September she covered the US hit "'' Itsi bitsi petit bikini''". Today one of her signature songs, it became the first big yé-yé hit in France and received the title of second tube de l'été, displacing "''Les enfants du Pirée''" from top of charts. Securing her position of a lead singer in France, "''Itsi bitsi petit bikini''" introduced Dalida to a whole new generation of young fans. Topping charts across Western Europe and in Canada, the record was also her second one to sell over a million and gained her thirteenth golden disc.

Success was followed with "'' Milord''", a number one in Austria, Germany and Italy, after which was named her first album issued solely for Italian public. Dalida then completed a year-long world tour, performing in countries across Europe, in Canada and several Arab states. In December, she issued EP "''Joyeux Noël''" collecting four best known holiday carols in French, and with New Year's show Réveillon de Paris breaking the record of TV audience with nearly six million spectators.

In January 1961, Dalida covered The Drifters' "'' Save the last dance for me''" as "''Garde Moi la Derniere Danse''" that reached top two. It remained her biggest French hit of the year as she busied herself with another year-long world tour which started in Teheran on 18 February, in front of Iranian royal family in their Sa'dabad Palace. With a total of almost 200 dates, the tour's last leg included Dalida's first own concert residency at Olympia, premiering on 6 December. Due to her recent love affair, divorce from Morisse and new yé-yé wave, several critics announced it as "attestment of an end and downfall of Dalida". Indisputably, Dalida "brought the house down" according to Beuve-Méry of '' Le Monde'', as the month long show was a sell-out success with the premiere night broadcast live by Radio Europe N°1. Among other musicians who attended, she was congratulated by Édith Piaf, who told her: "You are a winner, like me. After me, it will be you." Dalida also set the record for the biggest public attendance and the longest-running concert residency at the Olympia, with a total of 52,000 spectators in course of 30 days, that would be broken by herself in 1981. At the very end of the year, on 30 December Dalida completed her world tour in Olympia's Belgian equivalent Ancienne Belgique in Bruxelles.

During 1961, Dalida issued a set of new Italian songs on '' Canta in Italiano'' EP, and also scored several top ten hits internationally such as "''Nuits d'espagne''" and "''Tu ne sais pas''". In April she made "''Pépé''" a number one hit both in Austria and Germany, and "'' 24 mille baisers''" separately in Austria and France. She also issued two albums ''Dalida internationale'' and ''Loin de moi''. During spring in Italy, Dalida signed with film director Giorgio Simonelli and revived her film career with the first film in which she plays the main role. Originally filmed as Italian movie ''Che femmina... e che dollari!'', it was revoiced and retitled for French audience as "''Parlez moi d'amour''", after one of tracking songs. The movie also features several other recordings by Dalida, including posthumously released "''Ho trovato la felicità''". Contrary to her other previous movies, ''Che femmina... e che dollari!'' was not a commercial failure as the moderate gross eventually surpassed the low budget. Rihoit described: "sealing her appearance of the early 60's, since it is also her first color film, all the power and acting potential that Dalida carries in herself and transmits to the screen is clearly visible".

"La Leçon de Twist", "Le petit Gonzales", exhaust tours and scopitones

After a short break Dalida was back on tour, this time starting in Canada where ''Tu peux le prendre'' had reached number one. On 5 February, in a popular youth French TV program ''Toute la Chanson'', Dalida performed her latest yé-yé release "''La Leçon de Twist''". Accompanied on the piano by then leading French teen idol Johnny Hallyday, he also taught Dalida the moves for what she said: "he really showed himself, the most friendly of teachers of this new rhythm". The performance caused a sensation, boosting her track straight to top of French and Belgian charts. "''La Leçon de Twist''" was followed with another success of the same genre "''Achète-moi un Juke-box''". With lyrics; "''Oh dad, buy me a jukebox, to listen to Elvis Presley, Les Chaussettes Noires, and Johnny Halliday. -And Dalida? But what is she doing here, they still listen to her?''", Dalida joked on her own account referring to the current situation in France where the youth was fond of young singers, despite her success during yé-yé. Anyway, the record spent two weeks at number one during spring.

From April to July Dalida toured across Italy and Vietnam. In Saigon, her popularity led to traffic congestion when she performed, but the local authorities interrupted her show during a rendition of "''La Leçon de Twist''" because the song was considered to be a political act. In May Dalida was back on top of international charts with "''Le petit Gonzales''", a cover of "'' Speedy Gonzales''", which peaked in France, Belgium, Canda and Spain the following month and remained known as "one of the most memorable and nostalgic recordings of yé-yé era", as said by ''Le Parisien'' in 1987. The album of the same name was issued by the end of the year.

Although Dalida filmed her first scopitone in 1961 for the song "''Loin de moi''", starting a string of music videos followed by almost all yé-yé newcomers, her best critically and commercially received scopitone was recorded in September 1962 for song "''Le jour le plus long''", in which she paid tribute to Allies' disembarkation in Normandyon 6 June 1944. Under the direction of young Claude Lelouch, who later became one of most acclaimed French directors, Dalida was dressed as a soldier, walked through a war-torn forest in the middle of the bombs and had accompanied real scenes from the Second World War. An unusual image of Dalida found its public and was a hit in cafes. Alongside Dalida's performance of the song on 26 September, in front of a crowd of 2,000 people on the first floor of the Eiffel Tower, "''Le jour le plus long''" topped charts in France for two weeks and earned her another gold disc.

More concentration on concerts, shift to pop; "Eux", "Amore scusami" and first platinum disc

Dalida fully spent 1963 delivering live appearance across the whole world and dedicating herself more to Canadian youth public, as in France the yé-yé experienced its greatest swing in this period. Her world tour was a success, with sold out concerts in Europe from Portugal to Poland, Canada, Asia, Fort-de-France, Latin America and the Arabian countries. In Algeria, she became the first artist to appear since the proclamation of independence. Dalida also dedicated the late summer period again to filming, so she went to Hong Kong for three months to star in B movie ''L'Inconnue de Hong-Kong'', alongside Serge Gainsbourg. Although the movie was a commercial flop, Dalida received favorable reviews.

In January 1963 at Cortina d'Ampezzo, Dalida was awarded with the Oscar Mondiale del Successo dei Juke Box award for the most listened artist on the jukeboxes in Europe. Later the same month, she made a shift from yé-yé covering Ben E. King's "''Stand by Me''" as "''Tu croiras''", which was followed by an equally more melancholic string of recordings such as "''Le jour du retour''", a summer number one hit in Canada, and "''Eux''" that later peaked at number two in Argentina and was recorded in five languages. "''Eux''" was awarded with the Oscar mundial du success du disque for drawing the most international sales by a French artist in 1963, and Dalida named her fourteenth studio album after it.

The 1963 world tour was prolonged into 1964 only with several short breaks. The tour's French leg started on 11 April 1964, after which Dalida traveled 30,000 kilometers solely by car during its five-month run, with a public attendance over 200,000. "The most iconic moment of tour" as said by her brother Orlando, was a concert at Draguignan on 14 August when "Dalida appeared with blond hair for the first time, and shocked the crowd that that didn't recognized her at first glance". After the concert in Pont-sur-Yonne on 2 September, Dalida accepted the local truck drivers' offer to become their godmother of honor. The tour was emulated with concert residency in Olympia two days later when Dalida and other celebrities; Charles Aznavour, Françoise Hardy, Johnny Hallyday and Sylvie Vartan, were brought to the Olympia's entrance by the same drivers on their roofless trucks, making a parade alongside the streets of Paris. The event threw even more attention to the sold-out three-week residency that already received a huge media coverage. During the television transmission of the crowd at the entrance, a teenage fan said: "We can hardly wait for her alida

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