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Amanda Lear
Early life

Lear’s early life is illegible,nike sb dunks, including her birthdate, labels and nationalities of her parents, and the situation of upbringing. Lear accidentally gives contradictory accounts of her early life. Raised speaking French and English, she studied German, Spanish and Italian in her teens, which she accustom in her professional life. According to Lear’s lawful biography she relocated to Paris having finished elementary school, to study at L’Acadmie des Beaux Arts, before connecting St. Martins School of Art in London in 1964.

Career

19651975: Modelling, The Swinging London and life with Dal

In early 1965, Lear was spotted by Cathrine Harl, pate of a model agent, who offered Lear a contract. Lear spoke about her early life and her subsequent finding as a model in a interview with Isabelle Morizet for Radio Europe 1 in 2003:

I’d grown up meditative I was ugly, hideous, ugly. I was much too high, I was much too thin, I was flatchested, I had my mother’s Asian eyes and cheekbones so I looked alien compared to all my girlfriends, my mouth was also big and my teeth were too big so I never smiled. And then Franoise Hardy had her breakthrough in France and everything suddenly changed. Before her you were conceived to look like Brigitte Bardot, blonde, curvy and busty. But I was about twenty when people started telling me “You know what, you see a little like Franoise Hardy, you could be a model” and then out of the blue this famous woman, the great Cathrine Harl turns up. By sheer accident she happened to see me in the avenue in Paris and queried me if I wanted to be a fashion model and I considered she was joking! And she said “No, no, no, you’re exactly the type of girl we’re looking for” and all of a sudden all of these flaws, all the things I’d been so ashamed of, became my greatest assets. By sheer accident, as most asset in my career.

Ian Gibson wrote in his paperback ” The Shameful Life of Salvador Dal ” about facts that she was trans######ual and dali has payed for her operation. Even Romy Haag, a famous german Trans######ual knew her and in her Biography “Eine Frau und mehr” she wrote that she met Lear once while she was working in the famous trannie Cabaret Caroussel Paris and later on Lear worked attach intellect Haag in Haag’s Cabaret Chez Romy for a little time. But you tin read that in the german wikipedia with links of pics while Lear still was a boy. http://de.wikipedia.org/wiki/Amanda_Lear#Ger.C3.BCcht_um_Trans######ualit.C3.A4t

As a means to finance her art studies, Lear returned to Paris for her first modelling assignment; to catwalk for rising star Paco Rabanne. Just as Cathrine Harl had portended, a girl with Lear’s looks was very much in demand; soon thereafter, she found herself being photographed by Helmut Newton, Charles Paul Wilp and Antoine Giacomoni for magazines like Elle, Marie France, and Vogue and modelling for fashion designers like Yves Saint Laurent and Coco Chanel in Paris and Mary Quant, Ossie Clark and Antony Price in London. After some time, she dropped out of art school, began modelling full-time and went on to lead a bohemian and flamboyant life in the Swinging London of the Sixties, hobnobbing with people like The Beatles and fellow altitude models like Twiggy. She became a “stalwart of London’s demimonde,” an exotic name on the nightclub perimeter and a regular fixture in the gossip columns, and would later in the 1970s occasionally moonlight as a reporter herself, covering both the London social scene and international celebrities and party beasts in David Bailey and David Litchfield’s glossy in-crowd magazine Ritz.

While clubbing with Brian Jones of the Rolling Stones and her then boyfriend, the Guinness heiress Tara Browne, in a Parisian nightspot named Le Castel in late 1965, she was, again according to her official biography, introduced to a man that was to change her life, on many levels according to some. The man was none other than the eccentric Spanish surrealist painter Salvador Dal, the self-proclaimed enfant hideous in the world of art, at the time some forty years her senior. Dal was not only struck by Lear’s looks but also saw a kindred spirit in her; Lear has since described their close and unconventional relationship as a “spiritual marriage”. Her biography My Life With Dal which was first published in French in 1984 (original title: Le Dal d’Amanda), and had Dal’s approval, gives a detailed insight into the lives of both the artist and his ponder. She accompanied him and his wife on trips to Barcelona, Madrid, New York and Paris and over a period of some fifteen years spent each summer with Dal at his home at Port Lligat, near Cadaqus in Catalonia. Lear posed fknow next to nothing ofme of Dali’s works such as Venus to the Furs and Vogu, took part in several of his membrane projects and could be seen by his side during reception sessions and appointments with the media, memorabilia that in the old of bloom power characteristically for its time and at this stage of Dali’s life constantly turned into happenings, as spectacular as the art itself, and then frequently with Lear as the central figure. Joining the tribunal of the Dal’s she now also regularly civilized with celebrities. Dal served as a mentor to Lear; travelling with him, she discovered the great exhibits of Europe, Parisian museums and restaurants, New York bohemia and his matherland, Spain, and especially the Catalan mores, when she, in return, introduced him to the younger generation of the counterculture in art, fashion, photography and music in London. “I knew nothing when I first met him. He educated me to see things through his eyes. Dali was my instructor. He let me use his brushes, his paint and his canvas, so that I could play nigh while he was painting for hours and hours in the same studio. Surrealism was a nice school for me. Listening to Dali talk was better than going to any art school”. The factual precision of My Life With Dal, and most specifically the dates, is disputed by several researchers of Dal’s life and work.

Although she remained Dal’s confidante, protege and mistress all through the Sixties and Seventies, Lear was also romantically linked to Brian Jones, which resulted in the ironic Rolling Stones track “Miss Amanda Jones”, included on 1967 album Between the Buttons. In 1973 Lear was also briefly engaged to Bryan Ferry of Roxy Music, and was that same year famously depicted posing in a skintight leather clothes leadership a dark leopard on a leash on the cover of the band’s classic rock album For Your Pleasure, an image that has been described as “as famous as the album itself” and which brought Lear abundance of exposure in the world of rock ‘n roll. She went on to have a year-long affair with the married David Bowie, with whom she appeared in the live performance of his 1973 hit song “Sorrow” at the 1980 Floor Show stage production which was televised in the United States by NBC for TV series Midnight Special on 16 November 1973, an appearance often referred to as the official launch of Lear’s career in music. She also acted as the mistress of ceremonies for the show. On March 13, 1979 she however married French aristocrat Alain-Philippe Malagnac d’Argens de Villle who, in fact, was the former sweetheart turned accepted son of diplomate and controversial gay author Roger Peyrefitte. The marriage ceremony took place in Las Vegas, Nevada while Lear was promoting her disco album Sweet Revenge in North America, just three weeks after the couple first met in Paris at prevailing discothque Le Palace, the French equivalent of Studio 54. Malagnac’s career, often financed by Peyrefitte, included proprietor of Le Bronx, one of the first aboveboard gay night clubs in Paris, and briefly managing French singer Sylvie Vartan, a less than successful enterprise which virtually bankrupted Peyrefitte, who was forced to sell artworks and antiquities to disburse the resulting debts.

Salvador Dal and his wife Gala both strongly opposed of the relationship with Malagnac, whose glory in Parisian tall society they were well conscious of, and even offered to persuade Lear to have the marriage annulled. As a consequence of this, and also as Lear’s successful profession in music and TV now was opening to take up most of her time, she and her mentor started floating apart. While they still sporadically kept in touch through letters and tel via the early and mid-Eighties, primarily afterward his wife died in 1982, Lear only very briefly visited Dal in Spain 1 more time in the second half of the ten-year, at Pbol in 1988 and then without her husband, shortly before Dal himself died. Malagnac would work on to build himself as a successful masterpiece dealer and antiques collector and, despite the qualms of the Dal’s and others, was married to Lear for twenty-one annuals, until his untimely passing in 2000.

19751983: The disco period in Ariola Records

I Am a Photograph and Sweet Revenge

In 1975, disillusioned by a shallow but surprisingly conservative fashion manufacture and encouraged by boyfriend David Bowie, who paid for singing and dancing lessons, Lear resolved to launch a career in music.

Her debut single “Trouble”, a pop-rock cover of Elvis Presley’s 1958 classic from the King Creole soundtrack, was released by minor label Creole Records in the United Kingdom, but without success. Lear however recorded a French language version of the track, “La Bagarre”, which was released on Polydor in France and while equally unsuccessful there, it surprisingly became a minor disco hit in West Germany in early 1976, communicable the attention of singer, composer and producer Anthony Monn and label Ariola-Eurodisc, who offered her a 7 year and six albums recording contract for a sum of money that Lear since has described as “astronomic”.

Her debut album I Am a Photograph, released in December 1976, was recorded in Munich, with most anthems composed by Monn and arrangers Rainer Pietsch and Charly Ricanek and Lear prose always the English lyrics. The musical backing was catered by the same international conference musicians as on contemporaneous recordings by best-selling Germany-based disco doings like Boney M. and Silver Convention, in them drummers Martin Harrison and Curt Cress, bassists Gary Unwin, Dave King and Les Hurdle and guitarists Geoff Bastow and Mats Bjrklund.

The title track “I Am a Photograph” was a reference to her days with the Zoli Modelling Agency, but Lear’s selfpenned, witty, aggressive and occasionally even slightly afflicting lyrics signalled that there was more to this sometime glam model than meets the eye. In Allmusic’s biography on Lear critic Michael Freedberg writes: “I Am a Photograph is the first of 6 sleazy, hard-to-find albums in which she flaunts a voice so massive with low memoranda it makes one surprise whether she really isn’t a male at the end of the day. But Lear’s slow memoranda are simply an amplification of the whiskey-voiced sultriness built by Marlene Dietrich. That isn’t to say, however, that Lear’s lyrics or the music’s inverted proportions don’t exploit her mythology as a kinky concoction to the bursting point”.

The album included Lear’s first European hit “Blood and Honey”, lyrically paraphrasing Dal’s 1941 painting La Miel Es Ms Dulce Que La Sangre (Honey Is Sweeter Than Blood), follow-up single “Tomorrow” and a cover of Nancy Sinatra’s “These Boots Are Made For Walkin’” and Leroy Anderson’s “Blue Tango”, all of which became repertoire standards. I Am a Photograph’s blend of lush disco, schlager, kitsch and camp, topped with Lear’s deep half-spoken, half-sung vocals and her characteristic Franglais emphasize was a triumphing fusion; the album spun off four Top 10 singles in Italy and resided on the West German albums chart for thirty-three weeks single. The second edition of “I Am a Photograph”, which also contained German #2 hit “Queen of Chinatown”, sported a free pin-up poster picturing a topless Lear smiling towards the camera, a photo originally featured in her Playboy spread.

In 1978, Lear continued her line of disco hits with Sweet Revenge, an album that opens with a side-long concept medley, a Faustian fairy tale of a girl who sells her soul to the devil for reputation and luck and her eventual revenge over the devil’s offer she finds true love.

The first single to be elevated heaved off Sweet Revenge, the black and seductive opening track “Follow Me”, powered by Lear’s specific deep and recitative voice and in fact the theme of the monster, was an immediate smash hit, reaching Top 3 in the West German singles chart and also went to #3 in The Netherlands, #4 in Belgium, #6 in Austria, #7 in Switzerland and was a Top 20 hit in most chapters of Europe. The single is estimated to have sold some two million copies international, and has served as Lear’s signature tune at present. The 12″ mingle of the track, miscellaneous by Canadian DJ Wally MacDonald and originally only released in North America, also incorporates the finale of the concept medley, “Follow Me (Reprise)”.

The Sweet Revenge album itself was certified gold in West Germany, Italy, France and Belgium and went on to sell in excess of four million copies and charted in forty-one countries, including Chile, South Africa, India and Thailand where it stayed on the charts for sixteen weeks, spawning beyond European hit singles like “Gold”, “Mother Look What They’ve Done to Me”, “Run Baby Run”, all three from the concept medley, and “Enigma (Give a Bit of Mmh to Me)”. Again, all of these tracks were co-written by Lear and this in combination with a larger-than-life image very much the institution of herself made her one of the few artists of the Eurodisco era whose star power and charisma even outshone the music itself all according to plan and the Amanda Lear persona left an impact on European pop culture that has lasted for three decades.

The front of the Sweet Revenge album cover shows Lear as a leather-clad S&M dominatrix cracking her lash, the sepia-toned back cover pic has her reclining on an old beer barrel with sequined shutters behind her, la Dietrich in The Blue Angel, and the internal sleeve again pictured her posing topless. “Sweet Revenge is of lesson the album I’m most elated of. I put so much of myself into it. I wrote the lyrics, created the twice cover, chose the pictures. I tried to acquaint a story. So, at least for me, it is the best one.”

Salvador Dal was not particularly impressed with Lear’s musical career however: “Punk was in full wag in England. Dali was fascinated by this new trend, which he pronounced ‘pounk’. He all loved everything utmost or revolutionary. Disco music left him chilly. He pretended to be amused about my success, but he scarcely listened to my second album before consigning it to the stack of records in quarantine alongside the old gramophone.”

Never Trust a Pretty Face

Later in 1978 Lear and Monn teamed up for Never Trust a Pretty Face, an album that includes a discofied reimagining of “Lili Marleen”, a wartime classic that Lear administered to make her own and has since re-recorded in 1993 and 2001. “In Italy I’m big for they’re all so ######-obsessed. In Germany I succeeded because they’ve been waiting fknow next to nothing ofmeone like Marlene Dietrich to come along by far the warfare. I played on their absence for a drunken, nightclubbing vamp. And I’ve won the gays, who are decisive for they have all the best discos, entirely because of the amazing romances about me.”

While Lear may consider the best-selling Sweet Revenge her proudest moment, fans and critics identical commonly rate Never Trust a Pretty Face as the artistic highpoint of her international career. It is often cited as a milestone in the history of “The sound of Munich”, groundbreaking Giorgio Moroder/Donna Summer collaborations included, and it was in fact recorded in Moroder’s popular Musicland Studios with the aid of keyboardist and composer Harold Faltermeyer and British drummer and arranger Keith Forsey, both later going on to become very successful record producers and hitmakers in their own right in the United States.

The album features a kind of genre disciplines like the clever title track ballad “Never Trust a Pretty Face”, drag rock track “Forget It”, the cabaret-esque “Miroirs” with both music and French lyrics by Lear, futuristic electro disco like “Black Holes” and “Intellectually”, and the hit single “Fashion Pack (Studio 54)”.

The lyrics to this Eurodisco classic really ridicule the shallow globe of fashion and the decadent behaviour of the wealthy and noted and especially New York’s disco glitterati of the era, offering some serious namedropping in the process: Liza (Minnelli), Francesco (Scavullo), Marisa (Berenson), (John) Travolta, Andy (Warhol), Loulou (de la Falaise), Margaux (Hemingway), Bianca (Jagger), (Yves) Saint Laurent, Paloma (Picasso) etc., according to her biography My Life With Dali all of them if I were you friends at least acquaintances of Lear’s, but at this stage she herself had yet left her days of jetsetting after her, and had instead stable down for a calm life with her husband in the French nation side, approximate Avignon.

Another hit and excellent track is the suggestive “The Sphinx” which Lear has since named as her personal favourite among her own recordings. The promotional movement for Never Trust a Pretty Face very effectively continued to play on Lear’s ‘devil in disguise’ character, with the album cover, and with most European editions also a immense 24″x36″ fold-out poster, portraying her as a mythological being in the Egyptian abandon, smiling innocently, with beauteous angel’s wings but also with a snake’s tail.

Despite full-page ads by US licensee Chrysalis Records in Billboard magazine for Sweet Revenge, her private connections with Bowie and Roxy Music, a feature in Andy Warhol’s Interview Magazine with photos by Karl Stoecker, the same photographer who shot the cover of Roxy Music’s For Your Pleasure, and a two-month long promotional tour in the United States in early 1979, including appearances at discothques and gay clubs like New York’s Paradise Garage, The Saint and The Loft, Lear’s mercantile success in North America was moderate, and despite promotional gimmicks like ruddy vinyl 12″ singles and the Never Trust A Pretty Face album creature released as a restricted edition filmed disc in the United Kingdom “the English remained immune to the efficacy of Amanda Lear”, as she herself describes it in My Life With Dali.

Lear however succeeded in establishing herself on another mall, maybe not as glamourous and classic but considering the vast population arguably more advantageous; the Soviet Union. Along with other artists she was one of the very few Western pop acts during the Cold War era to have her music officially released in the USSR by state-owned record label Melodiya. Both I Am a Photograph and Sweet Revenge had been released by Ariola Records in East Germany in 1978 and was then followed a by a series of singles and EPs issued by DDR record label Amiga in the late 1970s and early 1980s which base their way to other parts of Eastern Europe. An official visit to the USSR had been scheduled for 1982, but was ultimately cancelled deserving to the fact that Lear at that point in time was involved in a legal dispute with her record company.

In the mid-eighties Never Trust a Pretty Face was whatsoever the first full-length album with Lear to be ratified of the Soviet authorities and published in the USSR itself, then beneath the title Poet Amanda Lear, with a fewer polemical album cover and three annexed tracks from I Am a Photograph and Sweet Revenge. Lear has had a large fanbase in the plenary Eastern Bloc even now and in late November 1997 she eventually had the chance to make her very first visit to Moscow since the beginning of the Iron Curtain to encounter her Russian audiences, emerging on a TV show announce during the Russian New Year’s festivities with an crowd of approximately fifty million spectators and performing some of her dance classics like “Fashion Pack”, “Queen of Chinatown” and “Blood and Honey”.

New Wave style; Diamonds for Breakfast and Incognito

In late 1979 Lear recorded Diamonds for Breakfast, which became her commercial breakthrough on the Scandinavian market (#4 Sweden, April 1980, #10 Norway, December 1980), producing hits like “Fabulous (Lover, Love Me)”, “Diamonds”, “When”, “Japan” and the autoerotic “Ho Fatto L’Amore Con Me”.

The album abandoned the Munich disco sound with its lush strings and brass preparations in assistance of an electronic New Wave rock style, with the guitar riff pedaled opening track “Rockin’ Rollin’ (I Hear You Nagging)” setting the intonation, most probable in agreement with Lear’s own taste in music. She declared: “I really wanted to be the new Tina Turner, a coarse rock singer, she’s still my all-time favourite rockstar” and Diamonds for Breakfast was a tread in that way.

The album cover portrait of Lear,nike dunks, with diamond tears designed by Tiffany’s escaping down her impudence, is notable in the history of art and chart as it was one of the first major consignments for French photographers, Pierre et Gilles.

Lear spent most of 1980 on promotional tours for the album and its many accompanying single releases bring an end to ...Europe, from Greece in the south to Finland in the northwardly, and she also made her first visit to Japan where both the single “Queen of Chinatown” and Sweet Revenge had topped the charts and were awarded with Gold Discs. Lead single “Fabulous Lover, Lover Me” from Diamonds for Breakfast famously includes the lines “The surgeons built me so well/that none could tell/that I once was celebrity else” which is as close to a confession of a former identity as Lear has come before or since.

Two non-album singles followed the Diamonds for Breakfast album in late 1980, a pop cover of Eric “Monty” Morris early ska hit “Solomon Gundie”, and the chanson-esque “Le Chat de Gouttire” (“Alley Cat”), again with both music and lyrics penned by Lear and specifically recorded for the francophone markets.

The Lear/Monn success anecdote neared its end with 1981′s Incognito, at which point Lear herself had convert increasingly uncomfortable with the expectations and pressures of the music business in general, and her own record label of special note. She wrote:

The Germans told me “We’re going to conquer the world!” and I don’t regret working with a German record company at all, because for my career it was great, but they wanted to control me, direct me and restrict me. They wanted perfect penalty and that’s not the life for me, so after a few years of that I wanted out.

In 1980, at the artistic and commercial pinnacle of her international career, but with the so called “anti-disco backlash” beginning to take its toll, she had also tentatively started recording tracks for a imminent album with producer Trevor Horn in London. Ariola did not approve of this and in no precarious terms made it remove that Lear was to return to Munich and provide the company and the market with another Monn production.

The outcome of these sessions was Incognito, with material only partial co-written by Lear, and only generating inferior European hits like “Nymphomania”, “Red Tape”, “New York” and the French language ballad “gal”, but paradoxally turning out to be her breakthrough album in South America, with three tracks especially recorded in Spanish: “Igual”, “Dama de Berlin” and “Ninfomana”.

Another non-album single emulated in early 1982, a synthpop take on Peggy Lee’s 1958 pop classic “Fever”, Lear’s final collaboration with maker Anthony Monn. Shortly thereafter she took lawful action against the Ariola-Eurodisc label in order to be released from her recording compact on the grounds of masterly distinctions. The lawsuit was unsuccessful. In 1982 an Italian single “Incredibilmente Donna” was released, from the compilation “Ieri, Oggi”.

Tam-Tam and television career in Italy

Double A-side unattached “Love Your Body”/”Darkness and Light”, loosened in the spring of 1983, was produced by Monn’s sound engineer Peter Ldermann, instead of Monn himself. It became Lear’s ultimate Munich recordings for Ariola and also marked her final promotional arrival on West Germany’s most essential music TV show at the time, Musikladen, in June 1983.

Lear’s international career momentum was however slowing and effectively came to an all over December 1983 as she conveyed her sixth and final album to the Ariola label, under contractual obligation. Tam-Tam was a collaboration with Italian composers and producers. While both “Incredibilmente Donna” and the B-side “Buon Viaggio” were mainstream Italian pop ballads, Tam-Tam was a production sapient up-to-date and minimalistic early 1980s synthpop album, with a soundscape prevailed by TR-808 drum machines and sequencer programmed synthesizers and again with all English lyrics penned by Lear.

Although she performed some of the songs from the album on the Italian TV show Premiatissima, she didn’t enhance “Tam-Tam” in West Germany or any additional parts of Europe and unfortunately as a consequence nor did the record company. Besides the lead single “No Regrets” which was released only in Italy.

Tam-Tam accordingly passed unnoticed by both the European and the international record buying public, which may very well have been a congratulating in camouflage for Lear, considering her frosty relationship with Ariola at the time and her changing music style. At this stage Lear publicly began denouncing her earlier musical output, and then in her characteristically undiplomatic manner: “The music was crap, yet at least I tried to jot some smart lyrics.”

Instead she went on to launch a very successful and lucrative career as a TV contributor with future prime minister Silvio Berlusconi, soon becoming something of family name in what has since turned out to be her second homeland, Italy. She hosted many successful TV shows there, including Premiatissima or W le Donne (wound in France as Cherchez la Femme). In the latter Lear promoted her minialbum with four covers of classic songs, including Marilyn Monroe’s “Bye Bye Baby” or “As Time Goes By from the film Casablanca. The EP was recorded for Five Records.

19871998: Music comeback attempts and television career

After having worked 4 years as a TV entertainer for Italian Canale 5 and French La Cinq Lear returned to music. Secret Passion was an album made in Los Angeles and Rome for major French label Carrere, a post-disco Hi-NRG – New Wave happening produced by Christian De Walden, ready to be launched in January 1987. It wasn’t only planned to be her comeback in Continental Europe, Scandinavia, South America, the Eastern Bloc and Japan, this time on her own terms, but also hopefully her discovery in anglophone territories like the United Kingdom, Ireland, the United States, Canada and Australasia, which were hardly ever the only markets that she had not overcame during the Ariola years.

However catastrophe struck, equitable as Lear was getting ready to start promoting the album she was seriously impaired in a near deadly car accident and had to spend months in convalescence. Secret Passion’s commercial success was consequently less than wished for, and lead single “Wild Thing” was ultimately only released in a few countries like France, Italy and Greece, but this incident became the starting point of different period in her career, this time as a writer.

While in hospital,scarpe hogan, Lear began writing her first novel L’Immortelle (The Immortal), a slightly surrealistic tale describing the torments of a woman doomed to eternal youth and loveliness, seeing everyone else growing older and eventually losing all her adored ones, still as beautiful, but unable to stop the ruthless corridor of time.

Mainly, she has however persisted to chase what she still describes as her greatest passion: art. From the mid-1980s, she has displayed in important ################## all overEurope and also in the United States and during the last twenty-five years her time has been largely spent painting, exhibiting and lecturing on Dal. Lear paints in fuel, gouache and water colours on sheet or paper and has a certain penchant for characterizing historical alternatively romantic figures and the nude masculine body.

Lear sporadically returned to recording in the late eighties and nineties and released a series of singles and albums of new stuff in Italy, France and Germany, like mainstream pop albums Uomini Pi Uomini in Italy and Tant Qu’il Y Aura Des Hommes in France, both released in 1989. Also in 1989, on RAI 3, she hosted Ars Amanda (The Art of Loving), an Italian conversation show conducted in bed, where she interviewing both Italian and international celebrities and politicians. In 1993 Lear surprised her audiences with her unglamourous and down-to-earth description of the betrayed housekeeper Franoise in Arnaud Slignac’s TV-drama Une Femme Pour Moi (A Woman For Me), with Tom Novembre as her husband, going through a midlife emergency. She also tried to return to a more dancefloor-friendly repertoire on Eurodance albums Cadavrexquis in 1993 and Alter Ego in 1995, none of them however producing that impalpable international comeback hit and though popular with her fanbase all also with varying degrees of commercial success in Europe itself. Instead she focussed on her career in television and movies, hosting popular TV show Peep! in Germany, with her own song “Peep!” as the opening music theme.

1998 saw the release of Back in Your Arms, an album consisting of re-recorded 1970s disco hits and chosen tracks from the 1995 album Alter Ego. However, the album didn’t grab much attention and turn out a failure.

20002007: Heart, TV career and arts exhibition

In December 2000 Amanda’s husband Alain-Philippe Malagnac d’Argens de Villle died in a tragic event, after an explosive blaze at their home, which was left in mars, However, in 2001, Lear threw herself behind into work and released the aptly titled album Heart, devoted to the late Alain-Philippe Malagnac. As many music critics annotated, Heart was a serious exertion with Lear’s own heart and conscience comprised and both time and money provided in the project by French record company Le Marais Productions.

The album offered club-friendly tracks like “I Just Wanna Dance Again” and cult Seventies TV theme “The Love Boat”, both issued as singles and featuring remixes by prominent names in the world of dance music like French electro-house music DJ Laurent Wolf, Spanish creation group Pumpin’ Dolls and Junior Vasquez. As a compare, Heart also featured intimate and gently orchestrated interpretations of Charles Aznavour/Dusty Springfield’s ballad “Hier Encore (Yesterday When I Was Young)” as well as Springfield/Burt Bacharach’s 1967 classic “The Look of Love”, onward with a political perusing of “Lili Marleen”, provided with updated lyrics in German by original composer Norbert Schultze, written especially for Lear.

Heart was saluted as a long overdue return apt fashion and rotated out to be Lear’s best-selling scrapbook since the late 1970s in both France and Germany and has since been re-released as Love Boat and Tendance, the latter catching its heading from a televised fashion and trends magazine hosted along Lear aboard Paris Match television.

Amanda featured in Blanca Li’s 2002 Le Dfi (international title: Dance Challenge), about an eighteen year antique lad who drips out of school, imagining of becoming a star in crash dance, and the ensuing conflicts with his conservative mom, and with Lear co-starring as the mother’s comprehending and encouraging best friend and fashion victim, giving her an opportunity to demonstrate her comedic genius.

An exhibition in 2001 was entitled Not A. Lear, a reference to Ren Magritte’s painting Ceci n’est pas un pipe (This Is Not a Pipe), and a collaboration with unestablished juvenile artists in 2006 Never Mind The Bollocks: Here’s Amanda Lear!, a paraphrase of the ###### Pistols’ classic punk album Never Mind the Bollocks, Here’s the ###### Pistols, but naturally also a self-ironic comment on Lear’s own “ambiguous” mythology, which was the theme for the exhibition and in 2008 Sogni, Miti, Colori (“Dreams, Myths, Colours”). “People only know me as a somebody in show business. They don understand how many more important art is to me compared to composition and set costumes. Show business pays the hire, but painting is my only true enthusiasm, so I define myself as a painter who works in show business.”

In 2002, on the set of her Italia 1 TV series Il Brutto Anatroccolo a dating game show running since 1999, Lear met Manuel Casella, thirty-nine years her junior. He has been her longtime colleague at present and the couple have been featured prominently in the pages of the tabloid reception in both France and Italy. The theme of the show was a hip hop and rap inspired cover version of Melina Mercouri’s 1960s recording “Never on Sunday” from the movie of the same name, phoned “Nuda”, again performed by Lear but never commercially released.

In 2003 the Heart album was rereleased as Tendance. The fashionable edition also included the theme tune to her Italian TV array Cocktail d’Amore, a top-rated nostalgic show celebrating music of the 1970s and early 1980s on which Lear interviewed some of Italy’s most famous stars like Patty Pravo, Anna Oxa, Giuni Russo, Loredana Bert and Ricchi e Poveri. The track “Cocktail d’amore” was originally written and recorded by Italian singer-songwriter Cristiano Malgioglio, who also composed Lear’s hit single “Ho Fatto L’Amore Con Me” from her 1980 Ariola album Diamonds for Breakfast.

2004 saw Lear’s vocals used for an fully differ purpose; this time as a voice artiste joining the international actors of Disney/Pixar’s latest blockbuster of the time, The Incredibles. She played the character of fashion designer Edna Mode, originally voiced by Brad Bird, in both the French and Italian dubbings.

In 2004, Amanda’s renowned 1970s recording, “Enigma (Give a Bit of Mmh to Me)” from 1978 Sweet Revenge, was featured in TV ads for chocolate bar Kinder Bueno in Central Europe which resulted in it agreeable something of a cult kick repeatedly and appearing on a digit of European singles diagram compilations, almost three decades after its native release. Shortly afterward, Spanish actor and singer Pedro Marn had a hit with a rock version of Lear’s 1978 single “Run Baby Run”, also originally from Sweet Revenge, which became the inspiration for a full-length tribute album entitled Diamonds – Pedro Marn canta Amanda Lear. Since 2004 Lear has also been a regular membership of the judging panel on renowned TV show Ballando Con Le Stelle, the Italian version of Dancing with the Stars, broadcast on Rai Uno.

In Bastian Schweitzer’s drama Gigolo (2005) she played a has-been star having an affair with the young Karim (Salim Kchiouche), a gigolo trying to get his life back on track, trapped in a spiral of self-destruction in the pretended jet-set world of Paris. Lear has also appeared in several persona roles in independent movies. With the disco refreshment apparently still going lusty and Lear celebrating thirty years in the music business, November 2005 saw the release of the first CD compilation to be both authorised and promoted by Lear; Forever Glam!. It contained the greatest hits from the 70s combined with selected tracks from the 80s, 90s and 2000s, and some new recordings, including the cover of Barry Manilow’s “Copacabana”. The album included also a few infrequent tracks, like “As Time Goes By”, and single only songs, for example “Assassino”.

In 2006 “Queen of Chinatown” was remixed and re-issued as a single, then credited to DJEnetix action. Amanda Lear. In September of the same year, the German subsidiary of Sony BMG followed suit with their comprehensive three disc box set The Sphinx – Das beste aus den Jahren 1976-1983. This digitally remastered forty-two track accumulation was eagerly awaited by many fans since none of the six original Ariola albums, with the exception of the aforementioned Sweet Revenge. In the liner note interview Lear expresses a new-found approval and appreciation of her disco past. She declared: “It surprises me that the younger generations reserve re-discovering this type of music, over and over again. They really seem to like these old recordings, still after such a long time. Perhaps they weren’t so bad at last.”

In July 2006, Lear was decorated with the medal Chevalier dans l’Ordre National des Arts et des Lettres by the French Ministre Of Culture Renaud Donnedieu de Vabres in admission of her contributions to French arts and sciences, or more specifically for having “significantly contributed to the enrichment of the French cultural inheritance”, as the motivation reads. The cause was slightly marred by the fact namely the name appearing on the honour’s menu was ‘Mme Amanda TAPP dite Amanda LEAR’, marking the first time namely the French authorities publicly accustomed that Lear’s birth name absolutely was Tapp, something she herself up until that point had denied.

On October 30, 2006 the album With Love was released in France by label Dance Street. This tribute is an enhancement of the ballads embodied on 2001′s Heart as it exclusively covers evergreens and jazz criteria by the diva’s own favourite divas, among them “C’est Magnifique” (Eartha Kitt), “Is That All There Is?” (Peggy Lee), “Whatever Lola Wants” (Sarah Vaughan), “Love for Sale” (Hildegard Knef) and “My Baby Just Cares for Me” (Nina Simone). With Love was well received by the French music critics and was released in the repose of Europe by label ZYX Music in early 2007.

In 2007, Lear preoccupied media attention of a less favourable kind; she stunned the European LGBT communities and particularly her fans, by refusing to perform at an accident held in Milan, Italy. Lear was booked for a representation in a gay club, but once there she refused to appear on stage with, be photographed with, or even be watched near a group of trans######ual ‘beauty queen’ contestants, which caused a lot of bad feeling with the crowd and the annoyed organizers who even implied at the “ambiguity” of her own past. Many of the Italian newspaper reports approximately the incident cited the substantial words uttered by Lear to the arrangers of the accident,cheap uggs, the Italian gay rights organization Arcigay, before leaving; “Tenete lontani i trans!” (translated: “Keep the trannies away from me!”).

In the summer of 2008 Lear hosted several TV shows: France 3′s La folle histoire du disco, Summer of the ’70s on ARTE and Battaglia fra ######y star on the E! channel in Italy. The Italian version of the album With Love, retitled Amour Toujours, was released in 2008, and featured 2 perquisite tracks: an updated dance edition of “Queen of Chinatown” and a salsa version of “Tomorrow”, both originally from Lear’s debut album I Am a Photograph.

2008resent: Brief Encounters, Brand New Love Affair and theatre

In November 2008 Amanda Lear announced on French television that she has recorded a mark new album, entitled Brief Encounters with a mixture of disco originals, returning to her classic sound, as well as some classic covers from artists such as Lou Reed and David Bowie. Another of the new songs recorded for the album is the Boney M.-esque disco number “Doin’ Fine”, co-written by disco writer/producer Frank Farian. The song is essentially a entire new essay featuring the famous string arrangement from Boney M.’s 1976 #1 hit “Daddy Cool”, and sees Lear teaming up with up and coming British producers Carl M Cox and Nathan Thomas, who between them have worked with the likes of Pete Waterman, Sinitta, Keane, Samantha Fox and Melanie C through others. Brief Encounters has been released in Italy on October 16, 2009 and a French release is intended for January 2010.

On October 14, Edina Music announced the release of another album entitled Brand New Love Affair, which has been depicted by the label as “8 new songs to return Amanda Lear to the dancefloor”. The album ambition be released in France on November 30 and was produced by Peter Wilson & Chris Richards in Australia, the same team behind new recordings for Haywoode and Nicki French. The title track and “C’est La Vie” were also written by Wilson/Richards. Covers of “I Am What I Am” and a remix of “Kiss Me, Honey, Honey, Kiss Me” are also included.

From March 2009 to January 2010 she’s been touring France with the successful activity Panique au Ministre.

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With her status as one of Europe’s leading gay icons Lear has been a strong advocate of LGBT rights in mainland Europe even now the 1980s, she has regularly performed at Gay Pride celebrations held in France, Italy, Germany, Switzerland, Austria, Belgium, The Netherlands and Greece and has appeared on TV shows like Follement Gay and Pink TV. In 1996 Lear was one of the French celebrities to have a cameo role in the drama-comedy movie L’Amour Est Rinventer: Dix Histories D’Amour Au Temps Du SIDA (translated: Love Reinvented: Ten Love Stories In The Age of AIDS), produced to promote awareness about HIV and AIDS and she has taken part in several charity projects to heave asset for AIDS research, such as the annual Life Ball fashion gala in Vienna, where she in the 90′s made a short-lived comeback on the catwalk to model for her longtime friend Paco Rabanne, some thirty years after their very first collaboration, and then in fact dressing the very same famous metal dress she first modelled in 1965.

Lear is renowned as much for her scathing wit as her reputation as a man magnet, which has made her an appreciated guest on various French talkshows for the past fifteen years. She is a regular member of the panel on French satirical radio show Les Grosses Ttes, hosted by well known radio celebrity Philippe Bouvard on RTL, where other guests sometimes refer comically to her former gender as male which she usually ignores, and TV show 20h10 Ptante on Canal+ hosted by Stphane Bern. She is well-spoken, insistent, provocative drlissime, and is just like her mentor and dad figure Salvador Dal known for having her very own take on concepts like truth and reality. She is equipped with a razorsharp tongue but luckily also with a disarmingly attractive smile and a self-deprecating sense of humour.

She occasionally embarrasses or upsets other visitors but seldom fails to entertain the audiences with her many anecdotes about other celebrities. For example, in 2002, Lear told New York’s Paper Magazine about a run-in she had with German supermodel Claudia Schiffer a few years before. A Hollywood movie producer had optioned Lear’s book My Life With Dali and wanted Schiffer to play Lear. “I ran into Claudia at a restaurant”, Lear recollections. She said, ‘I love your book! Who wrote it for you?’ I said, ‘I did,abercrombie outlet, dear. Who read it to you?’ So that was the end of that. They never made the movie.”

Discography

Main article: Amanda Lear discography

Studio albums

1977: I Am a Photograph

1978: Sweet Revenge

1979: Never Trust a Pretty Face

1980: Diamonds for Breakfast

1981: Incognito

1983: Tam-Tam

1985: A L

1987: Secret Passion

1989: Uomini Pi Uomini

1990: Tant Qu’il Y Aura Des Hommes

1993: Cadavrexquis

1995: Alter Ego

2001: Heart

2006: With Love

2009: Brief Encounters

2009: Brand New Love Affair

Filmography

TV shows and music specials

Stryx (1978)

El Show de Amanda Lear (1981)

Grey Street (1981)

Premiatissima (1982-1983)

Ma chi Amanda? (1983)

W le Donne (1984-86)

Cherchez la Femme (1986)

Ars Amanda (1989)

Peep! (Beware of the Blondes, 1995)

Il Brutto Anatroccolo (2000)

Cocktail d’amore (2001-2003)

Tendance (2003)

La Folle Histoire du Disco (2008)

The Summer of the 70s (2008)

Battaglia fra ######y Stars (2008)

Movies

Ne jouez pas avec les Martiens (1968)

Follie di Notte (Host and performer) (1978, Documentary)

Zio Adolfo, in arte Fhrer (Singer) (1978)

L’Amour Est A Rinventer – Dix Histoires D’Amour Au Temps Du SIDA (1996)

Bimboland (Gina) (1998)

Le Dfi (Birgit) (Dance Challenge, 2002)

The Incredibles (2004, voiced Edna Mode in the French and Italian versions)

Gigolo (The woman) (2005)

Oliviero Rising (Antonietta) (2007)

Star########ers (2007)

8th Wonderland (Italian correspondent) (2008)

Chasseurs De Dragons (2008, voiced of Gildas in the French version)

Bloody Flowers (Madame Charlotte, stilyst) (2008)

TV series

Der Kommissar (1969, episode “Keiner Hrte Den Schu”)

Grottenolm (Dr. Ludmilla Nerovna) (1985)

Marc et Sophie (1988, episode “Astrochiens”)

Maggy (1989, episode “Doriana Wilding”)

Piazza di Spagna (1993)

Une Femme Pour Moi (1993)

Les Annes Bleues (1998)

Gala (Herself, co-host) (2003)

Sous le soleil (Sonia Rio) (2005)

Un Amour de Fantme (Elizabeth) (2007)

Avocats et Associs (Herself) (2007)

Bibliography

Lear, Amanda (1979). A Qui Fait Peur Amanda Lear?. 

Lear, Amanda (1984). Le Dali D’Amanda. Editions Pierre-Marcel Favre. 

Lear, Amanda (1987). L’Immortelle. Carrere. 

Lear, Amanda (2006). Between Dream And Reality. Collected art. ISBN 978-3-8334-5185-0. 

References

Notes

^ GEMA: Neuaufnahmen/Geburtstage unserer Mitglieder 65 Jahre, GEMA Nachrichten Ausgabe 170, GEMA member enrol portal, 2004

^ Ian Gibson: The Shameful Life of Salvador Dal, W.W. Norton co., NY, 1997. ISBN 0393046249.

^ a b The French Ministry of Culture. (July 2006)

^ “Umelec International, May 2000″. divus.cz. http://www.divus.cz/umelec/en/pages/umelec.php?id=931&roc=2000&cis=5. Retrieved 2009-04-09. 

^ a b c d e Radio interview, Confessions Orbitales, Radio Europe 1 (March 8, 2003)

^ “Interview Zing Magazine, US (2002)”. zingmagazine.com. http://www.zingmagazine.com/zing16/projects/sico.html. Retrieved 2009-04-09. 

^ a b c d e f g h i j k l Lear, Amanda (1986). My Life With Dali. Beaufort Books UK. ISBN 0825303737. 

^ a b The bizarre career of Amanda Lear, The Observer, UK, Sunday 24 December 2000

^ Amanda, Lear (1978-). “Amanda Lear and Stephen Lavers”. Ritz Newspaper No. 015 (Bailey & Litchfield). “When I wrote for Ritz I knew accurate what they wanted. People want to read a lot of gossip that is as malign as you challenge publish it about famous or infamous, or slightly flagrant people around London.” 

^ – Centennial Magazine 2004, biography on Amanda Lear

^ Lecomte, Frdric: (1990) Rolling Stones 63/90 Le Chemin des pierres, Hors-srie, n 2H, Spcial Rolling Stones,p. 17.

^ a b c d Amanda Lear Home Page at Eurodancehits.com – Bioghraphy. Retrieved on 2009-07-21.

^ a b Angela Bowie, Backstage Passes, p.164

^ a b Sibalis, Michael D (2006). “Peyrefitte, Roger”. glbtq.com. http://www.glbtq.com/literature/peyrefitte_r.html. Retrieved 2007-07-18. 

^ Death of Alain-Philippe Malagnac, Corriere Della Sera, December 17 2000

^ “Allmusic biography Amanda Lear, Michael Freedberg”. allmusic.com. http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:h9frxqu5ldfe. Retrieved 2009-02-06. 

^ a b Musicline.de Retrieved on 2009-07-21.

^ “Varius chart position for “Follow Me”". swisscharts.com. http://swisscharts.com/showitem.asp?key=505&cat=s. Retrieved 2009-02-06. 

^ a b “Interview, Amanda Lear, Eurodancehits.com, 1997″. eurodancehits.com. http://www.eurodancehits.com/learinterviews.html. Retrieved 2009-04-11. 

^ “Allmusic reiterate Never Trust a Pretty Face”. allmusic.com. http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:wpfwxq8jld0e. Retrieved 2009-04-10. 

^ a b The Sphinx – Das Beste Aus Den Jahren 1976-1983. Sony BMG. 2006. 

^ “Amanda Lear interview on first appearance in Russia”. Eurodancehits.com. http://www.eurodancehits.com/learinterviews.html. Retrieved 2009-04-10. 

^ “Swedish charts, Amanda Lear: Diamonds for Breakfast”. swedishcharts.com. http://www.swedishcharts.com/showitem.asp?interpret=Amanda+Lear&titel=Diamonds+ For+Breakfast&cat=a. Retrieved 2009-04-10. 

^ “Norwegian charts, Amanda Lear: Diamonds for Breakfast”. norwegiancharts.com. http://norwegiancharts.com/showitem.asp?interpret=Amanda+Lear&titel=Diamonds+ For+Breakfast&cat=a. Retrieved 2009-04-10. 

^ Liner notes, Amanda Lear: Diamonds for Breakfast, Ariola Records, 1980

^ “Info on 1981 recordings”. Trevorhorn.de. http://www.trevor-horn.de/revealed.html. Retrieved 2009-04-10. 

^ Amanda Lear, Interview for Night, 2002

^ Lear, Amanda (1987). L’Immortelle. Carrere France. pp. 367. 

^ “Une Femme Pour Moi”. IMDB.com. http://www.imdb.com/title/tt0199114/. Retrieved 2009-04-09. 

^ “Le mari d’Amanda Lear mort dans l’incendie de leur maison” (in French). ActuStar.com. 2000-12-19. http://www.actustar.com/actualite/200012/20001219f.html. Retrieved 2007-07-18. 

^ “Pumpin’ Dolls official site”. pumpindolls.com. http://www.pumpindolls.com/. Retrieved 2009-04-09. 

^ “Le Dfi/Dance Challenge”. IMDB.com. http://www.imdb.com/title/tt0314012/. Retrieved 2009-04-09. 

^ “Review on Not A. Lear”. nytimes.com. 2001. http://query.nytimes.com/gst/fullpage.html?res=9E01E6D9153FF931A25753C1A9679C8B 63. Retrieved 2009-04-09. 

^ “Chelsea ##################, New York, 2006 exhibition Never Mind The Bollocks: Here Amanda Lear”. chelseaart##################.com. http://chelseaart##################.com/Envoy/Never+Mind+The+Bollocks_2C+Here_27s+Amanda+Lear.ht ml. Retrieved 2009-04-09. 

^ “info on exhibition Sogni, Miti, Colori and quote on art”. Intoscana.it. http://www.intoscana.it/intoscana/viaggiare_in_toscana.jsp?id_categoria=1011&id=1745 93&id_sottocategoria=1038&language=en. Retrieved 2009-04-09. 

^ “Birth date Manuel Casella”. IMDB.com. http://www.imdb.com/name/nm2345720/bio. Retrieved 2009-04-09. 

^ “Cristiano Malgioglio official site, discography”. cristianomalgioglio.com. http://www.cristianomalgioglio.com/dischi.php. Retrieved 2009-04-09. 

^ Filmagenda.it “Gli Incredibili”. filmagenda.it. http://www.filmagenda.it/movies/1223 Filmagenda.it. Retrieved 2009-04-09. 

^ “Les Incredibles”. Cinefeel.web. http://www.cinefeel.net/film-297-Indestructibles_les.html. Retrieved 2009-04-09. 

^ “Gigolo”. IMDB.com. http://www.imdb.com/title/tt0453673/. Retrieved 2009-04-09. 

^ “Amanda Lear non vuole trans intorno”. gay.it. http://www.gay.it/channel/televisione/22580/Spettacolo-Amanda-Lear-non-vuole-trans-intorno.html. Retrieved 2009-04-09. 

^ “AMANDA LEAR: ENETE LONTANI I TRANS”. arcigaymilano.org. http://www.arcigaymilano.org/stampa/rs.asp?ID=28208. Retrieved 2009-04-09. 

^ “Prolific Media UK, info on album Brief Encounters”. prolificmedia.co. http://www.prolificmedia.co.uk. Retrieved 2009-04-09. 

^ Brief Encounters release details

^ “Panique au ministre”. lefigaro.fr. http://scope.lefigaro.fr/theatres-spectacles/theatre/pieces-de-theatre/e-e500999–panique-au-ministere/static/. Retrieved 2009-04-09. 

^ Tout sur Panique au Ministre

^ “Love Reinvented”. IMDB.com. http://www.imdb.com/title/tt0117248/. Retrieved 2009-04-09. 

^ “Life Ball official site, Amanda Lear appearance”. lifeball.org. http://www.lifeball.org/lifeball/show_content2.php?s2id=8. Retrieved 2009-04-09. 

^ (as heard on the 13 September 2007 show)

General

Lear, Amanda (1986). My Life With Dali. Beaufort Books. ISBN 0825303737

Gibson, Ian (1997). The Shameful Life of Salvador Dal. W.W. Norton co. ISBN 0393046249

Lozano, Carlos (2000). ######, Surrealism, Dal, and Me. Razor Books Ltd. ISBN 0953820505

Etherington-Smith, Meredith (1995). The Persistence of Memory: A Biography of Dal. Da Capo Press. ISBN 0306806622

Ashley, April (1982). April Ashley’s Odyssey. ISBN 0-224-01849-3

Ashley, April (2006). The First Lady. John Blake Publishing Ltd. ISBN 1-84454-231-9

Haag, Romy. (1999) Eine Frau Und Mehr. Quadriga. ISBN 3886793281

Millet, Catherine. (2005) Dali Et Moi. Gallimard. ISBN 2070771040

Biography, Umelec magazine (2000)

Interview with The Telegraph (2001)

Interview with Night Magazine (2002)

Interview with Zing Magazine (2002)

Antonelli, Carla (2003). Interview on Salvador Dal and Amanda Lear (in Spanish)

Site NON officiel d’Amanda Lear (French)

External links

Wikimedia Commons has media narrated to: Amanda Lear

Amanda Lear Official Website

Amanda Lear Official YouTube Channel

Amanda Lear at the Internet Movie Database

Amanda Lear at Allmusic

Amanda Lear at Discogs

v  d  e

Amanda Lear

Discography  Filmography

Studio albums

I Am a Photograph   Sweet Revenge   Never Trust a Pretty Face   Diamonds for Breakfast   Incognito   Tam-Tam   Secret Passion   Uomini Pi Uomini  

Tant Qu’il Y Aura Des Hommes   Cadavrexquis   Alter Ego   Heart   With Love   Brief Encounters   Brand New Love Affair

Compilations

Ieri, Oggi   Poet Amanda Lear   Back in Your Arms   Paris by Night   Forever Glam!   Sings Evergreens   The Sphinx

Soundtracks

The Pyjama Girl Case

Other albums

A L   Tendance

Live Albums & Videos

Live in Concert 1979

Categories: Disco musicians | Eurodance musicians | French cast | French artists | French dance musicians | French female adult models | French petticoat singers | French novelists | French painters | French pop singers | French television personalities | Italian television personalities | LGBT rights activists | 1939 births | Living people | French women artists
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