If the CHARGE indicator stays turned off when the speaker power is off and connected to an AC outlet, the built-in lithium ion battery is fully charged. Once the battery is fully charged, it will not be charged furthermore even if the speaker is kept connected to an AC outlet.
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.[12] 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.[13] 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: "[H]er 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.[14]
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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 n1, which was Dalida's first radio appearance.[19] 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.[19]
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.[45] 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.[23] The song was her first international recognition, reaching a half-million accumulated copies and eventually remaining one of her biggest success in Germany.[32]
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.[32] 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.[46] 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.[47] 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.[48]
After a short break Dalida was back on tour, this time starting in Canada where Tu peux le prendre had reached number one.[35] 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".[23] The performance caused a sensation, boosting her track straight to top of French and Belgian charts.[57] "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?",[58] 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.[57]
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.[39] 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.[61]
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.[62] 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.[34]
With "Mama" in January 1967, Dalida had success in France and Turkey, and was back on top of Italian charts later the same year.[77] "Ciao amore, ciao", written and composed by Tenco, was released alongside as they chose it for their competing song at Sanremo Music Festival.[78] The festival premiered on 26 January and they both separately sang their own version. Under the influence of stage fright and alcohol, Tenco delivered a very bad interpretation while Dalida concluded the evening with ovation, but eventually they were eliminated in the first round. The following night ended tragically when Tenco was found dead by Dalida in their hotel room. It was reported that the suicide letter explained how he died by suicide due to elimination, as protest to hoax and bribed jury, but the major suspicion emerged how actually the mafia was involved.[79][29] Although the public did not know anything about their relationship, the event greatly affected Dalida and the next concert in Boulogne-Billancourt scheduled for 31 January was cancelled. The following week on 7 February, she appeared on TV show Palmares des chansons dedicating her rendition of "Parlez moi de lui" to Tenco. Wearing the same dress she wore when she found his body, the performance was highly sentimental but she showed nothing of a verging depression. On 26 February, Dalida attempted to take her life, ended up in a hospital and spent five days in a coma.[23] The truth broke out about her engagements with Tenco, leaving her worldwide public stunned. Her career was put on hiatus for three months.[34]
Returning to television on 8 June, on the verge of tears she made her first TV appearance after four months interpreting "Les grilles de ma maison", a cover of Tom Jones' "Green, Green Grass of Home".[80] With lyrics "I was afraid that everything would be foreign to me, but nothing seems changed, it's good to open the grilles of my house" the song was directly dedicated to her return to life, pointing at her Montmartre house.[81] At the same time, Italian album Piccolo ragazzo became a chart success and "Ciao amore, ciao" topped several international charts earning Dalida another gold disc.[38] She also organized a four-month-long comeback tour from June to September, again daily performing in stage city of the Tour de France. The late summer period brought re-release of 1959 "Hava naguila", and a new recording "Je reviens the chercher", the French version of "Son tornata da te" by Tenco. In September, Dalida issued her first compilation album De Bambino à Il silenzio, collecting her gross hits from 1956 to 1965, which was also one of the earliest greatest hits albums ever.[60]
In late July, Dalida released another song that went to become her signature track: "Je suis malade". The writer of the song Serge Lama recorded and released it earlier that year, but it did not receive any attention until it was spotted by Dalida who later mentioned: "when I saw it on television for the first time, I cried and I knew I have to record it". Dalida's intention to popularise Lama rather than getting a profit from song made her issue it as a B-side to single "Vado via".[93] After the release and two performances, her version became a hit, but Lama's original also drew public attention. Dalida's gestures and facial expressions while performing "Je suis malade" were a natural expression of her personal connection to lyrics that deal with abandonment and despair. The renditions of the song during the future years left a huge impact on French society and shaped an image of Dalida, described by Vanity Fair as "ultimate drama queen".[94] Both Lama and composer of the song Alice Dona frequently credited solely Dalida for being the one who made the song a success, and for boosting Lama's career.[95] Eventually, covered by several singers mostly as tribute to Dalida, "Je suis malade" also became a song frequently sung at competitions.[96] 2ff7e9595c
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