第二章：耶稣万世明星 (Jesus Christ Superstar)

hitchcock

Chapter Two: Jusas Christ Superstar



　　In May 1972, the first Australian production of Jesus Christ Superstar opened at the Capitol Theatre in Sydney. The rock opera, created by Tim Rice and Andrew Lloyd Webber, was a huge success around the world, as it was in Australia. The show was not without controversy though, as many religious groups did not agree with some aspects of the play. Regardless, many current and future stars joined the cast, including Jon English, Marcia Hines and John Paul Young. The production moved around to various locations, including the Palais Theatre in Melbourne, eventually putting on over 700 performances before closing in February 1974.

　The success of Superstar meant that a second Australian run was planned, featuring returning lead stars Jon English (Judas) and Trevor White (Jesus). Harry M. Miller returned to produce the play, which gave the production instant credibility. Harry had introduced the rock opera phenomenon to Australia in 1969 with a production of Hair, followed by Boys In The Band, and Grease. Naturally, Miller gained a reputation for finding talent, and creating opportunities for young people in the field of entertainment. The 1975 Superstar rock opera featured over 50 cast members, a full orchestra and a rock band. At a cost of over $600,000, the entire production had enhancements, with a breathtaking illuminated stage and specially designed sound system. Like the previous production, the show had an open-ended finish date, although it was expected to last two years. The show planned to travel throughout cities such as Brisbane, Sydney, Melbourne, Adelaide, Perth, and locations in New Zealand. Cast recruiting notifications appeared in publications throughout Australia in March 1975.  


Original Casting Call - March 5, 1975

　　Graham auditioned on the advice of a friend named Dorothy Whittle. “She rang me up and said, ‘Have you seen the ad in the paper for Superstar?’” Graham mentioned that he had in fact seen it, but was not interested because he could not dance, and considered himself a songwriter who hadn’t had any songs published. Dorothy told him that she had a very strong feeling that he should go and audition and that it would be a turning point in his career. With much hesitation, Graham convinced himself to apply despite his long-held fear of auditions.

　　On March 11, Graham tried out for Superstar in the Princess Theatre. “When I got to the audition in Sydney, there was a huge line of hopefuls. It was a very unnerving experience as there were so-called ‘professional auditioners’ for theatrical shows who would intimidate the first time applicants,” recalls Graham. “One professional asked me what I was going to sing, to which I replied, the Roberta Flack and Donny Hathaway version of ‘I Who Have Nothing.’ They said that six guys had performed that song yesterday, and none of them got accepted into the production.” As a result, Graham was almost certain he would not win a position, and became even more nervous when his turn was called. “I walked in and they asked me to stand in the middle of the stage with a giant spotlight. I thought, ‘Oh Blimey, they are going to look at me as well.’ I was so nervous!”


Graham Russell & JCS Cast

　　Russell, now separated from his wife, was living north of Sydney when he first heard about the casting call from his girlfriend Karen, who saw the ad in a newspaper. Russell missed the Sydney auditions, but to his surprise, more auditions were to take place in Melbourne. Karen encouraged him to audition, but Russell was hesitant because he had almost no musical experience, besides his short stint playing drums in 19th Generation. “I used to sing in the shower and stuff, and I was living with a girl at the time. She used to always say, ‘You know, you’ve got a real good voice. Why don’t you try and do something with it.’ I used to tell her that I was not good enough,” explains Russell. “But you know, it just never occurred to me that that’s what I should do. I used to sing along to records. When the Beatles came along, I used to go into my bedroom with a record player with a microphone in it, and strum this piece of wood. Pretend that I was a Beatle.”

　　After much encouragement, and what Russell describes as ‘nagging’ from Karen, he decided to audition. He went to the Superstar auditions in Sydney. But he misread the announcement and arrived at the tryouts after they had finished. To his surprise, more auditions were to take place in Melbourne. “I had to fly down to Melbourne and I didn’t have very much money,” he said. “I was so naive about getting into the play that I went to a music store on the way and looked at some songs which I thought I could sing. So I took one off the shelf, and my audition piece was ‘Bridge Over Troubled Water.’ I didn’t know if it was in the right key for me. I walked into the auditions and saw 300 people. I was stunned! I got discouraged and walked out, then finally forced myself to turn around and go back.”


Russell Hitchcock & JCS Cast

　　Russell and Graham both landed positions in Superstar. Graham got a call from the producer’s office two weeks after his rehearsal and was assigned the role of apostle. He felt his height (6’5”) was an advantage, and perhaps helped him win the job. The previous production of Superstar had had an extremely tall cast member, and Graham could fit into his costume, thus saving the crew from having to make another outfit.

　　Superstar executive producer, Richard Harper, asked Russell to return for several auditions before offering him a role. Russell was extremely nervous as he waited for the phone to ring. “I felt like a defective car,” he said. “I got recalled like three times. The last time they said, ‘We’ll offer you a part in the show.’ But I still had not sung anything until I was twenty-five.”

　　Superstar rehearsals began in Sydney on May 12, 1975. This allowed Graham and Russell to meet for the first time, an encounter Russell remembers very well. “It was the first day of rehearsals, and we were doing some exercises and some sort of dance routines,” he said. “We had to run across the stage with our arms behind us or something, which looked really silly. There would be two diagonal lines that people would have to cross, and Graham did it and fell over, twisting his ankle in the process. It was just the first day of rehearsal, and just the first disaster. It took about ten people to lift him, and he was brought over to my attention this way.” “Yeah, Russell and another apostle grabbed me and took me over to the washing machines,” said Graham. “He dunked my foot in the hot washer and then the cold one. Luckily, I was back on my feet in two days.”


Chrissie Hammond

　　A few weeks into rehearsals, Russell took notice of Graham’s musical talent when he overheard him playing guitar with another cast member. “It was in the ticket box in this theatre we were rehearsing in, and he was serenading a women I think,” claims Russell. Graham later described the girl as a friend of his from before the show. She was Chrissie Hammond from Melbourne, whom Graham had sung with when making the rounds in small bars and clubs. She had a terrific voice, and they got together during breaks in rehearsal to sing Graham’s songs. “As I approached them, I noticed that Graham was playing something I had never heard before, and it was obvious that it was one of his own songs,” said Russell. “I was just dumbstruck, as Superstar was my first involvement in professional music, and I had never met anyone who wrote their own songs.”

　　Born in London, Chrissie Hammond emigrated to Australia with her family when she was three years old and lived, as she puts it, all over the place. At age 14 she had teamed up with her elder sister, Lyndsay, to perform as a folk duo in Melbourne coffee houses. “We got our first break when both of us were in our teens,” said Chrissie. “We were very enthusiastic and rather naive. We used to perform 65 songs in four hours - for the grand fee of $15 between us.” For the next three years Chrissie worked both solo and with a group, taking engagements in television, hotels, concerts and at recording sessions. She remembers when she first met Graham in 1972. “One day we [Chrissie and Lyndsay] passed by a cafe advertising for folk bands. With all the cockiness of youth I said to Lyndsay, ‘That’s us!’ We walked in there, told them that we were what they’d been waiting for, and were asked back that night to audition. We did five hours all told on stage! Unpaid as well. That was an experience. But a certain Graham Russell was in the audience.”   



　　Jesus Christ Superstar made its debut performance at the historic 1,520-seat Civic Theatre in Newcastle, New South Wales, in mid June. This was a part of a series of preview performances before the New Zealand tour in July, where they performed nightly at 8:30 p.m., plus Fridays and Saturdays at 5:45 p.m. (no Sunday performances). “The first day of the show [in Newcastle], 30 of us sang together, and I couldn’t believe how beautiful it sounded,” said Russell. “I instantly realized that it was what I should have been doing all my life.”

　　Like the first production in 1972, most reviews of the show were excellent:
　　Now a new production of Jesus Christ Superstar has been packing ’em in at the Civic Theatre in Newcastle, and not surprisingly, plenty of Sydney people have made the trip north to see it. I did last weekend and enjoyed a stunning new production of this classic rock opera. After seeing the original Sydney production four times, I didn’t believe that producer Harry M. Miller could come up with any improvements - I was wrong! - Sydney Mirror

　　It more than lived up to its promise. Visually the show reaches technical heights unlike any other. It’s one of the slickest, most spectacular productions you could ever see. Jesus Christ Superstar is now and probably always will be a supershow. - Adelaide Advertiser

　　But not all reviews were positive. The Age in Melbourne wrote a scathing review after the opening performance in Melbourne’s Palais Theatre:
　　Despite rumours to the contrary, the show basically is the same as the one we saw before - a little more streamlined perhaps. The characters have little depth or dimension. Jesus especially - through no fault of singer Trevor White - is portrayed as an insipid, almost vapid man. The only person of any humanity roaming the highly mechanized stage is Judas, wonderfully captured by Jon English. Musically, the show also leaves much to be desired. Rhythms seem rushed and the libretto is trite, which doesn’t permit much sensitivity. - The Age

　　“Midway through 1975 we took an entirely revamped production on a tour of New Zealand,” said Harry M. Miller in his 1983 book titled My Story. “The new designs and staging had given us enormous trouble before we got them right. The show was played on a false perspex stage lit from underneath. The effect was fantastic except that during try-outs the stage kept melting. No one could work out why this was happening until I discovered that incandescent - instead of fluorescent - lighting was being used. We rewired the entire stage just in time for the opening in Newcastle, New South Wales, but I was still preoccupied with visions of a lake of molten perspex on the night the New Zealand tour opened in Auckland.”

　　Graham, Chrissie and Russell changed roles several times in Superstar. Russell was initially asked to be a soldier, which was a non-singing role. Eventually, the producers moved Russell into the chorus as an apostle. “There’s no doubt he had the best voice in the whole show,” said Graham. “But here he was in this vinyl soldier suit for about three months until we had to confront the director and say, ‘Hey, your making a big mistake here.’ Russell played Jesus once or twice, and he played Judas over a hundred times. He understudied every role except Mary Magdalene - he wouldn’t shave his legs.” Graham switched from apostle to Peter. Chrissie started as one of the apostles’ women, but soon took over the lead role of Mary Magdalene from 22-year-old Stacey Testro, who initially won the position over 200 singers who auditioned for the part.



　　Graham and Russell became the best of friends, and their shared fascination with the Beatles provided more than enough music for them to emulate during practice. They sang together during lunch breaks and any other opportunity they could find. During Superstar’s four-month tour of New Zealand and for a short period in Australia, Chrissie, Russell and Graham performed in small bars and coffee shops, in what was essentially a vocal harmony group. They called themselves Hitchcock, Hammond & Russell, and they performed cover tunes, with some of Graham’s own compositions mixed in. Graham played acoustic guitar and Russell played conga drums, a talent he had just recently developed. “I started playing congas in New Zealand,” said Russell. “This guy within Superstar asked me to do something with him. He plays a mean slide guitar and sings blues, but it never eventuated. The congas are more a sort of security for me than anything else.”
  
　　Graham used the avenues that Superstar opened up for them by calling people in the music business and promoting themselves to record companies. Things began happening for the trio in Auckland, New Zealand, when they played support act for a concert that Jon English and Trevor White were doing. Suddenly their music appeared on New Zealand radio and TV. “We used to work everywhere,” said Graham, “especially New Zealand. It was amazing, the people just went mad. We did encores and all that sort of thing. I would go out and get these shows by throwing the Superstar name around, and that would get us in the door. We used to do all kinds of shows. We made videos, and this was in 1975, before videos were even invented. We had a three-part harmony that was incredible, and this was really the forerunner of the Air Supply harmonies. It wasn’t until we got to New Zealand that I learned that Russell played the congas - and that was six weeks later.”

　　Hitchcock, Hammond & Russell enjoyed the artistic freedom outside the realm of the highly structured Superstar, and it taught them valuable lessons in succeeding in show business. “The show ran for almost two years, and we did ten to twelve shows a week,” said Russell. “Once again, a great experience! I had never been involved in any kind of serious music at all, and came straight from an office job into Superstar. It taught us a lot about discipline, being focused on what you are doing during the show. Obviously we got to work with some tremendous artists, people who were very famous in Australia at the time. So we absorbed everything we could to become better performers when we actually came out on the road as Air Supply. As far as vocal training was concerned, the show took the edge off my voice.”



　　Shortly after the tour of New Zealand, Chrissie stepped down from her role in the harmony trio. She had lofty ambitions for a solo career in the music business, and her transition into the lead role of Mary Magdalene gave her a great deal of confidence. While still in Superstar, Chrissie searched for a manager (Brian de Courcy), with the intention of making it big in North America. “I’m hoping to record a single here in Melbourne,” said Chrissie. “The difficult thing is finding the right song with enough of me in it. The type of music I’m into flourishes over there [in America]. Australia offers a lot, but it has its limitations. And oh, I’d better not mention it, but it’s a very closed market.”

　　The solo gig did not work out for Chrissie, but she later teamed up with her sister, Lyndsay, to form the rock band Cheetah. They had several hit singles in Australia and parts of Europe, such as ‘Walking In The Rain,’ ‘Deeper Than Love’ and ‘Spend The Night.’ Many years later, Chrissie joined the cast of Cats to play the popular Grisabella character.

hitchcock

译文： <转载请注明空气补给中文网>
　　1972年5月，第一次由澳大利亚制作的耶稣万世巨星在悉尼国会剧院(Capitol Theatre)公演。这个由蒂姆莱斯(Tim Rice)和安德鲁洛伊韦伯(Andrew Lloyd Webber)创作的摇滚歌剧在世界取得了巨大的成功，也同样在澳大利亚获得成功。这场演出并不是毫无争议，许多宗教团体抗议不赞同剧中的一些观点，禁止演出进行。无论如何，许多当时和未来的明星加入了演出阵容，包括Jon English, Marcia Hines 和John Paul Young。演出在许多地方进行，包括在墨尔本的Palais剧院，最终在1974年结束之前进行了700多场的演出。

　 “超级明星”的成功意味着澳大利亚的第二波演出排上了议事日程，包括了回归的首席明星Jon English (饰演犹大) 和Trevor White (饰演耶稣)。Harry M. Miller回到了剧中，这迅速给了演出以巨大的荣誉。Harry在1969把现象级摇滚歌剧“头发”(Hair)带到了澳大利亚， 接下来就是Boys in the Band, and Grease。自然地，米勒(Miller)在他的开发人才和给年轻人创造进入娱乐圈机会上获得了巨大的好评。1975版的“超级明星”摇滚歌剧剧组拥有超过50名成员，一个完整的管弦乐队和一个摇滚乐队。阵容花费超过60万美元，整个演出阵容包含了一个惊人的照明系统并且专门设计了音响系统。和之前的一样，尽管演出将预期持续两年，这个演出还有拥有一个不限成员名额的结束日期。这个演出计划将跨越许多城市，布里斯班，悉尼，阿德莱德，珀斯和新西兰的一些地方。演员招募通知出现在1975年3月在澳大利亚各地的出版物。

  　Graham在一个名叫Dorothy Whittle的朋友建议下参加了试音。 “她打电话给我说，‘你见到了‘超级明星’的面试广告了吗？’”Graham提到，其实他已经看到了，但是并不感兴趣因为他不会跳舞，而作为作曲者，事实上他还没有发布任何歌曲。Dorothy告诉他她有一个强烈的感觉，他应该去试音，这将是他生涯的一个转折点。万般犹豫之下，Graham说服自己去参加试音，尽管长期惧怕面试。

　　在3月11日，Graham还是在公主剧院准备做出尝试。 “当我去悉尼面试的时候，发现有数目巨大的候选人。这真是一个非常令人不安的体验，有所谓的‘职业面试者’在恐吓那些第一次面试的人。”Graham重申道，“一个专业面试者问我，我要唱什么，我回答，Roberta Flack和Donny Hathaway版本的‘I Who Have Nothing’。他们说昨天已经有六个人唱过这首歌了，他们没有一个被选中。”因此，Graham几乎可以肯定他一定不会赢得一个位置的。而当变的更加紧张的时候，我被叫了进去，站在舞台中央一个巨大的聚光灯下，我心想，‘哦天哪，他们都会看着我的。’我紧张了要命！”

  　Russell现在已经和他的妻子分居了，住在悉尼北部, 当他的女友在报纸上看到广告的时候大声呼叫他。Russell错过了悉尼的试音，但令人兴奋的是，面试还会在墨尔本开展开来。Karen鼓励他去参加面试，但是Russell 一再犹豫，因为除了短暂的在‘19th Generation’乐队里打鼓之外他几乎从来没有任何的音乐经历，“我经常在洗澡时唱歌，那时我和一个女孩住在一起。她总是说，‘你知道吗，你真的拥有一个太棒的嗓子了。为什么不去做有关的事情呢？’我总是告诉他，我不够好”Russell解释到. “但是你知道，我从来不知道这就是我应该做的。我经常独自对着唱片唱歌。而当Beatles出现的时候，我总是去我的卧室里，对着一个有麦克风的录音机唱歌，并且乱弹一块木头。假装我是Beatle。”

　　在许许多多的鼓励之下， Russell形容那是在他女友唠叨之下，他决定去参加面试。可是他却错过了悉尼的面试，不过好消息是在墨尔本有更多的面试机会。“我不得不飞往墨尔本，而我没有很多钱。”他说：“我非常的认真，去了音乐商店里，寻思着应该唱哪首歌。然后我从架子上拿下了一张，我的面试歌曲就是‘Bridge over Troubled Water’我不知道这是不是适合我的音调。我走进面试人群里，并且看到大约300个面试者。我惊呆了！瞬间我气馁的走出来，最后我强迫我自己鼓起勇气回头！

　　Russell和Graham都克服了困难。在排练的两周后Graham接到了演出办公室的电话他得到了使徒的角色。他觉得自己的身高(6’ 5”大约195公分)是一个挑战，也有可能就是身高帮助了他赢得了这个角色。之前的‘超级明星’阵容里就有一个非常高的家伙，Graham正好可以穿他的戏服，从而节省了钱不用另外再做新的戏服。

　　Superstar的执行制作人Richard Harper要求Russell回墨尔本参加几个试音， 然后他就得到了这个工作。令人惊讶的是，一开始他被要求扮演士兵，一个不需要发声的角色。最终，制作人让Russell进入合声部扮演一个使徒，和Graham一样。Russell记得在那些等待电话铃声的日子里他是多么的焦虑。“我觉得就像一个有缺陷的汽车一样。我被叫回去面试大约三次，最后一次他们说，“我们会给你一个演出中的角色。”但是直到25岁我依然没有唱任何东西。”

  　‘超级明星’的排练工作在1975年5月12日在悉尼展开。这让Graham 和Russell 有了第一次见面的机会。Russell对这个偶遇记忆犹新。“这是在排练的第一天， 我们正在练习一些舞蹈动作。”Russell解释道。“我们身背武器在舞台上跑，看起来真的很傻。人们将要穿越两条对角线，Graham在跑的时候摔倒了，扭伤了脚踝。这是排练的第一天，而这仅仅是第一个灾难。花了10个人才把他抬起来，他用这种方式进入了我的视线。”“是的， Russell和其他的apostle 把我抬起来带到洗衣机旁。”Graham说，“他把我的脚放进热水洗衣机里，接着是冷水，幸运的是，２天后我的脚就恢复了。”

　　排练的几周后，Russell注意到了Graham的音乐天赋当他偷听他和别的演员弹吉他唱歌的时候。“应该是在售票处的地方，他正在给一个女人弹小夜曲我记得。”Russell宣称。不久后Graham在演出前说这个女孩是他的朋友。她就是来自墨尔本的Chrissie Hammond，Graham在小型酒吧和俱乐部里和她一起演出过。她有着惊人的嗓音，然后他们在演出休息期间排练唱着Graham写的歌。“当我接近他们的时候，我注意道Graham正在演唱着一些我从来没有听到过的东西。很明显这是他自己写的歌。”Russell说，“我目瞪口呆了，‘超级明星’是我参加的第一个和音乐有关的项目，之前我从来没有碰到过任何自己写歌的人。”

　　在伦敦出生，Chrissie Hammond在3岁时和全家一起移民到了澳大利亚生活。14岁时她和她的姐姐Lyndsay组建了民谣二重唱，在墨尔本咖啡店里演出。“我们二姐妹在年少时就有了第一次突破。”Chrissie说。“我们充满热情，而且很天真。我们通常要在4小时内演唱65首歌，就为了赚15元的小费。” 在接下去的3年里，Chrissie个人和组团同时演出，在电视，酒店，演唱会，和录音棚。她记得1972年第一次见到Graham的时候。“我们[Chrissie和她的妹妹Lyndsay] 我们年少时有了第一次突破，”Chrissie说. “有一天我们路过一个咖啡馆，招贴广告要招民谣乐队。年轻自大的我对Lyndsay说, ‘就是我们了!’ 我们走到那里，告诉他们我们就是他们一直在寻找的人并且被要求当晚进行试音。我们在舞台上待了五个小时！没有付给我们任何钱。这是一次有意义的经历。但是我可以肯定，Graham Russell是当晚的听众。“   

　　6月中旬耶稣超级明星在南威尔士纽卡斯尔历史性的拥有1,520个座位的Civic剧院进行了首演。这次演出是7月新西兰巡演的预演，他们在晚上8点半，加上周五和周六的晚上5点45分（没有周日演出）演出。“在纽卡斯尔的第一场演出，我们30个人在一起演唱，无法想象这有多动听。” Russell说。“我立刻意识到，这就是我今生要做的事。”

　　和第一次1972年的演出一样，大多评论都一直认为演出异常精彩：
　　现在，新制作的耶稣超级明星已经在纽卡斯尔Civic剧院开演，正如意料之中的，大量悉尼观众长途来观看。在观看原始的悉尼版摇滚音乐剧四次之后，我不觉得制作人Harry M. Miller能有多大的突破 - 但是我错了! - Sydney Mirror

　　超出原本的预期想象，视觉感受达到了前所未有的高度。这是一个你所能看到的最壮观的制作。耶稣超级明星现在，并且可能永远是一个超级演出。 - 阿德莱德广告人

　 但是并不是所有的评论都是正面的。 《墨尔本时代》(The Age in Melbourne)在墨尔本Palais剧院演出后写了一个严厉的评论。
  　尽管有负面的谣言，演出基本上和我们以前看到的一模一样，可能更加精简一些。人物的刻画几乎没有任何的深度。特别是耶稣 – 演员Trevor White – 刻画人物过于平淡，几乎就是一个拼起来的人。唯一一个充满血肉的角色是穿插在高度机械化舞台中的犹大。非常好的被Jon English捕捉到了性格。音乐性上，演出总是留下了许多渴望。节奏曲调似乎总是老样子。

　　“1975年，我们全新的改头换面，前往新西兰演出。” Harry M. Miller在1984年他的书《My Story》中说道，“新设计的舞台在走向正规前却给了我们巨大的麻烦。一个假的有机玻璃舞台被点燃。这个效果相当棒，但是在试验中，舞台不断被融化。没有人找出事故原因，最后我发现了是白炽灯引起的，而不是用的荧光灯。我们重新布置了整个舞台，然后及时赶上了新南威尔士纽卡斯尔的首演，但是我始终担心在新西兰奥克兰的演出，担心这个融化的有机玻璃。”

　　Graham, Chrissie and Russell在Superstar的演出中更换了许多次角色。Russell一开始演士兵，是一个没有任何台词的角色。后来，制作人让Russell在使徒中参加了合唱。“毋庸置疑他拥有整个演出中最棒的声音。” Graham说。“但是他穿着这套士兵服3歌月了，直到导演对他说，‘嘿，你搞错位置了。’ Russell演出过一，两次耶稣，但是他扮演过几百次犹大。他理解每个角色，除了Mary Magdalene - 因为他不会去剃腿毛。” Graham角色从使徒换作了Peter。Chrissie饰演一名女使徒，但是很快从22岁的Stacey Testro成为了首席Mary Magdalene，她是从22名候选人中脱颖而出的。

　　在几个月的超级明星的巡演后，Graham和 Russell开始在午餐休息时间和找到任何空闲的机会一起演唱。“我总是在演出期间和半场休息时间带着我的吉他演奏着我写的歌，而Russell加入进来，学唱他写的歌。”Graham说。 在新西兰的四个月的巡演中，Chrissie和Russell 都是主唱Graham弹吉他，基本上这是一个人声合唱组合。他们称自己是Russell/Hitchcock/Hammond，“我演奏conga鼓，Graham弹吉他，我们听起来有三个声音。”

　　Graham和Russell成为了好朋友，他们分享着对Beatles的着迷。开始在午餐休息时间和找到任何空闲的机会一起演唱。在超级明星在新西兰的4个月演出中，和在澳大利亚的短暂演出中，Chrissie Hammond加入了Russell和Graham并且在小酒吧和咖啡店里演唱。这是一个有着优美和声的组合。他们称自己为Hitchcock, Hammond & Russell，他们表演一些翻唱歌曲，同时夹杂着一些Graham自己的歌在里面，Graham弹木吉他，Russell敲Conga鼓，这是他最近学习的一个乐器。“在新西兰的时候我开始打Conga鼓。” Russell说。“在超级明星里的这个家伙让我和他一起做些事情。他弹slide guitar，唱着布鲁斯。而Conga对我来说可比别的乐器更加合适些。”
  
　　Graham利用超级明星的机会来宣传他们自己。在新西兰奥克兰，真的成为了现实，三人组合为Jon English和Trevor White做暖场演出。突然间他们的音乐出现在了新西兰的电台和电视上、“过去我们到处演出。” Graham说， “特别是新西兰。这太神奇了，人们近乎疯狂。我们在演出后还进行了返场。We做过很多类型的演出。我们在1975年拍了影片。我们有三部分的和声，简直难以置信，这是Air Supply和声的雏形。直到去了新西兰我才得知Russell玩Congas鼓，这已经是6个星期后的事情了。”

　　这三个人享受他们的艺术上的自由，在高度结构化的超级明星演出外。他们得到了通往成功之路上的宝贵的经验。Russell回忆说他们是如何借超级明星这个“工具”让他们在未来岁月变得更加成功。“这个演出几乎持续了两年，一星期我们几乎要做10到12场演出。”他说，“这真的是一个非常棒的经历！那时我从未参于过任何一种形式的音乐。从办公室的工作走向‘超级明星’。他教会我们许多纪律，在你所参与的演出中时刻专注。明显的，我们要与一些伟大的音乐家一起工作，那些人在当时的澳大利亚非常的出名。因此，在我们成为Air Supply之前吸收一切可以让我们变的更好的东西。至于嗓音训练上，这个巡演把我的嗓音带向了极致。”  

　　在新西兰的短暂巡演后，Chrissie决定离开这个三人组合。像Graham和Russell一样，Chrissie在音乐生涯上有着远大的雄心。最近的一次角色转换成主角Mary Magdalene带给她巨大的信心。还在超级明星剧组中的时候，Chrissie就在寻找经纪人来给她开启独唱音乐生涯。“我希望能在墨尔本录制单曲。最困难的事情是找到合适的歌曲。”Chrissie说，去美国是她最大的雄心。“让我一夜成功的音乐类型在那里。澳大利亚给了我许多，但是依然有限。哦不，我希望我没有提到过这个，但这确实是一个相对封闭的市场。”

　　独唱演出计划并没有很好的实行在她身上，但是她组合了他相当有天赋的妹妹Lyndsay组成了摇滚乐队Cheetah。他们拥有了许多澳大利亚排行榜金曲，诸如’Walking in the Rain’，’Deeper than Love’ 和’spend The Night’ 。许多年之后Chrissie加入了猫的演出阵容，饰演著名Grisabella。 　

Leign

我不怎么喜欢美国的乐队或者歌手 国外去发展的另说 倒不是说偏见 只是不感冒 记得当初听airsupply的歌就是因为他们的声音够纯净 没太多电子的元素

hitchcock

修订的图片和文字均已更新完毕！

hitchcock

更新文字和图片！