Fame
In 1983 they joined the team on the successful national children's programme Wombat, along with the puppet Agro. They enjoyed their roles as reporters for the next seven years. The program also included an on-going mock soap opera segment.
Another advertising appearance was in the mid-1980s, in a series of futuristic commercials for Coca-Cola, featuring Max Headroom.
In 1990 they joined the cast of the soap opera Neighbours as Caroline (played by Gillian) and Christina (played by Gayle) Alessi. Gillian and Gayle left the show at different stages during 1992.
Following the success of former Neighbours actors Kylie Minogue and Jason Donovan as recording artists, the Blakeneys went to England in 1991 to record with Stock Aitken Waterman originally as 'The Twins'. The resulting single, "All Mixed Up", became a modest club hit that year, and peaked at #74 in Australia.
After parting with Stock Aitken Waterman, the Blakeneys made a brief return to Neighbours, eventually leaving the show in 1992. In 1993/1994 they released two singles in the United Kingdom as 'Gayle & Gillian', "Mad If Ya Don't" (number 75 in the UK Singles Chart in 1993) and a cover version of Prince's "I Wanna Be Your Lover" re-titled "Wanna Be Your Lover" (number 62 in 1994).
Afterwards the two made a brief return to television, this time as co-hosts on the UK game show Take Your Pick. While working in the UK, they also acted on stage.
In 1994 the sisters moved to the United States (where they still reside today) to pursue acting roles, landing guest spots on various film and TV projects, such as playing ballerinas in Silk Stalkings.
Read more about this topic: Gayle & Gillian Blakeney
Famous quotes containing the word fame:
“Upon Saint Crispin’s day
Fought was this noble fray,
Which fame did not delay
To England to carry.
On when shall Englishmen
With such acts fill a pen,
Or England breed again
Such a King Harry?”
—Michael Drayton (1563–1631)
“To be occasionally quoted is the only fame I care for.”
—Alexander Smith (1830–1867)
“To anybody who can hold the Present at its worth without being inappreciative of the Past, it may be forgiven, if to such an one the solitary old hulk at Portsmouth, Nelson’s Victory, seems to float there, not alone as the decaying monument of a fame incorruptible, but also as a poetic approach, softened by its picturesqueness, to the Monitors and yet mightier hulls of the European ironclads.”
—Herman Melville (1819–1891)