1979: General Hospital's Monica gave birth to Aj. 1991: All
My Children's Adam and Erica married for the second time.
2010: One Life to Live's Natalie accepted John's proposal."History is a vast early warning system."
― Norman Cousins
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1954: Procter & Gamble's popular radio soap opera The Road of Life, created by Irna Phillips in 1937, made its television debut on CBS in the 1:15-1:30 p.m. Et time slot.
Because many CBS affiliates chose to run local news and talk shows during this time, the program never achieved the popularity
Johnson took American roots music and molded it into The Blues. Brilliantly, I might add, having composed and recorded such classics as “Sweet Home Chicago,” “Terraplane Blues,” “Hellhound on My Trail,” “Love in Vain” and “Cross Road Blues,” a.k.a. “Crossroads.” In all, he produced only 29 tracks, every one between 1929 and 1938
Steranko took the comic art form and broke all the barriers, reinventing and reenergizing comics storytelling and design. He did so with equal brilliance, having produced such award-winning and virtually always-in-print features as Nick Fury Agent of S.H.I.E.L.D., Captain America, The X-Men, Superman, the graphic novel Chandler: Red Tide, and Heavy Metal’s adaptation of the movie Outland. The bulk of this work was published between 1965 and 1976, but by then Steranko had pretty much moved on to painting
Directed by Bruce Robinson.
Starring Richard E. Grant, Paul McGann, Richard Griffiths and Ralph Brown.
Withnail (Richard E. Grant) is an unsuccessful, pill-popping actor; ‘I,’ or Marwood (Paul McGann), is Withnail’s roommate and another equally underemployed actor. The time is 1969: Withnail is fast becoming a burned-out relic of the ’60s, while Marwood is trying to reassimilate into society. The two take a trip to the country in hopes of rejuvenating themselves, but things go from worse to even worse.
Perpetually wasted Withnail and the introspectively uptight I (Marwood), disappear half way up a mountain near Penrith to share some quality time……
There is a difficulty encountered by all reviewers when it comes to writing something subjective on a confirmed cult classic. In terms of tricky it sits somewhere between negotiating an extension from a loan shark, while convincing lie detectors Age of Extinction was a good idea.
Perhaps unlike the O2 though, the band chat to fans before taking to a modest stage set-up. It’s hard to imagine a group bigger than a three-piece performing up there, and when Wille and the Bandits launch into Morricone-esque guitar slides, it’s harder to imagine them suiting any other sized venue.
That’s not to say they haven’t got the choruses to fill bigger rooms:
Last King of Scotland director Kevin Macdonald has also signed up to direct the movie.
Based on the 1995 biography by Peter Guralnick, Last Train to Memphis will focus on Presley's early years.
Jagger is set to co-produce the biopic with Victoria Pearman through their Jagged Films company.
Variety reports that Crossroads screenwriter John Fusco has been hired to adapt the script.
Jagger is also currently working on a film about the life of James Brown. Tate Taylor, director of The Help, is also on board with the project.
An open casting for actors aged between 18-22 to play Presley has been issued by Fox 2000.
Watch Elvis perform 'Suspicious Mind' below:
And yet in terms of how it handles light, movement, texture, and space, it's clearly the work of a master. Directing his first feature since Undisputed (2002), Walter Hill invests the film with all the hallmarks of his abstracted macho style: blunt comic-strip compositions; telephoto lenses that turn foreground objects into translucent smears on the frame; figures lit chiaroscuro against backdrops of neon; reflections rippling on water. Bullet in the Head may have a shaky sense of structure and plot, but it has a firm grip on action movie form.
Sylvester Stallone—looking more than a little like a gorilla taught
Kang joined the cast amid some controversy, replacing a very vocal and angry Thomas Jane, which isn’t exactly the most auspicious start to a project. But Kang shrugged it off while talking to us, focusing instead on just how unusual and exciting it was to get a call to be Stallone’s costar in a Walter Hill film.
It’s easy to want to talk to Kang forever. Funny, charismatic, and verbose, he was open about the issues facing an Asian-American actor, the tricky line one walks with ethnic jokes,
10. Crossroads (1986)
Ralph Macchio plays Eugene Martone, a young guitar prodigy at Julliard who becomes enamored with Robert Johnson, and finds his friend Willie Brown (Joe Seneca) in a minimum security hospital. Eugene believes there is a lost song of Johnson’s, and Willie tricks him into breaking him out in exchange for the song. But in all honesty, Willie wants
What got you started?
Being spotted in the street by a film producer when I was five. I had very long, vividly bright red hair, and it must have caught somebody's eye – though the hair was a bit irrelevant, as films were black and white in those days.
What was your big breakthrough?
When I was about 20 or 21, I came to a fork in the road: I had to choose between doing a film in the Us, and staying in England to do a revival of Look Back in Anger at the Royal Court. I chose the latter, and it was really my breakthrough into serious theatre.
Who or what have you sacrificed for your art?
I'd like to think very little, firstly because describing it as "art" makes me embarrassed.
Filmmakers Mandy Bisesti and Lucia Holm created three sultry vignettes to go along with three songs from the forthcoming album, the first two of which we have exclusively, below. The lush, lacy look of these vignettes "were born out of years and years of reading fairy tales, books on symbolism, mythology, folk lore, fantasy," Biseti confided. The narrative that the black-caped Atkins becomes immersed in here "plays on the Robert Johnson, Devil at the Crossroads legend where a Faustian bargain is struck -- a deal is
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