Paul Raven

Peter Lownds All My Children Daryl Mitford Barbara Erwin One Life to Live Beaulah Richard Gleason One Life To Live 'photographer' The Doctors 'boyfriend' All My Children

So Lily has decided to get into the hotel game. Seems Devon sold GCAC. Is there another lame story on the way? Can't see the point of this, unless they want to introduce another cramped, empty meeting place. Nate and Elena at the penthouse. Trying to recall how many characters have ownedit/lived there and the decor never changes. It's not like it's exquisitely decorated. Natel got a love scene and a bedroom set. They should consider themselves blessed that they didn't have to make out on the sofa like other couples.

Graet find about a fascinating storyline. Loved Jeanne's 'lay a heavy trip' comment - sure she picked that line up from a script-sounds very Brock. The rationale for the story makes perfect sense and Bill Bell was ahead of his time in exploring it. Interesting that nowadays the women would probably end up in a sexual relationship. I've seen a number of TV shows/movies where straight women fall into bed with each other under and its deemed a natural outcome in the circumstances.. I just this weekend watched the movie Parallel Mothers where, out of the blue, twowomen began a sexual relationship just because of emotional closeness,. Funny but you never see two guys do the same thing. I think Bill would never have taken it that far, firstly because of the times, but also he was writing a more nuanced story.

Flora Campbell Stella Dallas 1943 Nona from Nowhere 1950 Backstage Wife 1952 Front Page Farrell 'Case of the Invisible Man' Oriana Owens 1951 Eric Dressler Lighted Windows Robert Thompson Kenneth Daigneau Second Husband 1945 Front Page Farrell 1945 Story of Bess Johnson Mr Bartlett school trustee 1941

Excellent! Some requests Basil Hoffman Barbara Erwin Carl Anderson Peter Lownds Richard Gleason

Thanks for the correction. Don't want to be guilty of the very thing I am objecting to !

John Conboy interview Four-time Emmy winner John Conboy was named Executive Producer of Guiding Light in December of 2002. Previously, he produced Love is a Many Splendored Thing, The Young and the Restless and Santa Barbara, as well as created the Washington D.C.-based Capitol. Six months into his latest stint, Mr. Conboy sat down with SoapCity for his first ever exclusive chat outlining this award-winning visionary's plans for daytime's longest running drama. SoapCityAlina: After all that you've achieved in your career -- you are widely credited with changing the entire look of daytime drama -- the logical, first question is: Why GL? Why now? John Conboy: I watched the show for about five months, and the cast blew me away. (New head writer) Ellen Weston and I talked back and forth for a long time before I made the decision (to take the job). It was a fairly large decision for me to make because I live in California now. But when I got here, I was so astonished by the welcome that I got that I know I made the right choice. I love it. This was a lovely chance for me to, one, get back to New York, two, get back to CBS and three, work with Procter & Gamble for the first time. SCA: Fans seem to know what a writer does, what a director does, what a set designer does. But I think a lot of them wonder: what exactly does a producer do? What does it mean, your title, Executive Producer? JC: It means very little, as long as everybody else is doing what he or she needs to be doing. I'm their tour guide. I'm their leader. One of my jobs is to keep people working with me five days a week, 52 weeks a year and to keep them wanting to do it. SCA: I mentioned your changing the look of daytime. Y&R was the first show to feature a more youthful cast, not to mention brighter lighting, hipper clothes, flashier sets. Everything that we take for granted on daytime now, you pioneered. Do you have a vision for GL as well? JC: I don't think that my vision has changed. I do think that my taste has changed over the years, as far as coming into the 21st century and by my exposure to other things. But, at the end of the day, no matter how sharp you get the show to look, you're still talking about a love story. If you watch it carefully, most of what our people do on my shows, they do because they love someone. I'm not doing anything different on Guiding Light than I've done before. This is the style that I choose to do, and so I did come in and say (technically), "Let's do this." I have a lighting designer who is a genius. I have directors who were just waiting to get some stuff to do. And I have a brilliant cast. I said to all of them, "I am only as good as you are, so don't screw it up." I would love to do a movie a day on this show. I would love to have enough money to do the kind of production that I want on the show. Actually, because of the skill of the people we have on the show now, I'm very happy with the look of the show. I would love to go out to Niagara Falls, or sail to Europe, but if you tell a really good story, you could do it in my office. SCA: You said that you watched GL for five months before deciding to take the job. What did you see on-screen that you knew you needed to change as soon as you got here? JC: I think a lot of people who were on the scene needed stories, which they didn't have. That was my major concern. Now they've got them; they've got wonderful stories. The direction we are going in, everybody is going to be involved in one of the big stories coming up. Hopefully, we are going to involve all the adults and all of the younger people in the same story. I think it is important that you put your core characters with the younger people, so that they intermingle and work together. The baseball story that I'm doing with Shayne, for instance, is a story that so many mothers and fathers go through. I think it is going well. We're really going to play baseball and have some fun with it. And I think the Reva story is going to be huge. We have a big surprise on that story coming up. I'm also introducing another young character, a Latino boy. I'm looking forward to that introduction. And we are very excited about Bradley Cole being back. I think he's a terrific actor. He was enormously popular, we did a lot of research on him, and so we created another character that's working wonderfully on the show. SCA: How important is fan input to you? JC: Thank God we've got fans that have watched the show for a long time. There is an enormous history here, and the fans are the first ones who will tell us if we've got it right. Lots of fans write two or four times a week. One particular person will write several times, and they are very articulate. They know the show. They tell me what they like and they tell me what they don't like. Of course, I try not to give them what they like! SCA: That's certainly a very provocative statement! What does it mean? JC: It means that if you want it, and if I give it to you, then that story is over. When I was doing Y&R, we could keep stories going for years. Of course, the audience now is a different audience. We used to say it was the MTV audience. Now, God knows what kind of audience it is! But whatever it is, we need to keep them alive, bright and entertained. I want our audience to watch us five days a week. I want them to enjoy watching our stories as much we enjoy telling them!

The Doctors One day role July 15th 1977. Feldman was an investment banker who bid $850 at a charity auction to win the role.

FLORIDA TODAY APRIL 25 1993 On April 12, the Virginia Theatre was the site of a moving memorial for former "As the World Turns" head writer Doug Marland. Family and friends packed the house and a touching tribute was presented by Dixie Carter (Julia, "Designing Women") and "Someone to Watch Over Me" was sang by Tamara Tunie (Jessica, "ATWT") quite apropos as Doug was always watching over someone and one of his best "ATWT" plots revolved around the song. Gene Palumbo made certain Doug had a dream fulfilled. Palumbo, an illustrious daytime writer himself, talked of the Broadway show he and Doug had penned years before Doug had always wanted the songs from it to be sung on Broadway. They were certain David Merrick would be calling them. Merrick never called, but three of their songs were performed that night, thanks to Palumbo. Almost everyone who spoke about Doug mentioned his love and need for applause. So "ATWT" producer Laurie Caso asked all in attendance to applaud for the wonderful life Doug led. In unison, everyone stood and Doug Marland received a Broadway standing ovation. On May 5, which would have been Marland's 59th birthday, "As the World Turns" will present a special tribute to him.

Guiding Light Dec 9/12 1994

Gina Tognoni would have been a great Victoria-pity she got stuck with Phyllis. How about Heather Rattray (Lily ATWT)?

That AWHP article debunks some myths about the creation of AW but ironically at the end states Fred Silverman, now ABC's president, hired Gloria Monty and gave her 13 weeks to turn things around or he would cancel GH. Monty came on board, hired Anthony Geary as Luke Spencer, and paired him with Genie Francis's Laura. Reading that you would think that Luke arrived in that 13 week period in early 78 and caused a rise in the ratings, when in fact it was Scotty/Laura and other stories that revived GH. Luke didn't arrive until 79.

Notice a theme here? Not to worry though-any crimes committed by this group of psychos will be forgiven and forgotten. There might be a couple of weeks spent in a treatment center, but that's it.

Y&r had the opportunity to revive the past by making the Ashland character Brooks Prentiss. Obviously the story points would have to differ but Brooks would have been the new dynamic businessman in town who romances Victoria. Lorie and Leslie could make appearances and their history come into play. Lots of possibilities there.

Yes a lot of the overseas location shoots for all soaps have been subsidized by the local tourism authorities.

Well, they had a limited time to cover a combined 80 years of story and Jill was hardly a huge factor in their lives overall. Their other husbands didn't get a look in either.

It was not one I enjoyed. I found Greg smarmy and generally unlikeable. And him being a 'big name' meant that he became the defacto star.

Feb 1974 Cashbox Magazine Cramer & Ventures Record Serial Theme NEW YORK — The theme music from Screen Gems’ CBS-TV weekday dramatic series, “The Young And The Restless,” has been recorded by both Floyd Cramer and The Ventures. It is also the title of Cramer’s latest album on RCA Victor. A decision to record the music was reached after nearly 50,000 pieces of sheet music were purchased by viewers of the daytime drama. The main theme from “The Young And The Restless” was written by Perry Botkin, Jr., and Barry DeVorzon and is published by Screen Gems-Columbia Music, Inc., a division of Columbia Pictures Industries, Inc. The Ventures version has been released by United Artists.

Found this obit for Nina Hart who had the role of Meredith, a young heiress involved with Tom Hughes and simon Gilbey (Jerry Lacy) Just posting it for the record . Nina Hart Griffiths, actor, singer-songwriter, airline pilot. Daughter of Joan Hart and Everett Hart, born in New York City on November 27, 1949; died in Miami, FL on December 23, 2020. She wrote and performed the hit song “I Believe in Love” in Milos Forman’s 1971 film “Taking Off,” played Meredith Halliday in “As the World Turns,” and toured the US in theater before becoming a commercial airline pilot. Educated at Friends Seminary and the Northampton School for Girls, Nina lived in New York City, San Francisco, Sharon, CT, and Key Largo. Twice married and divorced, she retired from United Airlines after 22 years with 11 years as a 767 and Airbus Captain. Generous, warm, talented, independent, and courageous, in addition to music and flying, she loved sailing, reading, and dinners with friends and family.

Ken Christy Romance of Helen Trent Ted Galloway

Frank Dane Today's Children Frank Austin Doris Dalton The Romance of Helen Trent 1950 This Is Nora Drake Vivian Jarrett Ivor Francis Strange Romance of Evelyn Winters Bruce Holliday David Harum 1948 My True Story 1955 Whispering Streets 1955 Ken Griffin Romance of Helen Trent Gil Whitney 1944

It seems the Wired for Sound guest musicians thing was for Summer of 82 to capture the young folk while they were on vacation. Bit once Marland and Potter left, so did the concept, How long did Wired for Sound stay in business?

Search for Tomorrow Melissa Manchester 4 eps Dec 27, 29 1976 Jan 5, 7 1977

Billboard July 1982 Any fans of the soap opera "Another World" on NBC will be interested in "Ms. D.J. Rap It Up!" by She on Clappers Records. The 'She' in question is named Shelia Spencer, better known as Thomasina on "Another World." She's a reformed juvenile delinquent trying to be a good girl and is going with this nice guy, but is being tempted by ... You get the picture. Anyway, this is Spencer's first time on record, though soap opera connoisseurs may remember her from a stint on "The Guiding Light."

Jack can be pompous at times but have to hand it to Peter for respecting daytime and having some knowledge and perspective. He talked a little bit about how the show has changed but would love to hear from some vets how they really feel about this.