Paul Raven

Did Cindy Pickett always have that short haircut.I'm surprised if so as we usually have our young women with long flowing locks.Jackie was looking a little butch. Tom O'Rourke was towering over Jerry.How tall was he? Nice to see Bert,Peggy and Adam.Viewers want to see familiar faces.A lesson TPTB ignored. Both Peggy and Holly looked so plain...

Sponsor Magazine March 1963 Two disparate segments of American society -the hard- headed businessman and the soft -boiled egghead -appear to see eye to eye on at least one subject, namely the daytime television serial. Both are reportedly viewing with considerable reverence the latter -day soapers. Probers seeking a motive for the enduring affection lavished on daytime serials by national advertisers, soon learn that the latter derive Serials are adult and provocative quantity Plus circulation and as tounding viewer- loyalty from sponsoring serials. Moreover, daytime serials on television today are garnering high Nielsens. Should the trend continue, the networks will before long, offer nighttime serials. Negotiations are piesently under way. Says a top -ranking CBS TV sales executive, speaking of the enormous popularity of The Secret Storm, a Roy \\'insor product seen Mon. -Fri. (4 to 4:30 p.m. EST) , "When the advertiser hitches on to a dramatic serial such as this he's buying the most homes for his advertising dollar and at the same time getting a story that is holding audiences with missionary fervor day in and day out, a story surprisingly well written." Anti -intellectuals as well as intellectuals seen to agree that throughout today's crop of television serials runs a sleep vein of professional and more meaningful writing, acting and production values. In the case of The Secret Storm, there is sheen and polish akin to that of the Broadway theatre; in fact, all the performers in the ten -year -old stein from the Broadway stage. Notably principal players Haila Stoddard as Pauline Fuller. Marjorie Gateson as Grace Tyrell and James Vickery as Alan Dunbar. The Misses Gateson, Stoddard and Jada Rowland, who plays Amy, are members of the original cast. The Secret Storm made its television debut I February 1954 as a 15- minute serial. It was expanded to a half - hour in the summer of 1962. Carl Bixby is the present head writer. The strength of the dramatic serial is in its form, \Vinsor contends. "It is a continued story about characters whose hopes, fears, confusions, and ambitions stimulate an identifying emotional response in the viewer," he observes. "Some characters are basically good. The viewer sees such characters as an idealization of himself. In the immoral or amoral character, the viewer sees personal enemies who should be chastised. 'This very fact -good versus evil- produces conflict. Conflict- physical and emotional -is the stuff of which drama is made." \Vinsor and his colleagues maintain that The Secret Storer, for one, reflects the world in which we live, "a world recognized, we believe, by everyone who can be attracted as viewers only if there is some growth in the characters we present for their entertainment. These characters reflect this world by their present and future behavior. They are not presented as stereotyped personifications of goodness -a woman exposed periodically to evil in the person of the wicked carpetbagger. Nor do they stagnate- a Pollyanna beset with one larger- than -life problem after another yet never growing into a richer. wiser, or more productive human being." No tumors on the brain. Gone, for the most part, from today's serials are the interminable maladies and sicknesses, the endless surgical operations, the use of crutches, canes, plaster casts and surgical dressings. "There are no crutches in The Secret Storm," emphasizes William Francisco, associate producer in the \Winsor office. "There are no incurable diseases among the characters portrayed, he says triumphantly. Once in a while, a character will have a slight headache or come home exhausted. Always, there is a sense of reality about the characters." What influence, if any, do advertisers play in the story line of The Secret Storm? "None," Francisco declares, adding "they are marvelous about it." American Home Products has been a sponsor since its inception. The other- Cheseborough- Ponds, Colgate, French's Mustard, Johnson &- Johnson, Lever Brothers, Nestle, General Mills -have been associated with the program front one to fine years. The Secret Storm has been a consistent, top -rated series. The latest National Nielsens make it No. 9 among the daytime programs. Both \Vinsor and CBS TV sales point out that as a group, daytime serials reach an audience of more than four million homes per minute year -round. The daytime serial group plays to an average of 99 adult women per 1011 sets; the weekday 10 a.m. -5 p.m. program average in this respect is 85 adults per 1011 sets. In addition to The Secret Storm, (CBS TV's roster daytime serials includes As the World Turns, The Edge of Night, The Guiding Light, Love of Life and Search for Tomorrow. On NBC TV, Young Dr. Malone, after a long life fades away April, to be replaced by two new serials, Ben .Jerrod and The Doctor. ABC TV will introduce a new daytime serial, General Hospital. starting in April. What goes into the making of a 30 -minute daytime serial such as The Secret Storm? As many as 12 hours of preparation and rehearsal, not counting the actual writing and editing of scripts. Each day's activities begin in the \Vinsor office. Gloria Monty, director since its inception, meets at 9:30 a.m. with associate producer Francisco and other staffers. Miss Monty', on this occasion, might learn the program schedule for two days hence has been preempted. Emergency measures must be taken immediately. Drastic cuts and revisions in the scripts must be made plus cast calls to alert performers to the new schedules. Major problem: six sets have been built for the two day's episodes but now only three can be used. Which best represent key scenes? Ten minutes later, with the aid of a floor plan in general manager Everett Bradley's office, script changes are made and transkited into stage positions and movements for the actors involved. At 9:45 a.m. the changes are approved by \Vinsor. Thirty minutes later, Miss Monty and cast members are starting the day's rehearsal in one of the rehearsal rooms at CBS T\"s Liederkranz Hall studios. The rehearsal continues until 12:30 when there is a 30- minute break for lunch, usually a hasty sandwich and container of coffee. The intense business of the afternoon starts at 1 p.m. with "fax on camera" or "fax rehearsal" (rehearsal with facilities) in Liederkranz Hall's Studio 54. The set for the previous show has been broken and replaced with that of The Secret Storm. Miss Monty, with the aplomb and certainty of a general commanding a garrison at Kyber Pass, issues instructions (always accompanied with "please" and "thank you ") from the darkened control room. Her commands go into the headphones of cameramen, floor manager, boom man, etc. The important business of blocking on camera continues until 2:45 p.m. when there is a five- minute break followed by dress rehearsal. Overall excellence. At 4 pm. a flashing red light in front of Studio 54 signals that The Secret Storm is on the air live. And again, the vast daytime audience, from coast to coast, sits entranced. A network executive steeped in the folklore of daytime serial asked this question: "What motivates such inordinate loyalty to a program like The Secret Storm? Larya Mantles, a discerning critic writing in The Reporter summed it up succinctly when she said: "I was held ... by the over -all excellence of the acting, the ingenuity of the plotting, and a casting little short of inspired: the performers had become the people." When 4:30 p.m. rolls around, Miss Monty sings out over the intercom, "hit the filet" and "lap the credits." Ordinarily, when a job is done, workers immediately pack their kits and make their way into subways and busses. Not so with the performers in The Secret Storm. After a 15- minute break, the cast of tomorrow's episode sits clown in a drafty rehearsal hall to read through the upcoming episode. It is indeed a "new clay'' starting at 4:45 p.m., a day that ultimately ends at 6.45. In doing daytime television serials one should avoid condescension, Francisco told Sponsor. Remember, he said, "we have to take more care in keeping the people and situations real because they exist on a day -by -day basis." "In nighttime television, most of the heroes are people who travel and therefore can move from new adventure to new adventure," he continued. "Or, they are people whose occupations bring them a new situation and a new set of characters each week. Because in nighttime programs you are only seeing them once a week and because, in almost every' case, the story is more important than the characters, you don't have to deal with character background or motivation in the detail that the daily viewer expects and should be given." The consensus is that the daytime television serial is here to stay and that it has indeed "made a frontal assault on Mrs. America's imagination." But, above all, the daytime serial has proven one of the advertiser's most effective means of reaching his best customers, ac- cording to both Winsor and CBS TV executives. The next move they predict, will be the evening hour serial clone with the same rare adult skill. And sponsored, naturally

Sponsor magazine April 1958 Kitty Foyle, the only other half-hour soaper with a rating history, is far from being an audience success and there's been a recent shakeup in the stall producing the strip. The current script doctoring will modernize the story and background since it is now felt that by sticking too closely to the book, the serial had a dated quality. Despite talk to the contrary NBC says it is far from giving up on the show.It is generally felt that the half hour soapers require a lot of script revisions and molding before the successful story line is finally achieved.

First 2 weeks of March 1962 1. ATWT 12.1 2. Concentration 11.9 3. House Party 10.9 4. Password 10.3 5. The Guiding Light 10.2 6. The Price Is Right 9.7 7. Search for Tomorrow 9.5 8. Make Room for Daddy 9.5 9. Millionaire 9.5 10. NBC Daytime News (5 minute update) 8.5

AMC was first optioned by P&G and was close to airing on CBS in 65 at 10.00am.So with Bill and Agnes both working for P&G at that time ,maybe he had some input. Well anyway he got hold of the proposal somehow. Yes I'm sure you have to make arrangements to view items and have credentials eg researching for a thesis etc. Not sure anyone off the street would be given permission to view.

Interesting observations Michael. I didn't realize until I re-read that outline that there were no Hortons present.Maybe they should have made a point of having a Horton presence in each ep. The one hour format allowed writers the chance to be freed from the restrictions of a small cast and move beyond the core but in the longterm it often meant that core families were neglected and diminished. Once again I'll state - Deidre Hall should have been brought on as Dr Sandy Horton!

First page of first script

UCLA has a collection of Bill Bell's scripts and production notes. What's interesting is that it includes (in addition to hundreds of scripts and other info related to ATWT,TGL,AW,DOOL,Y&R and B& 'All My Children' series idea - did Bill work with Agnes on some aspect of AMC-maybe in 64/65 when it was first mooted? 'Another World' scripts into 67 (although Bill stopped working on that show in 65) 'Rags' story outline Jan 86 (over a year before B&B debuted) 'Love Is A Many Splendored Thing' series idea (did he work on this with Irna?) 2 other series ideas 'Laura' and 'The Many Ways of Love' .Neither are dated and I would assume they are soaps. http://www.oac.cdlib.org/findaid/ark:/13030/tf5199n9tb/

Days fan mail report from 77. Oh those innocent days pre internet!

http://www.broadwaytovegas.com/February23,2003.html AS ROSEMARY PRINZ'S WORLD TURNS It was as Penny Hughes on TV's As The World Turns, which she played for 12 years, that Rosemary Prinz first gained national prominence. In that part Prinz and Juilliard trained Mark Rydell, as Jeff Baker, became daytime's first major teen romance. Today Prinz is getting ready to star in the world premiere of Carol Galligan's play Killing Louise at CAP21 in New York City. Along the way Rosemary Prinz has seen her own world take some interesting spins. She spoke with Broadway To Vegas about her fascinating career. While soap operas were always noted for their cutting edge sexuality, moralistic guidelines controlled the plotlines. Rosemary Prinz getting wed on As The World Turns. Marriage was required. "Oh my God, yes," exclaimed Prinz. "There were many guidelines. This was way before Women's Lib. You could never get divorced. That is why so many leading men died," she divulged. "In order to further the story you had to kill off the guy, because it was a woman's medium. You killed off the guy and then the heroine married somebody else. That ran itself into the ground and then he died. If you were a leading man you never signed a long term lease," laughed Prinz referring to the actor never feeling secure enough to make a long term purchase. "You were going to get bumped off, because you couldn't get divorced." Recently, Lea Salonga reprised her role on As The World Turns, guest starring to help advance the storyline. Any chance Prinz might do another guest shot as Penny? Helen Wagner and Rosemary Prinz as Nancy Hughes surprised by her daughter Penny at her 80th birthday party on As The World Turns "A guest shot is always possible," she replied. "It happens something like once every five years. I left in 1968 and I think my first show back was about 25 years later. That was for my brother Bob's wedding," she related about the character of Bob Hughes portrayed by Don Hastings. "Then a couple of years later there was my parents 50th anniversary and I went back. I have maybe five or six times - I wouldn't say it's a career," she chuckled. "But, it's nice because, at this point, I'm the highest paid extra in the world. They don't know what to do with me. They pay me and I go in and say - Hi, Mom." "I do occasionally see Eileen Fulton in her nightclub act, because she plays New York quite often. So, I'll go and see her," related Rosemary about the actress/singer who created the infamous Lisa. "Helen Wagner, who played my mother, and I exchange Christmas cards. When I go back, of course, it's like old home week. But, our lives run on different paths. They are doing a soap in New York and I am in the theatre and on the road a lot." Usually TV Guide has their facts straight. But, in 1988 TV Guide ran a short - mistake ladened - article about Rosemary Prinz that stated: "She was one of soapdom's first bona fide stars in 1956 as Penny on CBS's As the World Turns and helped launch ABC's All My Children in 1970. Quite a track record for someone who almost got bounced from NBC's now-defunct First Love in 1954. Her offense? She laughed uncontrollably when an actor accidentally turned "Chris cracked up the plane," into "Chris crapped___." Not that she's immune to slips of the tongue. "I did a play where my line was 'I've never seen anything as beautiful as John Dickey's villa,'" Prinz jokes. "Well, imagine how that came out!" Rosemary Prinz not only didn't mess up the line, she wasn't even in the play! Not true. None of it and Prinz would like to set the record straight. Referring to almost being fired for laughing Prinz responded; "That is not true at all. It may have happened during a rehearsal but it certainly never happened on the air. And, I was never was almost fired from that show. I would appreciate it if that could get straightened out." As to having messed up that play line - I've never seen anything as beautiful as John Dickey's villa,' Prinz retorted; "That not only was not me, it wasn't even a play that I was in! It was a play my husband was in with some character actress." "That was my first husband, Mike Thoma, who had that experience in Pennsylvania, which is where we met," said Prinz referring to the actor that television viewers will remember from the series Fame and Eight is Enough. Thoma passed away in 1982 at the age of 55. "That did not happened on stage with me. Mike Thoma was on stage with a character actress. She said it backwards and everybody laughed. That part is accurate, but it wasn't me." Prinz is bright, spunky and fun. She's always been that way. Considering her heritage, that should come as no surprise. "I think my parents met on a blind date that was set up," she recalled. "Then they eloped to Gretna Green. It was quite something. My grandfather didn't speak to my father for a year until he finally said - Okay, I'll marry her in the Church." Toscanini was noted for his temper tantrums "My father was Toscanini's cellist," she related, referring to the late Mortin Prinz. From 1928 to 1936 the great conductor Toscanini, who started out as a cellist, was musical director of the New York Philharmonic. NBC establish an orchestra especially for him. On Christmas Eve in 1937 the first broadcast was aired. Once a week for seventeen years Toscanini offered the listeners an insight into his wide repertoire; a total of 117 operas by 53 composers and 480 symphonic works by 175 composers were broadcast. His outbreaks of rage and his passionate strict method of conducting remain well-known. "Toscanini was the maestro," continued Prinz. "He was a genius. In those days it was de rigueur to be difficult and temperamental - volatile. I spent my childhood in studio 8H, which they built for him at NBC for the NBC Symphony. Every Sunday I'd go to the broadcast and occasionally I was allowed to go to the dress rehearsal. I was just a kid - eight years old or something. I'd go to the dress rehearsals and hear him curse away!" "My father was also in the New York String Quartet. Music was everywhere. Musicians were everywhere. They were playing chamber music in the house. There was always music." Prinz surmised that "it was just automatically assumed that I would be in the arts. I always knew that I was going to be an actor. By the time I was 16, I had already skipped four times and graduated high school." "I went into summer stock with a man who became a very well known Broadway director, named Mort DeCosta," said Rosemary about the man who directed the original production of The Music Man. "This was in my senior term in school. I was graduating in June and he was hiring. I got something called Actors Cues and looked up who would want a young apprentice. I saw that he was looking for somebody to play Dear Ruth in his cycle of plays, which is a 15-year-old-girl. It is a wonderful part. She plays a drunk scene." Dodee Wick and Rosemary Prinz in Yes, My Darling Daughter at The Lake Summit Playhouse "I read for him and he hired me. In those days you got your Equity card on the third show. My first show was Dream Girls playing an usher saying - This way, please. In the third show I played Dear Ruth and had this wonderful part. Then I did Kiss and Tell and played the lead. Mort DeCosta said - Walter Davis is taking out a company of Kiss and Tell in the fall. I'm going to call and tell him I've got his lead. I'm going to call your parents and tell them I think you should take it and not go to college in the fall. You're smart enough to educate yourself. That is how it started. They said yes and I was off on the road." Part of her early years were at the Lake Summit Playhouse in Hendersonville, North Carolina. The Lake Summit Playhouse ran for four summers. For two winters the troupe went to St. Petersburg, Florida. In addition to Prinz, the company was the launching pad for Lee Marvin. "I went there when I was 18 with The Vagabond Players. I played there that season. Then we went to Florida. We did a winter season there. Then I went back a couple of times when I was better known. I did Cat on a Hot Tin Roof there and Driving Miss Daisy many years later." Currently Prinz is on the big screen in The Bread, My Sweet, co-starring with Scott Baio and Shuler Hensley, a Tony award winner for Oklahoma. Rosemary Prinz in the movie My Bread, My Sweet Saving dollar by dollar for her daughter's wedding. "It has an excellent cast," extolled Rosemary. "It was a love fest. It was shot after Shuler had done Oklahoma in London and won the Olivier Award and before he opened on Broadway. So, it was that period in between." In Italian, a good man is a "piece of bread" plain, simple and always welcome. In this romantic-comedy Baio, now a handsome 40-year-old, plays Dominic Pyzola, second generation Italian-American, workaholic corporate takeover artist. He has a post-graduate degree, a hot car, and an inkling that he's not a nice guy. Cleaning out "dead-wood" employees is lucrative but not fulfilling for the soul. For that he turns to his hobby job, running a Pittsburgh biscotti bakery staffed by his brothers, Eddie (Billie Mott) an incorrigible skirt-chaser and Pino (Shuler Hensley) a older mentally handicapped brother. He is a also surrogate son to Bella, (Prinz) an Italian immigrant who lives above the bakery and who has been saving, dollar by dollar, for her daughter's American wedding since the day she gave birth. The Bread, My Sweet is a love story about what happens when Dominic's worlds collide. He discovers that Bella has six months to live. Then Dominic gets an idea. "Of course Scott Baio doesn't look his age," commented Prinz. "He looks absolutely divan. And the camera adores him." "It a very sweet movie," she reported about the flick which has received rave reviews from every critic. The only problem is that it is a difficult movie to locate. "Because it is an indie, it has a small budget for distribution. They can't afford to open everywhere at once. Even for a print it's something like $50,000," explained Prinz. "It opens in two or three cities at a time. It's played in Pittsburgh, Minneapolis, Chicago. It is a sweet, sweet, movie and it fills a need right now. They are saying it is going to open in New York. That would be nice." "It's a lovely role, based on a true story. The writer/director knew this woman and so this movie was sort of a love letter to this woman and her daughter. I was based on a real character. The rest of it was made up, but there was a kernel of truth and then she elaborated for dramatic purposes." What draws Prinz to a role is "something that is well written, culturally important, in my view. Of course, I've certainly done crap, but I have not done crap in a long time. Sometimes something doesn't work. That doesn't mean its crap. There are only two reasons to do plays - one is, you just need the money. The other is, you need to satisfy yourself artistically. Mostly, that is what I have been doing. Not that I wouldn't do something for money," she laughed. "But only if it was fun and only for a tiny bit of time." "It was great to have done this movie because I'd never done a feature film. This was my first feature film. Well, that's not true," she confessed. "I did a feature film for the Navy when I was 18 about VD." "It was a training film, It Could Happen To Your Kid Sister and I cried my through the scene while I told somebody that I had VD." "It was right after the Second World War. You didn't fly very much in those days. They put me on a train and I went to Detroit to do it. I auditioned for the part. I probably didn't even have a single agent. I probably was making the rounds and got sent up for it. And, I went off and did this little training film." Prinz is also returning to the New York stage, starring in Killing Louise, which is set in the home and in the mind of the ailing, 89-year-old Louise - played by Prinz. The play confronts questions of conscience, law and morality when she asks her best friend to help her die. "This one is a beautiful play about choosing ones destiny, about friendship and love and has a lot to say," stressed Prinz. As for age Prinz has "never bought into it. My friends always say I was the first liberated woman when I was 16. I never bought into all of that anyway. It never seemed fair to me that we were treated as second class citizens. So, that was automatically reflected in the kind of parts I chose." "In Killing Louise I am playing somebody who is 89. I've played old from the time I can remember. I've played all ages. I did the national tour ofDriving Miss Daisy and certainly had to go up in age. Many years before, I remember doing Twigs. I've done many plays where I had to be a really old lady." "This is the world premiere. If somebody comes and sees it and likes it they may move it," she added regarding the future for Killing Louise. "One always hopes." Laurie Metcalf, Christopher Evan Welch, Rosemary Prinz, and Nathan Kiley in Purple Heart "I did a play at Steppenwolf last summer, Purple Heart, and we have been invited to the Galway Festival in Ireland in July. So, I'm going to be doing that play again. That was another world premiere. "I've been to London, but this will be my first time in Ireland.While we are there we are going over to Scotland, and try to make it a kind of fun trip. We have to leave the dog, I am afraid, but otherwise the family will be together. I just can't wait. I think it is so terrific to go over and do things in foreign lands." Roger Robinson, Tony nominee for Seven Guitarsplays Hoke, with Rosemary Prinz in Driving Miss Daisy Four-footed beasts are an important part of the Prinz household. "Every dog I've had traveled with me. It never used to present a problem, but now sometimes it can. But, they have to adjust or they don't get me. What is the point of having a dog if you leave it at home? Recently I played Steppenwolf and Pittsburgh and both were just such dog friendly places. I brought the dogs to the theatre. They stayed in my dressing room during the show. Another vital part of the household is husband, Joe Patti. "My husband and I took a little vacation in March and went to Prague and Budapest. It was fabulous. I had never been to that part of Europe. It was just fascinating to see all of these old, wonderful buildings and architecture. It was terrific and, of course, we ate our way through..." she laughed. "My husband is retired. He was a jazz drummer. Occasionally, we would do musicals together. He would decide to make the ultimate sacrifice - since he does improvisational jazz," she kidded, about him playing a locked in score. "That was fun when we could travel together. He always managed to join me at various parts of the tour or the run." Prinz also performed Glass Menagerie in Japan. It wasn't your run of the mill performance. "Japan was an exchange program. I had done Glass Menagerie at the Milwaukee Rep and we did a exchange program with Japan," she explained. "They sent a company over and we went over there and did that for five weeks. I just loved it." "It was the most foreign place that I had ever been and it was like stepping into another world." "The Japanese love Tennessee Williams. They have a great affinity for him. They were totally befuddled by Sam Shepard. But, they loved Tennessee Williams, even though they didn't understand a word," she continued. "And, they didn't wear their earphones! Then I realized - Well, of course they weren't going to wear their earphones. When I went to all of the different theatres, the Kabuki (traditional Japanese entertainment men where play all the parts) and the Bunraku (Japanese traditional puppets theater) I never wore earphones. I wanted to see and experience it as they presented it. And, they didn't miss a thing. Of course, they knew the play, but they couldn't follow the exact dialogue. So, we never got any laughs, which was weird. To do a play that you knew where all the laughs were and - it was total silence." "We got used to it," Prinz said. "But, it was a very different kind of silence. It wasn't just flat silence. It was like - gasp - as a breathe intake silence. They were just with it every second. Then, we would get just wild applause afterwards. It was a fascinating experience." "And, we did it in the "sin city'" district. It was just amazing. It was just so safe. You could leave you pocket book on the street corner by accident and come by the next night and pick it up. You passed all these love hotels but it was non threatening. It was a terrific experience." Prinz has never stopped working and has no intention of slowing down. "No, I never stop working. I was rarely out of work. I've been very fortunate." Killing Louise by Carol Galligan, directed by Michael Montel, starring Rosemary Prinz. March 4th to 29th at CAP21 Theatre, NYC.

Will Patton (Ox Knowles RH,Kentucky Bluebird SFT) in a spot of bother http://www.dailymail.co.uk/tvshowbiz/article-2969357/Will-Patton-60-taken-DUI-near-hometown-South-Carolina.html

In January of 2002, episode of ATWT Nancy (played by Helen Wagner) went home from a talent show - which she won - with a handsome suitor named Andrew Emerson. He was played by Bob Willey, Helen's real life husband

November 25, 1963 (Mon.) "Judgment of Solomon." (5-part) Guest stars: Judy Lewis, Sheri Bond, and Bonnie Bartlett.No details on that episode or her role.

I always had it in my mind that Agnes introduced Peggy Nolan (Micki Grant) as the first black female character in a contract role,but checking the AWHP I see that the much maligned James Lipton was headwriter when Grant came on and Harding Lemay was hw when Peggy was written out.

Fantastic post.How long were Jacquie and Carl married? It seems surprising that after all that they didn't stay together.Did she ever do one of those 'why my marriage failed stories'for a magazine?

Patrick is so annoying,self centred and immature that it doesn't make sense that any guy would be interested.His cutesy persona would wear thin awful quick...

August 67 happenings. Claire Cassen's elopement with Dr. Michael Shea; The finalization of Lisa's divorce from John Eldridge so she could pursue Dr. Shea; Bob's troubles at the hospital over a blood transfusion he gave Diane Steiner without her parents' consent; A disagreement between Chris and Nancy not only over Nancy's handling of Penny's marital troubles with Roy McGuire, but also with Nancy's wish to have her sister Pearl, whose husband, Harry, was seriously ill, live with the Hughes family; and Susan Burke's attempt to play matchmaker between Paul Stewart and nurse Wendy Bennett Interesting about Pearl and Harry.

Victoria Wyndham's website - her paintings,sculptures etc http://wyndhamstudios.com/Artist.asp?ArtistID=25394&AKey=5M235PYD

Lady Blue aired maybe 3 episodes before the axe fell.It aired Thursday @9 up against Cheers/Night Court on NBC and Simon &Simon on CBS. In Wk 2 of the season Cheers was #6,Night Court #17,Simon #22and Lady Blue #61 out of 69 shows airing.

Lakin's name comes up in the Proposed Soap thread a few times in the 70's and 80's, so she was obviously open to working in daytime.

David Canary played Arthur Benson a producer of the movie You Can Love Again,which Steve Kaslo supplied the title song.

Marland seemed to forget his own rules at the end of his tenure.None of the characters had any link to the Hughes,Stewart and Snyder families. Reading old newspaper articles I saw the name of Warren Swanson as Irna Phillips lawyer in her 1968 lawsuit against Screen Gems over ownership of DOOL. Swansomn also worked for Irna as a co writer of ATWT. Talk about versatile. The linked article mentions he also worked with Steve Babecki on a guide to Chicago museums. There was a Katherine Babecki who also wrote ATWT.Wonder if there was any connection? Some of the info in the article is way off.He created 15 shows??? http://articles.chicagotribune.com/2000-05-17/news/0005170103_1_mr-swanson-mayor-richard-j-daley-city-attorney Warren L. Swanson wore many hats--he was an attorney, a soap-opera writer and the co-author of well-known guides to Chicago. He dreamed up the idea of the first Easter Seal telethon and owned some prime real estate in the city. "He was a Renaissance man," said his son, Sheridan Christopher. "He tried everything and he had a knack for it." The 66-year-old South Loop resident who lived two doors away from Mayor Richard M. Daley died May 7 of a brain hemorrhage in Mercy Hospital and Medical Center in Chicago. Mr. Swanson was born and lived most of his life in Chicago. Mr. Swanson graduated from the University of Chicago and then Northwestern Law School. He at one time tutored former Gov. James Thompson through law school, his son said. During the early part of his career, Mr. Swanson butted heads with the late Mayor Richard J. Daley. As one of two special prosecutors in a vote fraud probe 40 years ago, Mr. Swanson won convictions against three Democratic precinct workers who pleaded guilty to altering ballots in the 1960 election. Then, in 1968, when board members of a civic group he headed, the Citizens of Greater Chicago, decided to give the late mayor an award for "safeguarding lives and property" during the Democratic convention, Mr. Swanson resigned the group in protest. But he considered himself a friend of the younger Daley and his wife, Maggie. Mr. Swanson's partner of 17 years, Thomas Brown, called him "one of the finest attorneys I know." Mr. Swanson helped the city of Palos Heights incorporate during the 1950s and then stayed on as the city attorney for 40 years. It was while working as an attorney that Mr. Swanson landed a job writing for soap operas. Back in the '60s, many of the well-known TV dramas were being created in Chicago. An attorney friend who had been asked to write a courtroom drama for "As the World Turns" was not interested and so he passed on the job to Mr. Swanson who took the assignment and ran with it. He became the lead writer for "As the World Turns" and "Another World" and helped create 15 other shows, including "Somerset." In 1977, Mr. Swanson joined forces with Steve Babecki and wrote a 38-page guide to Chicago-area museums, "Museums of Chicago." Mr. Swanson also owned such properties as the building housing the Ann Taylor store on Oak Street and he once owned the Helene Curtis building in the North Loop. Survivors also include a grandson. Services were held Friday; the family is planning a celebration of his life at an as yet undetermined date in June.

Rick Edelstein wrote for a few soaps over the years. He co wrote The Doctors with Rita Lakin in 1968/69, episodes of which are currently being shown on Retro TV.

60's popstar Leslie Gore has died age 68. In the early 80's she appeared on AMC as songwriter June Gordon. http://au.eonline.com/news/626030/lesley-gore-dies-it-s-my-party-singer-was-68-battled-cancer