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In 1965 when CBS was thinking of adding All My Children at 12pm (sponsored by Proctor and Gamble) that would have displaced Love of Life to 11.30 am.

American Home Products which sponsored LOL ,were not happy and pressured CBS not to add AMC.

Meanwhile NBC stepped in and offered AHP the 12 pm slot for LOL.

CBS backed down and LOL stayed at midday.

So there was a possible scenario where Love of Life on NBC would be competing with All My Children on CBS.

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Interesting, @Paul Raven. From April to August 1965, Frank Provo and John Pickard were headwriters for "Love of Life." At that time, I believe all of their daytime work had been for NBC. I'm curious if AHP hired Provo and Pickard with the intention of having them make the show more in line with what NBC would have wanted. Of course, I could just be putting too much thought into this. 

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@BoldRestless uploaded a '70s documentary clip with a number of LOL clips I had never seen before, including one with Bert Convy and the wonderful Jessica Walter. There are also some ATWT, Search for Tomorrow and GL clips. I wonder how many of these episodes are still around anywhere now (I know one or two are). You also get some "before they were stars" clips of Roy Scheider, Bonnie Bedelia, Hal Holbrook, etc. What a treat to see soaps being treated with dignity and respect, which was so rare even at the time.

@vetsoapfan @Vee @slick jones @Paul Raven @dc11786 @Soapsuds @victoria foxton@antmunoz@DramatistDreamer @Joseph

 

 

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Tess and Bill are considered by many to have been a super-couple. They were extremely popular during their run, and got lots of soap-opera press coverage. And Love of Life was very modern (certainly anything but old-fashioned) during their time on the show.  They were likely the closest to a super-couple Love of Life ever had.   

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Written by Peggy McKay (supposedly) for Who's Who in TV and Radio 1955

 People are always talking about " women's" magazines and " women's" radio or television shows,as though women weren't people. Sometimes I get the feeling there are supposed to be two kinds of entertainment—"good" and "what women like." I'lI take exception.

Daytime television serials do lean heavily on sentiment and trouble, but I think of the TV soap opera as a kind of daytime novel. It's got to have a love story and a family—people the audience can identify with. The people mustn't be sophisticated, nor cruel, nor hard, and a woman must always be the strongest character. She must suffer heroically. In, a way it's a harmless outlet for the urge to gossip. Women like to be concerned about people, and if they miss a show they can always ask the lady down the block. " What happened to so-and-so'?' It isn't so much that women like trouble, either, as that it makes their own lives seem easier.

No matter what happens, the heroine does survive, and the audïence trusts her to find a way out that they approve of. In " Love of Life - I play the part of a career girl- Not a particularly ambitious, get- ahead type, but a girl who works to support a family. She's a cartoonist, got a job on the paper during a gambling exposé in town, walked right into the gambling dens. She's kind of direct, and the newspaper thinks she's wonderful. Her husband's a lawyer, going in for himself, so she's helping out. She can't have a child, so they're adopting one—it's the child of Vanessa's husband's former wife, but not of Vanessa's husband. The child is deaf and dumb, psychologically so. We'll be working with this situation for quite a while.

Other problems are the kind that happen to members of the audience all the time. Proof that Vanessa is real to her audience comes in letters I get saying, think of you as a friend, someone I could trust." To be on a TV show is like visiting people in their homes; they talk to you as though you were real neighbors. People come up to me in the street, in Central Park, upstate, and greet me as Vanessa.

There's one thing about daytime drama I'd like to say, too. People used to make fun of being on soap operas. But we have tried so very hard to make them as real as possible that more and more performers realize TV soap opera is a good place to be. There's a great satisfaction to an actress in playing the same role three times a week, and letting it grow. And, in a funny way, we on the show have got to know each other so well that the family repertory feeling is very rewarding. Even actors who comes in for short parts find it pleasant. " Nice to be here with you people," they say.

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How sorry I am to learn of the death of Irene Cara (Daisy Allen #1 on Love of Life)!

 

Irene Cara, the voice behind Oscar-winning original song "Flashdance ... What A Feeling" has died. She was 63. 

News of her death was announced on her official Twitter account by her publicist, Judith A. Moose. Cara died in her Florida home of an unknown cause, the announcement said. 

"It is with profound sadness that on behalf of her family I announce the death of Irene Cara," Moose wrote. "She was a beautifully gifted soul whose legacy will live forever through her music and films." 

Born in New York City, Cara possessed an early talent for music and performance as a finalist in the "Little Miss America" pageant when she was 3 years old. As a third grader she appeared on the "Ted Mack Amateur Hour" singing "Ola, Ola, Ola."  

Irene Cara, who earned an Oscar for the "Flashdance" title song, "Flashdance... What A Feeling," has died. She was 63.
 

Before landing an Oscar and Grammy Award for her work on "Flashdance," Cara laid the foundation for her career in the Short Circus band on the 1970s children's show "The Electric Company." Her Broadway debut came at 9 in the original 1968 production of "Maggie Flynn" where she appeared alongside fellow actors Stephanie Mills and Giancarlo Esposito. 

"Sparkle" was Cara's breakout movie role when she played the title character of the 1976 film. In 1980 she received her first award nominations for her voice and acting as Coco in 1980 movie "Fame," which led her to a Grammy nomination for best new artist and a nod for best pop vocal performance for the title song. 

In a 2012 interview with the Los Angeles Times, Cara said her work in "Fame" marked her pivot from child actor to an independent adult. 

"I left home ... I got an apartment near where we were filming. I wanted to be my own woman and all of this," she said. "I started hanging out in nightclubs, and I was sowing my oats.”

Three years later after "Fame," Cara got her next go at the awards cycle as the voice behind the hit from 1983's "Flashdance" starring Jennifer Beals. Cara won the Academy Award for "Flashdance ... What A Feeling" along with songwriters Giorgio Moroder and Keith Forsey for best original song. The song also won two Grammy awards. 

Beals presented the Oscar to Cara at the 56th Academy Awards. The singer called it "the most precious honor" before thanking her parents, teachers and fellow musicians. 

Cara's music career continued as she made appearances on NBC's "Hit Me Baby One More Time," formed her own all-woman band Hot Caramel and released a 24-track album in 2011: "Irene Cara Presents Hot Caramel." 

Many actors and singers remembered Cara on Twitter. 

Yvette Nicole Brown wrote Saturday that Cara was "one of the first women I saw singing, dancing & acting in color not B&W who looked like me" adding that seeing her in "Fame" "changed my life." 

On Instagram Questlove wrote: "Goodbye Irene Cara. I’m Sad About This." 

NBC analyst Stephanie Ruhle wrote: " 'What A Feeling' & 'Fame' bring back memories of pure joy. I am so sad to learn about @Irene_Cara's passing." 

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