4 hours ago, j swift said:

@AbcNbc247 - since we've been discussing the changing in writing staff, I thought these quotes highlighted a couple of interesting things.

1. C&F do not feel beholden to prior versions of writing.
2. C&F may not even know what some of RonC intentions were.
3. The reports of actors feeling that there is some amorphous date when everything will change seems to be an opinion that is not shared by everyone in the production (in other words, C&F want to appear to be guiding the ship, not waiting until fall).

 

I'm very glad that they didn't feel that way 😂

But now I really want to know who the shooter was supposed to be.

On 8/25/2025 at 10:09 AM, Marlenafan01 said:

Apparently the show may be taking a long hiatus this fall and there are rumors of a studio switch.

I'm certain Jason47 knows the filming schedule.

Edited August 26Aug 26 by j swift

1 hour ago, j swift said:

I'm certain Jason47 knows the filming schedule.

Been trying to get a schedule update since my schedule contact left in March. I did hear a few months back about a potential move to a new studio, so it's certainly possible if they shut down for 6 weeks, that could be the reason.

18 minutes ago, JAS0N47 said:

Been trying to get a schedule update since my schedule contact left in March. I did hear a few months back about a potential move to a new studio, so it's certainly possible if they shut down for 6 weeks, that could be the reason.

So we can add an anonymous informant to the @JAS0N47 lore?, A Deep Throat, or in this case, maybe a Deep Schedular?  The cannon is lengthy, and the sources were deep undercover. Hats off to your commitment. 

Edited August 27Aug 27 by j swift

On 8/25/2025 at 10:09 AM, Marlenafan01 said:

Apparently the show may be taking a long hiatus this fall and there are rumors of a studio switch.

I wonder if the move is true if the show will be headed to the old Warner Bros Ranch Lot? The company that owns the current Days studio just redeveloped that whole lot and built a bunch of new sound stages, construction is suppose to finish this fall. 

https://www.burbankca.gov/web/community-development/ranch-lot-studios

That lot is literally just a few minutes from the show's current location, I am sure the cast and crew would love to be in a new studio, though I am sure not much would change on screen. Maybe some set alterations and some better lighting lol 

I was contacted by a documentarian working on a documentary of actor Ricardo Medina Jr.  Thanks to checking the cast lists and figuring out which episodes Ricardo had a U/5 role on "Days" in 1999, and thanks to checking with a fan who has the episodes that can be posted, the documentarian has confirmed that the role of "Ricardo" on 11/24/99 and 11/26/99 is indeed one of Medina's earliest acting roles, which predates his main claim to fame of "Power Rangers" in 2002.

 

Now that we know it is him, I will add him to my cast database as Ricardo in 1999.

TV Guide July 5-11 1988

Tell 'Em Neil Sent You

For the last 12 years on NBC’s Days of Our Lives, Joe Gallison has played Dr. Neil Curtis, a former compulsive gambler and heavy drinker who is, nevertheless, a nice guy to have for a friend. Neil has helped many a fellow character get on with his or her life. Off-camera, Gallison just finished working in a play in California. His latest venture, however, is one Dr. Curtis would probably approve of. Along with his wife, Melisa, Gallison has opened a bar in Studio City, Cal., a place where actors can go to unwind and complain about their directors. The name of the place, appropriately enough, is re$iduals.

BURBANK STUDIOS: LOTS OF STUFF WRAPPED IN THE HALLWAYS (FOR A POSSIBLE MOVE?)...INCLUDES HORTON STAIRCASE....AND SNEAK PEEK AT A NEW SET NAME!

 

A look behind-the-scenes at the Burbank Studios this week, thanks to a fan.

 

Edited September 5Sep 5 by JAS0N47

2 minutes ago, JAS0N47 said:

SNEAK PEEK AT A NEW SET NAME!

I spy this set name

Spoiler

"Theo's office"

and this possibly updated set name

Spoiler

(DiMera office and not Titan-DiMera office)

I just hope that this character won't be working for that company.

11 hours ago, Paul Raven said:

TV Guide July 5-11 1988

Tell 'Em Neil Sent You

For the last 12 years on NBC’s Days of Our Lives, Joe Gallison has played Dr. Neil Curtis, a former compulsive gambler and heavy drinker who is, nevertheless, a nice guy to have for a friend. Neil has helped many a fellow character get on with his or her life. Off-camera, Gallison just finished working in a play in California. His latest venture, however, is one Dr. Curtis would probably approve of. Along with his wife, Melisa, Gallison has opened a bar in Studio City, Cal., a place where actors can go to unwind and complain about their directors. The name of the place, appropriately enough, is re$iduals.

Perhaps he was inspired by Neil owning Blondie's 😂😂

Matt Ashford and Missy Reeves interviewed by Stephanie Sloane for Swooon
(uploaded September 2025)
in-depth, video length 47:38.
https://www.swooon.com/1224424/days-of-our-lives-jennifer-jack-relationship-history-melissa-reeves-matthew-ashford/

BOBBY HART

 

IN LOVING MEMORY

 

FEBRUARY 18, 1939-SEPTEMBER  10, 2025

 

"Days of Our Lives" Theme Song Composer

 

 

Bobby Hart, who composed the "Days of Our Lives" theme song with Tommy Boyce in 1965, along with much of the show's original background music, passed away on September 10, 2025. He was 86.

 

Bobby Hart, a songwriter who co-wrote some of the greatest hits of the Monkees, and a performer in his own right who made the top 10 as a member of the duo Boyce and Hart, died Wednesday at age 86. His wife MaryAnn said that her husband’s death came after a long illness.

 

Hart was associated throughout his career with co-writer Tommy Boyce, his official partner at Screen Gems/Columbia. Together, they wrote a series of huge hits for the Monkees, including the theme song for the TV series that spawned the group, “(Theme From) The Monkees,” as well as the 1966 No. 1 “Last Train to Clarksville” and follow-up singles such as “Valleri” ( a No. 3 Hot 100 hit), “I Wanna Be Free,” “(I’m Not Your) Steppin’ Stone” and “Words.”

 

Mickey Dolenz issued a statement of sympathy Sunday morning: “Another great is gone. Bobby Hart, who along with Tommy Boyce, penned and produced some of the Monkees’ greatest hits not only made a vital contribution to the popular success of the Monkees, but even more importantly to the essence, the very spirit of the entire venture. His talent, charisma, good humor and calmness in the face of what at times was nothing less than a maniacal roller coaster ride often brought a sense of peace that heartened everyone around him. He was the stillness that is the eye of the hurricane.”

 

The “Monkees” theme was not their only indelible TV song; the duo also wrote the theme for the long-running soap “Days of Our Lives.”

 

Another song that became a standard, “Hurt So Bad,” was first a No. 10 pop hit for Little Anthony and the Imperials, before being covered by acts from the Lettermen to Linda Ronstadt (whose cover reached No. 8 in 1980). The duo’s other songs included “Come a Little Bit Closer” for Jay and the Americans, a No. 3 Billboard hit in 1964.

 

Hart was also an Oscar nominee, with “Over You,” a song from “Tender Mercies,” in which Robert Duvall portrayed a country singer, being put up for an Academy Award in 1983; his co-writer for that was Austin Roberts.

 

Although Boyce and Hart remained best known for helping establish the Monkees as actual charttoppers as well as TV stars, they found success on their own as a duo, releasing three albums and finding success with one big hit, amid a series of lesser-charting singles. Their gold-selling single “I Wonder What She’s Doing Tonight” reached No. 8 on the Billboard Hot 100 in 1967.

 

Boyce and Hart also made a series of television appearances during their brief heyday as a duo in the 1960s, appearing on “Bewitched,” “The Flying Nun” and “I Dream of Jeannie.” (In a clip taken from their “Bewitched” episode, seen below, the dialogue centers around coverage of the duo’s career in Variety.)

 

As a duo, they were done by the end of the 1960s, but in the mid-1970s they came back together in the studio alongside ex-Monkees members Micky Dolenz and Davy Jones for what was widely seen as an attempt to form a new version of the Monkees, dubbed Dolenz, Jones, Boyce & Hart. The supergroup did not have any super success on the charts and the collaboration only lasted for one 1976 studio album; they had a somewhat greater impact as a touring act.

Hart played on some of the hits he co-wrote with Boyce as well, such as playing the Vox continental organ on the Monkees’ version of “(I’m Not Your) Steppin’ Stone.” That song was actually first recorded by the Liverpool Five and then Paul Revere & the Raiders before the Monkees took it to No. 20 on the Hot 100.

Boyce and Hart were also part of a campaign in the 1960s to lower the voting age to 18, releasing a single titled “L.U.V.,” which stood for Let Us Vote. Tommy Boyce died by suicide in 1994 at age 55.

 

Bobby Hart was born Robert Luke Harshman on Feb. 18, 1939, in Phoenix, Arizona. He changed his name at the behest of a manager when he started a brief career as a solo artist with the 1960 single “Girl in the Window.”

 

“It was a time when there were songwriters who did nothing more than write songs for artists who didn’t write songs for themselves,” Hart explained in an interview with Gary James for Classic Bands. “Tommy and I had our first success in New York. I came from Phoenix to Los Angeles at 18, but I met Tommy when we were the same age and we became friends out here (California), but then we had a chance to go to New York and had our first success back there with ‘Come A Little Bit Closer’ by Jay and the Americans, and a Chubby Checker record and Little Anthony and the Imperials. We got signed to Screen Gems Columbia Music and came back to the West Coast in 1965. We were just set up with all these projects and basically at that point were seeing ourselves as short order cooks, if you will — whatever was needed and whenever it was needed. If Paul Revere and the Raiders were coming up to record in three days and they needed a record, we would do something that we thought would sound like a Paul Revere and the Raiders record and demo it and get it to them in three days. That was our life in 1965.”

 

He discussed playing with as well as writing for the Monkees. “The songs we produced for the Monkees, we used my band, the Candy Store Prophets, and augmented it with a couple of guitar players named Louie Shelton and Wayne Erwin, and Tommy and I also played and sang background on ’em. It was a different sound than we would’ve gotten if we had used the Wrecking Crew guys, the regular studio guys that played on almost everything else. We loved those guys and we did use them on other sessions for other artists, but the Monkees, it really was a garage band, and one that Tommy and I played with in one form or another for four or five years.”

 

Hart told Sunshine Factory about the initial assignment to write for the “Monkees” television show, before the roles had even been cast.

 

“One day, our boss at Screen Gems, Lester Sill, said, ‘I want you to go over and meet with these guys on the lot, Columbia Pictures lot. They have an idea to do a pilot for a television show.’ So Tommy and I went over and had a meeting with Bert Schneider of Raybert Productions. Of course, his partner was Bob Rafelson. And he explained what they wanted to do, a show called ‘The Monkees,’ which was basically ‘A Hard Day’s Night,’ Beatles on American television, a lot of madcap visuals, and we got it right away, and we convinced him right in that first meeting that we knew exactly what the counterpart musically should be. So he gave us the job of coming up with the theme song and two other songs that they needed for the pilot of ‘The Monkees.’

“We didn’t see a script,” he said, but knew “it should be something that might sound a little Beatle-esque but was not a complete ripoff of the Beatles, something that encompassed the new wave of mod music that was coming from England. And so, of course, they needed the theme song first, and we actually wrote that by walking down the street from our house on Woodrow Wilson down to a little park in the Cahuenga Pass. And while walking, we started snapping our fingers and kinda got that that would be a good groove for the piece. So by the time we got there, we basically had it in our minds that it would be ‘Here we come, walking down the street.’ And then we envisioned the drumroll from the Dave Clark Five record (“Catch Us If You Can”). That would take us into the chorus, ‘Hey, hey, we’re the Monkees.'”

 

Hart continued, “Tommy was a great collaborator, and we worked really well together. He was a mile-a-minute, throwing out ideas, and I was more the structural guy who was saying, ‘Hey, wait a minute, those five that just went by, forget about, but that one there, that one sticks. Let’s see what we can do with that.’ And that’s the way we generally wrote. We both had a background of writing complete songs, so we both did lyrics, and we both did melodies. … And then they needed a song where, in the pilot show, Davy Jones would be walking on the beach, kind of reminiscing about a failed romance that he had. And so we had a song that we’d already written called ‘I Wanna Be Free,’ and we envisioned that that could be something that could be kind of haunting and appropriate for that scene.”

 

In 2015, Hart published an autobiography, “Psychedelic Bubble Gum: Boyce & Hart, the Monkees, and Turning Mayhem Into Miracles,” co-written with Glenn Ballantyne.

More recently, he published another book co-penned by Ballantyne, this time focusing on his spiritual practice and not his career. “Yoga and Your Hidden Soul Power: A New Path to Love, Happiness, and Abundance Using Yoga’s Ancient Niyama Wisdom,” released in 2024, expounded on his advocacy for Kriya Yoga and the teachings of Paramahansa Yogananda, founder of the Self-Realization Fellowship and author of “Autobiography of a Yogi.”

Hart married MaryAnn in 1980 and they shared a strong interest in meditation retreats. “Bobby’s songwriting work accurately articulated youthful energy, and emotions to the world,” his wife said in a statement, “but his soul work brought happiness, contentment, and peace into our home.”

 

Along with MaryAnn, Hart is survived by sons Bret and Bobby Jr., from a former marriage to Becky; several grandchildren and great-grandchildren; and his sisters Deborah and Rebecca.

 

A rep says Hart’s memorial service will be private, to be followed by a public celebration in spring 2026 in Los Angeles. In lieu of flowers, the family suggests donations be directed to the Self-Realization Fellowship.

 

(Obituary via: https://variety.com/2025/music/obituaries-people-news/bobby-hart-dead-songwriter-monkees-1236517972/)

 

Jason47 info on the "Days" theme:

     When songwriters Tommy Boyce and Bobby Hart were first approached to write the theme to "Days of Our Lives", Ted and Betty Corday asked them to come up with something that sounded similar to "Sunrise, Sunset", a song which the Cordays had just seen performed in the Broadway play "Fiddler on the Roof."
     Boyce and Hart's first two submissions to the Cordays were quickly rejected. Boyce was ready to call it quits, but Hart told Boyce he had one last idea before they abandoned the project. They went to a recording studio, and Hart played music on an organ that sounded like music he remembered hearing when his mother listened to various radio soap operas. Boyce gave some additional suggestions and they returned to the Cordays for their third and final attempt. This time, they were a success. Announcer Ed Prentiss spoke the following lines over the instrumental theme: "Like sands through the hourglass, so are the days of our lives. Days of Our Lives, a new dramatic serial starring Macdonald Carey." The "Days of Our Lives" theme was heard for the first time by the American public on Monday, November 8, 1965. It has been heard daily ever since, over 15,000 times.
     Composer Charles Albertine was brought on to "flesh out" the theme composed by Boyce and Hart, as well as write many background cues for the program. In an exclusive interview with Jason47, Mr. Albertine's son, Bruce, explains Albertine's involvement with the theme: The Albertines had moved to California in 1964. By that time, one of Albertine's compositions, "Bandstand Boogie", had been the theme song for "American Bandstand" for over ten years. He then began composing the background music for many of the Screen Gems comedies, including "Hazel", "Bewitched" and "I Dream of Jeannie." Screen Gems then assigned him to flesh out the theme which Boyce and Hart had submitted to the Cordays. The theme they submitted had only been done as a demo on an organ. The Cordays wanted something new and different: a theme to be played by a small orchestral ensemble. This would break new ground in daytime serials since, up until that time, they had only been accompanied by keyboard music.
     Albertine wrote the orchestration for the ensemble, which included adding the signature flute-and-bells broken arpeggio that begin the main title. He borrowed this portion note-for-note from his earlier critically acclaimed work "Music for Barefoot Ballerinas" written for Larry Elgart in 1952. In addition, he also wrote a bridge (middle section) for the extended theme song that was played during the closing credits crawl. However, NBC ceased using the closing credits theme in November 2001.

 

"Days" music sheet, 11/8/65:

 

A look at the music heard on the first episode of "Days." Bobby Hart, who passed away on September 10, co-wrote not only the theme song but much of the show's original background music heard on the show in the 1960's:

 

RSW just posted on his Instagram that they are on hiatus from filming for six weeks.

I don't know if I would recall where I parked after six weeks off of work.  I hope they all cleaned out their perishable goods.  😉

39 minutes ago, j swift said:

they are on hiatus from filming for six weeks.

I saw that @JAS0N47 mentioned elsewhere that they return to taping on November 3rd.

On 8/26/2025 at 7:38 PM, JAS0N47 said:

Been trying to get a schedule update since my schedule contact left in March. I did hear a few months back about a potential move to a new studio, so it's certainly possible if they shut down for 6 weeks, that could be the reason.

Updated the production schedule estimates as best I could. Here's the first update since March:

APRIL 2025...Taping Jan/Feb 2026 episodes
MAY 2025...Taping Mar/Apr 2026 episodes
JUNE 2025...Taping Apr/May 2026 episodes
JULY 2025...Taping May/Jun 2026 episodes
AUGUST 2025...Taping Jun/Jul 2026 episodes

Week of 9/1/25-9/5/25 DARK WEEK
Week of 9/8/25-9/12/25 # Taping Jul/Aug 2026 episodes
Week of 9/15/25-9/19/25 # Taping Aug 2026 episodes
Week of 9/22/25-9/26/25 DARK WEEK
Week of 9/29/25-10/3/25 DARK WEEK
Week of 10/6/25-10/10/25 DARK WEEK
Week of 10/13/25-10/17/25 DARK WEEK
Week of 10/20/25-10/24/25 DARK WEEK
Week of 10/27/25-10/31/25 DARK WEEK
Week of 11/3/25-11/7/25 # Taping Sep 2026 episodes

Edited September 21Sep 21 by JAS0N47