Robert Gordon, a rockabilly devotee and singer whose band the Tuff Darts was a staple of New York City’s Cbgb and Max’s Kansas City punk scene of the 1970s, died today. He was 75.
His death was announced by his record label Cleopatra Records on Facebook. “Cleopatra Records would like to offer our deepest condolences to his family and friends,” the statement reads. “We liked working with Robert and will miss his powerful baritone vocal as well as his focused dedication to his music.”
Related Story Hollywood & Media Deaths In 2022: Photo Gallery Related Story Noel Duggan Dies: Founding Member of Irish Folk Group Clannad Was 73 Related Story Nolan Neal Dies: 'America's Got Talent' & 'The Voice' Singer Was 41 – Update
A cause of death was not disclosed, but a GoFundMe page set up by his family says Gordon had been battling an aggressive form of acute myeloid leukemia.
His death was announced by his record label Cleopatra Records on Facebook. “Cleopatra Records would like to offer our deepest condolences to his family and friends,” the statement reads. “We liked working with Robert and will miss his powerful baritone vocal as well as his focused dedication to his music.”
Related Story Hollywood & Media Deaths In 2022: Photo Gallery Related Story Noel Duggan Dies: Founding Member of Irish Folk Group Clannad Was 73 Related Story Nolan Neal Dies: 'America's Got Talent' & 'The Voice' Singer Was 41 – Update
A cause of death was not disclosed, but a GoFundMe page set up by his family says Gordon had been battling an aggressive form of acute myeloid leukemia.
- 10/18/2022
- by Greg Evans
- Deadline Film + TV
Noel Duggan, who helped bridge traditional Celtic music and pop as one of the founding members of Clannad, has died. A tweet from the group said he was 73 and “died suddenly in Donegal” on Saturday evening.
The group said it was “heartbroken” by the news, which it shared on its Twitter account.
Clannad was formed in 1970 in Gweedore, County Donegal by siblings Ciarán, Pól, and Moya Brennan and their uncles Noel and Padraig.
“Noel will be forever remembered for his outstanding guitar solos, his love of music and his dedication to the band,” said the statement from Clannad.
Clannad came to its greatest attention when the band was asked to record the theme for ITV mini-series Harry’s Game, set during the Troubles in Northern Ireland.
They became the first band to sing in Irish on Top of the Pops in 1982.
No details on survivors or a memorial was immediately available.
The group said it was “heartbroken” by the news, which it shared on its Twitter account.
Clannad was formed in 1970 in Gweedore, County Donegal by siblings Ciarán, Pól, and Moya Brennan and their uncles Noel and Padraig.
“Noel will be forever remembered for his outstanding guitar solos, his love of music and his dedication to the band,” said the statement from Clannad.
Clannad came to its greatest attention when the band was asked to record the theme for ITV mini-series Harry’s Game, set during the Troubles in Northern Ireland.
They became the first band to sing in Irish on Top of the Pops in 1982.
No details on survivors or a memorial was immediately available.
- 10/16/2022
- by Bruce Haring
- Deadline Film + TV
If you purchase an independently reviewed product or service through a link on our website, Rolling Stone may receive an affiliate commission.
Live music fans who’ve been patiently waiting to see their favorite artists, from Halsey to Wu-Tang Clan, are in for a surprise this week. After the pandemic shut down and delayed so many tours, a ton of acts have scheduled stops across the country over the next few months. And now, concert promoter Live Nation has made it a little more affordable to get to an upcoming...
Live music fans who’ve been patiently waiting to see their favorite artists, from Halsey to Wu-Tang Clan, are in for a surprise this week. After the pandemic shut down and delayed so many tours, a ton of acts have scheduled stops across the country over the next few months. And now, concert promoter Live Nation has made it a little more affordable to get to an upcoming...
- 5/4/2022
- by John Lonsdale
- Rollingstone.com
Features the voices of: Crispin Freeman, Wendee Lee, Michelle Ruff, Stephanie Sheh, Johnny Yong Bosch | Written by Fumihiko Shimo | Directed by Tatsuya Ishihara, Yasuhiro Takemoto
A flaw with the Haruhi Suzumiya series lies in its massive fantastical elements. The stories could get really grand, insane and the characters just had to roll with whatever was thrown their way. The animated series never had a sense of real dramatic pay-off. Don’t get me wrong, the storylines are fun to watch but those moments of drama when they did happen captured human emotion brilliantly and you can’t help but wish for more of it. Well, that’s what the movie taps into and excels in turning a story known largely for its comedy into something much more grounded.
The premise of the movie is self-explanatory given what the title is. Haruhi disappears. Literally, Kyon wakes up on a cold December...
A flaw with the Haruhi Suzumiya series lies in its massive fantastical elements. The stories could get really grand, insane and the characters just had to roll with whatever was thrown their way. The animated series never had a sense of real dramatic pay-off. Don’t get me wrong, the storylines are fun to watch but those moments of drama when they did happen captured human emotion brilliantly and you can’t help but wish for more of it. Well, that’s what the movie taps into and excels in turning a story known largely for its comedy into something much more grounded.
The premise of the movie is self-explanatory given what the title is. Haruhi disappears. Literally, Kyon wakes up on a cold December...
- 12/30/2020
- by Xenia Grounds
- Nerdly
When you’re a kid, you imagine a lot of things. We fantasise about epic adventures around things like time travel and supernatural beings like ghosts, espers, aliens. However, most of us grow out of these fantasies because we learn to live with everyday reality bound by the laws of physics. This is an anime that is about all of these eccentric fantasies and brings them to life in hilarious and joyous ways.
The Melancholy of Haruhi Suzumiya centres around Kyon. On the surface, Kyon is a pretty average high school student (minus the fact that we never learn his real name. Kyon is a nickname). Life for him gets a lot more interesting after he meets Haruhi Suzumiya. Haruhi is far from your typical girl. To quote her directly, “I’m not interested in ordinary people but if any of you are aliens, time travellers or espers, please come see me.
The Melancholy of Haruhi Suzumiya centres around Kyon. On the surface, Kyon is a pretty average high school student (minus the fact that we never learn his real name. Kyon is a nickname). Life for him gets a lot more interesting after he meets Haruhi Suzumiya. Haruhi is far from your typical girl. To quote her directly, “I’m not interested in ordinary people but if any of you are aliens, time travellers or espers, please come see me.
- 12/9/2020
- by Xenia Grounds
- Nerdly
What is Clannad? If you’re into gaming or if you like Japanese light novels, you probably already know about it. If you don’t you might be interested to know that it hasn’t worked exactly like a lot of other Japanese anime. In fact, it has sort of blossomed in reverse. If you want to know more, read through these ten things listed below. 1. It’s a visual novel Some people call it a light novel other people call it a graphic novel, but whatever the name you use for it, it’s all virtually the same thing. It discusses a novel
10 Things You Didn’t Know about Clannad...
10 Things You Didn’t Know about Clannad...
- 12/17/2018
- by Nat Berman
- TVovermind.com
Author: Cai Ross
The summer movie season of 1992 opened under a cloud; a dark cloud from the still-smouldering buildings that had burned to the ground during the La riots in April. Racial tension after the disastrous acquittal of Rodney King’s uniformed attackers had reached an all-time high and Hollywood appealed for calm.
Thus, in a touchingly bold demonstration of selfless generosity, Walter Hill’s unremarkable urban thriller, The Looters, was hastily withdrawn and held back until Christmas, re-christened Trespass (memorably starring two Bills – Paxton and Sadler – and a pair of Ices – T and Cube). Elsewhere, it was business as usual.
The Rodney King affair was briefly alluded to in Lethal Weapon 3, the second-biggest hit of the summer and one of only a handful of ‘sure things’ on the menu. Though there were mutterings about the dominance of sequels in the summer movie season, there were weird things afoot in most of the other returnees. Aside from Lethal Weapon 3 – which was essentially a watered down Lethal Weapon 2 with too much added Joe Pesci – the rest of the sequels veered off into strange tangents, with varying results.
Alien 3, for example strayed dangerously far from the template set down by the first two classics. Bravely, it has to be said, David Fincher tried to create a quasi-religious epic, following Scott’s horror movie and Cameron’s war film. Latterly, Fincher’s frustrations and behind-the-scenes interferences became legendary, but audiences didn’t click with his compromised vision and it became the first in a long line of Alien movies to fall a bit flat.
Another major sequel, Honey, I Blew Up The Baby was in fact the complete opposite of 1989’s Honey, I Shrunk The Kids, culminating in the spectacle of a 99 foot toddler stomping through Las Vegas. It was directed without enthusiasm by Grease director Randal Kleiser, reminding audiences once again why no one remembers who directed Grease.
It wasn’t just sequels that dared to be different. One of the strangest mainstream offerings of the year was Robert Zemeckis’s black comedy, Death Becomes Her, which might have been a delicious satire on America’s vain obsession with cosmetic surgery if only Bruce Willis had stopped shouting at everyone like he was trying to prevent a plane crash.
Back in the ‘90s, much more so than today, comedies were a vital part of the summer success story – an inexpensive sop for the grown-ups while their teenage kids watched things explode in Screen 7. There were high hopes for Steve Martin and Goldie Hawn’s Housesitter, which was only a medium-sized hit, despite the bit where Steve Martin sings ‘Tura Lura Lura’ to his dad, and the other bit when his falls over his couch.
Boomerang was a bigger hit and restored some credibility to Eddie Murphy’s career after the crippling one-two punches of Harlem Nights and Another 48 Hours. It was also responsible for one of the great ironic ‘First Dance At a Wedding’ songs, Boys II Men’s The End of The Road.
Nicolas Cage embarked on a three year long career as a romantic comedy star with the rather wonderful Honeymoon in Vegas, famed for its skydiving Elvis finale. Tom Hanks and his Big director Penny Marshall reteamed to great success with wartime baseball comedy A League of Their Own, which also saw Geena Davis giving a star performance and Madonna giving a bearable one. “There’s no crying in baseball!!!” was probably the most quoted line of the summer.
As with City Slickers in 1991, comedy provided the biggest sleeper hit of the summer: Sister Act, with Whoopi Goldberg excelling as a murder witness hiding out in a convent. As with City Slickers, an unwise sequel was hastily made and hastily forgotten. The original though, was the sixth biggest film of the year and is still going strong as a west-end show to this day.
It wasn’t just the many and varied comic tastes of adults that were appeased; semi-literate young people were also provided for by Encino Man (or California Man as we knew it, since we don’t know where Encino is. It’s in California). Noted for Brendan Fraser’s first stab at the big time, this grungy caveman caper will be of interest to young contemporary archeologists keen to investigate who or what Pauly Shore was.
Teenagers were also palmed off with a silly-sounding comedy called Buffy The Vampire Slayer, written by first-time screenwriter Joss Whedon. Starring Kristy Swanson as the eponymous heroine, but marketed as a vehicle for Beverly Hills 90210 heart-throb Luke Perry, the producers had hoped for a chunk of the Bill & Ted audience that Encino Man hadn’t swallowed up. Sadly, they had to make do with a long-running spin-off television show regularly cited as one of the greatest ever made. Gnarly.
The stalking killer thriller phenomenon that started with The Silence of The Lambs and Cape Fear echoed into 1992 with solid hits like Unlawful Entry and Single White Female. Even Patriot Games – a sort-of sequel to The Hunt For Red October with Harrison Ford rebooting Alec Baldwin’s Jack Ryan – for all its CIA espionage and partial understanding of “The Troubles” in Northern Ireland, was basically a slasher movie, with Sean Bean doing to Harrison Ford what Robert De Niro had done to Nick Nolte the year before. (Sean Bean dies, obviously).
Crimes against the Emerald Isle weren’t restricted to the gratuitous amounts of Clannad in Patriot Games. Tom Cruise’s Irish accent in Ron Howard’s Far and Away was the benchmark for all bad Irish accents until Brad Pitt graciously took the relay baton in The Devil’s Own. The film, shot in glorious 70mm was the biggest risk of the summer and proved to be the dampest squib, considering the star power of Cruise and (then-wife) Nicole Kidman. Despite looking ravishing, the script had all the depth of a bottle-cap. It desperately wanted to be a timeless classic in the David Lean tradition but held up against Unforgiven, which was released in August, Far & Away was shown up as the glorified Cbbc TV special it was.
Unforgiven came out of nowhere. Clint Eastwood’s previous movie, The Rookie, was somehow even worse than 1989’s Pink Cadillac. However, he’d been sitting on David Webb Peoples’ script for years until he was finally old enough to play William Munny. An extraordinary, mature and masterful critique of Western mythology, Unforgiven was hailed as Eastwood’s best work from the get-go, took the summer’s number five spot and would later win a handful of Oscars, including Pest Picture.
So who was the box office champion of Summer ’92? Well, that question was never in any doubt. Tim Burton’s Batman was the cultural phenomenon of 1989, redefining the parameters of box office limitations and merchandise licensing in a way not seen since Star Wars. Speculation as to who Batman would fight next and who would play him/her began immediately. Dustin Hoffman was touted to play The Penguin and Annette Bening was actually cast as Catwoman, before pregnancy forced her to drop out.
On the 19th of June, all was revealed when Batman Returns opened to a spectacular $45m weekend, $5m more than the original. Michael Keaton returned as The Caped Crusader (having split up with the creditably tight-lipped Vicki Vale), while not one but three villains put up their dukes. Danny DeVito played the Penguin as a deformed, subterranean leader of a gang of circus act drop-outs. Michelle Pfeiffer as Catwoman (perhaps her signature role) was transformed from a clumsy secretary into a vengeful whip-wielding dominatrix. Christopher Walken borrowed ‘Doc’ Emmett Brown’s hair to play new villain, Max Shreck.
Despite the enormous opening weekend, things took a downward turn almost immediately. Audiences expecting more of the same were treated to a dark, nose-bitingly violent combination of German Expressionism, kinky S&M and oversized rubber ducks. The box office the following week dropped by 40%, and there was further controversy when McDonalds had to deal with the ire of horrified parents across America, ‘tricked’ by their Batman Returns Happy Meals into taking their kids to watch Burton’s deranged fairy tale, pussy jokes et al.
The backlash (against what is now considered a unique high-water mark in the superhero genre), meant that Batman Returns wound up making $100m less than its predecessor and it placed third for the year, behind Home Alone 2: Lost in New York, a film so determined to give its audience a familiar experience that it simply changed the first film’s screen directions from Int. Kevin’S House – Night to Ext. New York – Night and reshot the entire script. (The box office crown for the year was taken eventually by Disney’s Aladdin.)
Warner Bros. took evasive action, hiring Joel Schumacher to sweeten the mix, which would help to restore Batman’s fortunes in 1995, before everything, literally absolutely everything went wrong in 1997 and the world had to wait for Christopher Nolan to finish attending Ucl, become a director and save the Dark Knight from the resultant ignominy.
Hollywood was given a crash course in the perils of straying too far from a winning formula in the summer of ’92. Sadly, for a while at least, it learned its lesson.
The post Tamed Aliens, Harmonic Nuns and a Leather Catsuit: Strange Tales from 1992’s Summer of Cinema appeared first on HeyUGuys.
The summer movie season of 1992 opened under a cloud; a dark cloud from the still-smouldering buildings that had burned to the ground during the La riots in April. Racial tension after the disastrous acquittal of Rodney King’s uniformed attackers had reached an all-time high and Hollywood appealed for calm.
Thus, in a touchingly bold demonstration of selfless generosity, Walter Hill’s unremarkable urban thriller, The Looters, was hastily withdrawn and held back until Christmas, re-christened Trespass (memorably starring two Bills – Paxton and Sadler – and a pair of Ices – T and Cube). Elsewhere, it was business as usual.
The Rodney King affair was briefly alluded to in Lethal Weapon 3, the second-biggest hit of the summer and one of only a handful of ‘sure things’ on the menu. Though there were mutterings about the dominance of sequels in the summer movie season, there were weird things afoot in most of the other returnees. Aside from Lethal Weapon 3 – which was essentially a watered down Lethal Weapon 2 with too much added Joe Pesci – the rest of the sequels veered off into strange tangents, with varying results.
Alien 3, for example strayed dangerously far from the template set down by the first two classics. Bravely, it has to be said, David Fincher tried to create a quasi-religious epic, following Scott’s horror movie and Cameron’s war film. Latterly, Fincher’s frustrations and behind-the-scenes interferences became legendary, but audiences didn’t click with his compromised vision and it became the first in a long line of Alien movies to fall a bit flat.
Another major sequel, Honey, I Blew Up The Baby was in fact the complete opposite of 1989’s Honey, I Shrunk The Kids, culminating in the spectacle of a 99 foot toddler stomping through Las Vegas. It was directed without enthusiasm by Grease director Randal Kleiser, reminding audiences once again why no one remembers who directed Grease.
It wasn’t just sequels that dared to be different. One of the strangest mainstream offerings of the year was Robert Zemeckis’s black comedy, Death Becomes Her, which might have been a delicious satire on America’s vain obsession with cosmetic surgery if only Bruce Willis had stopped shouting at everyone like he was trying to prevent a plane crash.
Back in the ‘90s, much more so than today, comedies were a vital part of the summer success story – an inexpensive sop for the grown-ups while their teenage kids watched things explode in Screen 7. There were high hopes for Steve Martin and Goldie Hawn’s Housesitter, which was only a medium-sized hit, despite the bit where Steve Martin sings ‘Tura Lura Lura’ to his dad, and the other bit when his falls over his couch.
Boomerang was a bigger hit and restored some credibility to Eddie Murphy’s career after the crippling one-two punches of Harlem Nights and Another 48 Hours. It was also responsible for one of the great ironic ‘First Dance At a Wedding’ songs, Boys II Men’s The End of The Road.
Nicolas Cage embarked on a three year long career as a romantic comedy star with the rather wonderful Honeymoon in Vegas, famed for its skydiving Elvis finale. Tom Hanks and his Big director Penny Marshall reteamed to great success with wartime baseball comedy A League of Their Own, which also saw Geena Davis giving a star performance and Madonna giving a bearable one. “There’s no crying in baseball!!!” was probably the most quoted line of the summer.
As with City Slickers in 1991, comedy provided the biggest sleeper hit of the summer: Sister Act, with Whoopi Goldberg excelling as a murder witness hiding out in a convent. As with City Slickers, an unwise sequel was hastily made and hastily forgotten. The original though, was the sixth biggest film of the year and is still going strong as a west-end show to this day.
It wasn’t just the many and varied comic tastes of adults that were appeased; semi-literate young people were also provided for by Encino Man (or California Man as we knew it, since we don’t know where Encino is. It’s in California). Noted for Brendan Fraser’s first stab at the big time, this grungy caveman caper will be of interest to young contemporary archeologists keen to investigate who or what Pauly Shore was.
Teenagers were also palmed off with a silly-sounding comedy called Buffy The Vampire Slayer, written by first-time screenwriter Joss Whedon. Starring Kristy Swanson as the eponymous heroine, but marketed as a vehicle for Beverly Hills 90210 heart-throb Luke Perry, the producers had hoped for a chunk of the Bill & Ted audience that Encino Man hadn’t swallowed up. Sadly, they had to make do with a long-running spin-off television show regularly cited as one of the greatest ever made. Gnarly.
The stalking killer thriller phenomenon that started with The Silence of The Lambs and Cape Fear echoed into 1992 with solid hits like Unlawful Entry and Single White Female. Even Patriot Games – a sort-of sequel to The Hunt For Red October with Harrison Ford rebooting Alec Baldwin’s Jack Ryan – for all its CIA espionage and partial understanding of “The Troubles” in Northern Ireland, was basically a slasher movie, with Sean Bean doing to Harrison Ford what Robert De Niro had done to Nick Nolte the year before. (Sean Bean dies, obviously).
Crimes against the Emerald Isle weren’t restricted to the gratuitous amounts of Clannad in Patriot Games. Tom Cruise’s Irish accent in Ron Howard’s Far and Away was the benchmark for all bad Irish accents until Brad Pitt graciously took the relay baton in The Devil’s Own. The film, shot in glorious 70mm was the biggest risk of the summer and proved to be the dampest squib, considering the star power of Cruise and (then-wife) Nicole Kidman. Despite looking ravishing, the script had all the depth of a bottle-cap. It desperately wanted to be a timeless classic in the David Lean tradition but held up against Unforgiven, which was released in August, Far & Away was shown up as the glorified Cbbc TV special it was.
Unforgiven came out of nowhere. Clint Eastwood’s previous movie, The Rookie, was somehow even worse than 1989’s Pink Cadillac. However, he’d been sitting on David Webb Peoples’ script for years until he was finally old enough to play William Munny. An extraordinary, mature and masterful critique of Western mythology, Unforgiven was hailed as Eastwood’s best work from the get-go, took the summer’s number five spot and would later win a handful of Oscars, including Pest Picture.
So who was the box office champion of Summer ’92? Well, that question was never in any doubt. Tim Burton’s Batman was the cultural phenomenon of 1989, redefining the parameters of box office limitations and merchandise licensing in a way not seen since Star Wars. Speculation as to who Batman would fight next and who would play him/her began immediately. Dustin Hoffman was touted to play The Penguin and Annette Bening was actually cast as Catwoman, before pregnancy forced her to drop out.
On the 19th of June, all was revealed when Batman Returns opened to a spectacular $45m weekend, $5m more than the original. Michael Keaton returned as The Caped Crusader (having split up with the creditably tight-lipped Vicki Vale), while not one but three villains put up their dukes. Danny DeVito played the Penguin as a deformed, subterranean leader of a gang of circus act drop-outs. Michelle Pfeiffer as Catwoman (perhaps her signature role) was transformed from a clumsy secretary into a vengeful whip-wielding dominatrix. Christopher Walken borrowed ‘Doc’ Emmett Brown’s hair to play new villain, Max Shreck.
Despite the enormous opening weekend, things took a downward turn almost immediately. Audiences expecting more of the same were treated to a dark, nose-bitingly violent combination of German Expressionism, kinky S&M and oversized rubber ducks. The box office the following week dropped by 40%, and there was further controversy when McDonalds had to deal with the ire of horrified parents across America, ‘tricked’ by their Batman Returns Happy Meals into taking their kids to watch Burton’s deranged fairy tale, pussy jokes et al.
The backlash (against what is now considered a unique high-water mark in the superhero genre), meant that Batman Returns wound up making $100m less than its predecessor and it placed third for the year, behind Home Alone 2: Lost in New York, a film so determined to give its audience a familiar experience that it simply changed the first film’s screen directions from Int. Kevin’S House – Night to Ext. New York – Night and reshot the entire script. (The box office crown for the year was taken eventually by Disney’s Aladdin.)
Warner Bros. took evasive action, hiring Joel Schumacher to sweeten the mix, which would help to restore Batman’s fortunes in 1995, before everything, literally absolutely everything went wrong in 1997 and the world had to wait for Christopher Nolan to finish attending Ucl, become a director and save the Dark Knight from the resultant ignominy.
Hollywood was given a crash course in the perils of straying too far from a winning formula in the summer of ’92. Sadly, for a while at least, it learned its lesson.
The post Tamed Aliens, Harmonic Nuns and a Leather Catsuit: Strange Tales from 1992’s Summer of Cinema appeared first on HeyUGuys.
- 6/23/2017
- by Cai Ross
- HeyUGuys.co.uk
Llinos Cathryn Thomas Aug 5, 2016
Thirty years since it ended, we revisit much-loved 80s historical fantasy series Robin Of Sherwood...
The Robin Hood legend has been retold in countless ways, but one of the most memorable of modern times is Richard Carpenter’s hugely influential 1980s imagining, telling the story of Sherwood’s band of outlaws with a combination of realism and luminous fantasy with its roots in British folklore.
Made by Htv in association with production company Goldcrest Films (which was also behind Chariots Of Fire and Gandhi), its 26 episodes ran on ITV from 1984 to 1986, garnering a positive critical reception and inspiring a fan following that’s still enthusiastically active today.
Much of the success of the show was down to the spot-on casting and the chemistry between the performers. Michael Praed’s charismatic-yet-otherworldly presence as Robin was the perfect match for the show’s aesthetic, and the more down-to-earth Little John,...
Thirty years since it ended, we revisit much-loved 80s historical fantasy series Robin Of Sherwood...
The Robin Hood legend has been retold in countless ways, but one of the most memorable of modern times is Richard Carpenter’s hugely influential 1980s imagining, telling the story of Sherwood’s band of outlaws with a combination of realism and luminous fantasy with its roots in British folklore.
Made by Htv in association with production company Goldcrest Films (which was also behind Chariots Of Fire and Gandhi), its 26 episodes ran on ITV from 1984 to 1986, garnering a positive critical reception and inspiring a fan following that’s still enthusiastically active today.
Much of the success of the show was down to the spot-on casting and the chemistry between the performers. Michael Praed’s charismatic-yet-otherworldly presence as Robin was the perfect match for the show’s aesthetic, and the more down-to-earth Little John,...
- 8/2/2016
- Den of Geek
If you grew up in the 1980s, then no doubt you'll remember ITV's very own take on the Robin Hood legend. Robin Of Sherwood would face the formidable presence of the Sheriff of Nottingham on a weekly basis, and would do so while flicking his girly locks from side to side to the ethereal dulcet tones of Clannad.
Robin Of Sherwood went out between 1984 and 1986, which was to be one of Doctor Who's best forgotten periods of history. As the old saying goes, civilisations rise and civilisations fall, and in the mid 1980s, Doctor Who's cosy little world was in danger of crumbling. Some of the fans were turning up their noses at John Nathan Turner's stewardship, while the evil big shots at the BBC were rubbing their hands in glee at the 18-month hiatus. About 30 years later, the presence of Robin Hood again caused dissension in the ranks.
Robin Of Sherwood went out between 1984 and 1986, which was to be one of Doctor Who's best forgotten periods of history. As the old saying goes, civilisations rise and civilisations fall, and in the mid 1980s, Doctor Who's cosy little world was in danger of crumbling. Some of the fans were turning up their noses at John Nathan Turner's stewardship, while the evil big shots at the BBC were rubbing their hands in glee at the 18-month hiatus. About 30 years later, the presence of Robin Hood again caused dissension in the ranks.
- 10/5/2014
- Shadowlocked
"The Last of the Mohicans" written/directed by Michael "Miami Vice" Mann in 1992, is a historical feature set in 1757 during the French and Indian War, based on author James Fenimore Cooper's classic novel.
Cast includes Daniel Day-Lewis and Madeleine Stowe, with Russell Means, Wes Studi, Eric Schweig and Jodhi May.
The soundtrack, featuring music by Trevor Jones and Randy Edelman, featured the haunting song "I Will Find You" by Clannad.
"Last Of The Mohicans" won an Academy Award for Best Sound.
Mann's film, like the novel is a romance, set against a turbulent era, with authentic wardobe and weaponry of the period.
"Last Of The Mohicans" opened in North America, September 25, 1992. By the end of its domestic run, the film earned $75,505,856.
Sneak Peek "Last Of The Mohicans"...
Cast includes Daniel Day-Lewis and Madeleine Stowe, with Russell Means, Wes Studi, Eric Schweig and Jodhi May.
The soundtrack, featuring music by Trevor Jones and Randy Edelman, featured the haunting song "I Will Find You" by Clannad.
"Last Of The Mohicans" won an Academy Award for Best Sound.
Mann's film, like the novel is a romance, set against a turbulent era, with authentic wardobe and weaponry of the period.
"Last Of The Mohicans" opened in North America, September 25, 1992. By the end of its domestic run, the film earned $75,505,856.
Sneak Peek "Last Of The Mohicans"...
- 12/5/2009
- by Michael Stevens
- SneakPeek
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.