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Actress, singer and animal activist Doris Day dead at 97

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Regardless of whether natural or Clairol-tinted, every single Hollywood blonde are not made equivalent.

Take the sensation barrage of the ’50s and ’60s. Marilyn Monroe was the alpha goddess, while Grace Kelly was the example of true excellence. Raising the shapely back were vampy Kim Novak, awkward Jayne Mansfield and trampy Mamie Van Doren.

However, existing on an increasingly congenial roost was the Doris Day. Her image of excellence came sprinkled with spots. She was one of us and we adored her for it. Furthermore, we’ll recollect her everything the more for it, as well, presently that the adaptable vocalist, on-screen character, TV star, creature extremist and brilliant symbol of radiant, interesting womanliness has passed on early Monday at age 97 at her home in Carmel, California.

“Day had been in astounding physical wellbeing for her age, as of not long ago getting a genuine instance of pneumonia, bringing about her demise,” The Doris Day Animal Foundation told the Associated Press in a messaged proclamation.

The establishment said she was encompassed by dear companions at the season of her demise.

Though she stepped away from show business years ago, the cult of Doris remains loyal. Day is a pop-music fixture, and not just because of her own glorious run as a big-band chanteuse or for such signature tunes as “Que Sera, Sera” and “Secret Love.” She’s been referenced in numerous lyrics, from “Dig It” by The Beatles to “Wake Me Up Before You Go-Go” by Wham!

Her durable companionship with a closeted Rock Hudson, especially during the ’80s while he thought about the impacts of AIDS, raised her status among gay fans.

However her name may require Googling for some twenty to thirty year olds, as Day made her last film, the 1968 family parody “With Six You Get Eggroll,” when she was a minor 44. Also, with a close Garbo-esque want for security, she stopped her acting vocation in 1973 after her well known TV arrangement, “The Doris Day Show,” finished a five-season run.

Her retirement left Hollywood somewhat dimmer, yet Day had the great sense to understand her charm couldn’t hold its foamy intrigue even with the Vietnam period’s seismic moves in sexual etiquette and social mores.

In any case, no entertainer today could coordinate Day’s resilience as she turned into the main female since Shirley Temple to manage the movies, a rule that generally kept running from 1955 to ’65. She made 39 films, including such irritating melodramas as 1960’s “Midnight Lace.” But her most suffering heritage is probably going to be her sex comedies – “Prude,” “Cushion Talk,” “Sweetheart Come Back,” “That Touch of Mink,” “Move Over, Darling” – that hollowed her against such imposing foils as Cary Grant, James Garner, Clark Gable and, most notably, that hunky Hudson.

At her best as ambitious career gals who came gift-wrapped in perfectly accessorized designer suits, the perpetually pert actress came to epitomize pre-liberated womanhood, never a prude but not quite ready to toss out her girdle, either.

The settings changed, but rarely the basic situation: He wanted to bed, she wanted to wed and the audiences were duly seduced as Day and her leading man batted double entendres back and forth like a badminton birdie. Sample dialogue from 1959’s “Pillow Talk,” which co-starred Hudson and earned Day her only Oscar nomination:

Hudson: “Look, I don’t know what’s bothering you, but don’t take your bedroom problems out on me.”

Day: “I have no bedroom problems. There’s nothing in my bedroom that bothers me.”

Hudson (cooing sarcastically): “Ohhh, that’s too bad.”

There was more to Day than displayed in her no-sex sex comedies, however. Her carefree demeanor and vibrant personality that shone even in second-tier Warner Bros. musicals from the ’50s such as “Lullaby of Broadway” and “By the Light of the Silvery Moon” belied a wretched track record with men. That included her father, who left her mother when she was 11.

Day first wed in 1941 at age 17, to trombone player Al Jorden, who beat her and fathered her son and only child, music producer Terry Melcher, who died in 2004 from cancer. In 1946, she married a saxophonist, George Weidler, who resented her growing fame as a singer. Marty Melcher, who adopted Terry, became her third husband and manager in 1951. When he died in 1968, it was discovered he had squandered about $20 million of her money. She worked her way out of debt and later sued a financial adviser to get the cash back. Her last marriage was a brief one to restaurateur Barry Comden that ended in 1982.

No wonder she told biographer A.E. Hotchner that her image “was more make-believe than any film part I ever played.”

Alfred Hitchcock peered into her soul and saw something deep and dark when they met at a party in 1951. He would give her one of her best dramatic roles opposite James Stewart in 1956’s “The Man Who Knew Too Much,” as the distraught mother of a kidnapped boy. The movie bestowed on her that wistful trademark tune “Que Sera, Sera,” which is sung twice – once with breezy assurance, the second as a desperate ploy to save her son. Day also impressed as Roaring ’20s torch singer Ruth Etting in 1955’s “Love Me or Leave Me” with James Cagney as her louse of a manager/husband.

However many have expelled Day as a young lady nearby, a studio-prepared sugary treat no less created than her bustier, lustier blonde companions. As arranger Oscar Levant once broadly jested, “I knew Doris Day before she was a virgin.”

Be that as it may, she anticipated her daisy-new healthiness without artificiality. She could wear buckskin and pants to challenge her way through the boyish girl title job in the 1953 melodic Western “Catastrophe Jane,” her very own top pick, with flabbergasting get up and go. She likewise had an inconspicuous kind of sex advance that didn’t require a diving neck area – however she could pull that off, as well.

In any case, it was her voice, a wondrously warm instrument that tenderly touched the verses to such million-selling accounts as “Nostalgic Journey,” that previously put Day on the way to fame. Conceived Doris Mary Ann Von Kappelhoff on April 3, 1924, in Cincinnati, she was in a move demonstration before an auto crash at age 13 finished that. She took singing exercises and acquired her stage name from one of her preferred tunes, “For quite a while.” At age 16, she found a new line of work as a band vocalist with Bob Crosby’s Bobcats and after a year she joined Les Brown’s Blue Devils. Hollywood before long marked her up for her first picture, 1948’s “Sentiment on the High Seas,” as a trade for Betty Hutton. The rest is film industry history.

Asked in 1996 to survey her intrigue, she answered, “I genuinely trusted each expression of what I sang or talked. Furthermore, individuals react to that.” A straightforward clarification for an uncommon and never copied ability.

An ex-Catholic turned Christian Scientist who neither drank nor smoked and was a vegetarian, Day kept busy overseeing two animal welfare groups and generally only made public appearances if it benefited her adored creatures. As she once quipped, “If it’s true that men are such beasts, this must account for the fact that most women are animal lovers.”

In her later years, she was awarded the Presidential Medal of Freedom in 2004 but her fear of flying prevented her from attending the White House ceremony.

One wonders what might have been if Day hadn’t turned down the role of adulterous alcoholic Mrs. Robinson in 1967’s “The Graduate.” You could debate for hours whether it was better to preserve her screen virginity or to have smashed it once and for all by debauching a young Dustin Hoffman.

Or you could just settle down in front of a TV, queue up “Pillow Talk” or “Calamity Jane,” snuggle your pet and smile in her honor.

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Ric Ocasek, frontman of new wave pioneers the Cars, dies at 75

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The performer and maker Ric Ocasek, whose singing, songwriting, style and attitude as pioneer of Boston musical crew the Cars characterized the American new wave development of the late 1970s and mid ’80s, has passed on. He was 75.

Ocasek’s demise was affirmed by the New York Police Department, which said that officials reacting to a 911 approach Sunday evening found him lethargic at around 4 p.m. There were no indications of unfairness, as per the Associated Press.

Beginning with the Cars’ self-titled introduction collection in 1978, the cool, slender frontman and his bandmates hurried the graphs — and the early music video channel MTV — with a string of smoothly present day, ultra-appealing force pop hits including “My Best Friend’s Girl,” “How about we Go,” “Bye Love” and “Shake It Up.”

“The Cars had it all: the looks, the hooks, beat-romance lyrics, killer choruses, guitar solos that pissed off your parents, dazzling music videos,” Brandon Flowers of the Killers said last year when the Cars were inducted into the Rock and Roll Hall of Fame.

The respect topped an inventive life known not just for work with the Cars and as an independent craftsman, however as a brilliant eared dilettante who created original chronicles for New York synth-punk pioneers Suicide, Washington, D.C. afro-punk band Bad Brains and Los Angeles pop-punk band Weezer.

Ocasek’s downplayed, cumbersome charm was with the end goal that he wedded supermodel Paulina Porizkova at the pinnacle of both of their notoriety, and in doing offered a route forward for unassuming artists less inspired by the peacock shenanigans of a Mick Jagger or Freddie Mercury. There was no compelling reason to thrash about like a maniac when a curved eyebrow and insignificant hip-shake could work.

The methodology was fruitful. “On the off chance that anything, I’m unmistakable,” he said with normal modest representation of the truth when gotten some information about his 1980s omnipresence on MTV.

That nearness was hard-earned. When the craftsman conceived Richard Theodore Otcasek framed the Cars with Benjamin Orr, Greg Hawkes, David Robinson and Elliot Easton, he’d been working the upper east circuit for a considerable length of time. Ocasek and the late Cars bassist Orr opened for proto-punk groups the Stooges and MC5 in the mid ’70s, and recorded a collection as a component of a society shake outfit called Milkwood later.

The Cars shaped in 1976, and in the wake of winning Boston radio airplay for an early recording of “Exactly What I Needed,” before long marked with the regarded name Elektra, where they joined a program that included Queen, Carly Simon, Harry Chapin and many other ’70s rockers.

In the midst of the long-hairs as yet humming over the flower child thing, Ocasek’s half-expressed, demurely conflicted conveyance stuck out, and recommended his declared motivation, Lou Reed, as directed through a rockabilly crooner. Ocasek groveled over a previous fire’s “atomic boots” and “softened cowhide blue eyes” on “My Best Friend’s Girl.” For “Bye Love,” Ocasek featured a “wavy 12 PM” rich with “shrouded insinuations” and “substitution, mass disarray, mists inside your head.”

Thus inspired, the artist’s creativity ignited like a spark plug.

“So many people are so goddamned bored and won’t even… get out of their chairs to go look for something to do,” he told Creem magazine in 1983, of his drive for musical success. “You can’t rely on the rest of the world to take your hand, you know. You have to sort of get out and look for something to get involved in or just do it yourself.”

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30-Acre Brush Fire Threatened Homes In Eagle Rock

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A brush fire along the 134 Freeway in Eagle Rock threatened some homes Sunday and caused the closure of two freeways.

But late Saturday, officials happily reported no structures were lost and a mandatory evacuation in one area was lifted by 10 p.m.

The Los Angeles Fire Department and Glendale Fire battled the blaze in tandem.

As of about 5:15 p.m., authorities said they were getting the upper hand on the blaze that was reported about an hour before.

Desmond Shaw, reporting in Sky2, said a lot of white smoke would indicate firefighters had managed to turn back most of the flames.

The 134 and 2 Freeways were shut in both directions. A woman who said she’d only moved to Los Angeles from Chicago a year ago was stranded on the 134 that for hours resembled a parking lot. She deadpanned, “I think we’re in for a long evening.”

Additional resources were called for to aid in structure protection.

Smoke was visible to Dodger Stadium, witnesses said.

By 6:20 p.m., some evacuations on the Glendale side were being ordered. Mandatory evacuations included Mount Carmel & Bywood – both sides of

Glenoaks Canyon and every single blood vessel road.

As of about 7:15 p.m., it was assessed 100 homes were cleared.

For more data about potential departures, click here for Glendale Fire’s Instagram maps.

In excess of 200 firemen combat the burst. The flame was around 50 percent contained by 11 p.m. however, authorities told CBS2/KCAL9’s Brittney Hopper they intended to stay on scene medium-term to put out any problem areas that may erupt.

Three LAFD helicopters dropped water on the flame, in any event six drops were seen. Air-Crane and LA County each had a helicopter dropping extra water on the flares.

No wounds have been accounted for.

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Liverpool versus Arsenal: Salah strikes twice as new Gunner flops

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Mohamed Salah changed over a punishment before scoring a radiant independent objective as Liverpool beat Arsenal 3-1 to open up a three-point hole at the highest point of the Premier League on Saturday.

Liverpool hadn’t discovered its best structure in opening successes over Norwich and Southampton, and confronted the main other top-flight group with a 100 percent record.

It demonstrated to be a befuddle.

After Joel Matip’s first league goal in 11 months broke the deadlock just before halftime, Salah converted a penalty after being fouled by David Luiz and then made it 3-0 by turning Luiz near halfway, sprinting down the right wing and cutting in to deliver a finish into the bottom corner.

Substitute Lucas Torreira scored a consolation for Arsenal five minutes from the end.

Liverpool will end the third round of games as the only team with nine points from a possible nine.

The game started at a frenetic pace, with the hosts setting a high tempo that penned Arsenal back in the final third. Within 80 seconds, Andy Robertson whipped a ball across the six-yard area which Roberto Firmino narrowly missed. Arsenal manager Unai Emery’s tactics were to defend deep with eight men behind the ball in an attempt to draw the opponent in before trying to release the explosive pace of offseason signing Nicolas Pepe, given a full debut at the expense of Alexandre Lacazette.

Pepe had three shots in the primary half, while Liverpool goalkeeper Adrian – straight from the mistake that cost his group an objective at Southampton a week ago – left his region to clear the ball just to discover Pierre-Emerick Aubameyang, who hurled the ball back simply past the far post.

Pepe’s most obvious opportunity came when Jordan Henderson’s error on the midway line permitted the Ivory Coast universal to keep running past Robertson be that as it may, in a one-on-one circumstance with Adrian, he took shots directly at the goalkeeper.

Before long, perpetual weight on Arsenal’s barrier started to tell and after Salah held off Granit Xhaka to keenly turn and fire wide, the achievement came. From a corner, Trent Alexander-Arnold at long last discovered his range and Matip profited by the space made by Virgil van Dijk’s tangle with Matteo Guendouzi to power home a 41st-minute header.

Sadio Mane should have done better with his header in injury time but if the interval was a period for Arsenal’s players to clear their heads, no one told Luiz who, in a moment of madness four minutes after the break, tugged on Salah’s shirt.

The Egypt international confidently dispatched the penalty and added a second by brilliantly putting the seal on a three-pass move which eliminated most of the opposition.

Started by Adrian and including Alexander-Arnold, the ball came to Fabinho who flicked forward an inviting ball allowing Salah to skip past Luiz with embarrassing ease 40 yards out. He ran into the penalty area before placing a shot inside the far post with his left foot.

It was then an exercise in damage limitation for the visitors, with Emery’s first change being to send on combative midfielder Torreira for playmaker Ivan Ceballos.

Lacazette, scorer of 19 goals last season and one in one match this season, was not introduced until the 81st minute – and even then it was Torreira who eventually found the net, drilling home a loose ball 15 yards out

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