The Beach Boys founder Mike Love paid tribute to George Harrison by releasing a previously unheard track on Tuesday (25Feb14) to mark what would have been The Beatles star's 71st birthday. The Good Vibrations singer wrote Pisces Brothers in 2004 based on his trip to India with The Beatles in 1968, and the song's title refers to the astrological sign he shared with Harrison.
Love says, "This being the 50th anniversary of The Beatles coming to America, I wanted to commemorate this incredibly significant trip we all took together to India... It was enormously influential on all of us, most especially George. The song is really sentimental for me, and meant to honour George Harrison's remarkable contribution to music. And how, in this one moment in time, we got together, as the song says, not fortune or for fame, but for enlightenment."
Harrison died in 2001, aged 58.
Oscar winner Forest Whitaker has distanced himself from reports suggesting he is set to portray civil rights icon Martin Luther King, Jr. in a new biopic. The Last King of Scotland star had been in talks to tackle the lead role in Paul Greengrass' Memphis, about the final days of the activist's life before he his 1968 assassination, but the actor doubts he will be the one to help bring the project to fruition.
During an interview on U.S. breakfast show Good Morning America on Wednesday (14Aug13), he said, "They spoke to me about it, but it's not anything that's set up for me to be doing.
"I hope that that story gets told, though I'm not sure that it will be me, but I think that it will be great for someone to really let us explore that experience of a great man."
This is the kind of conspiracy theory Reddit was made for. On Sunday's episode of Mad Men, "The Better Half," Jessica Paré's Megan Draper wore a white T-shirt with a big red star. I know, you all thought at first that she's a big fan of Macy's! But, actually, it was a reference to the T-shirt tragically-murdered actress Sharon Tate wore for a 1967 Esquire magazine photo shoot. Mad Men costume designer Janie Bryant confirmed on Twitter that this was "no coincidence," after the daughter of the Esquire photographer who snapped that photo pointed out the similarity.
Two years after that photo was taken, Tate, then eight-and-a-half months pregnant, was brutally murdered by the Manson family. A whole thread on Reddit has sprung up wondering whether this is some grim foreshadowing on Mad Men creator Matthew Weiner's part for what may ultimately be Megan's fate on the show — especially given all the references in recent episodes to rising crime rates in 1968 New York.
But if Megan's meant to be an avatar for Sharon Tate, does this mean her husband Don Draper (Jon Hamm) is symbolic of Tate's husband Roman Polanski? It would certainly fit, since both Polanski and Draper are tireless skirt-chasers with a flair for kinkiness — and even criminality. Something dire may be on the horizon for Megan, but Don may be in trouble as well. Maybe he'll finally suffer the consequences of his sexual improprieties as Polanski did after pleading guilty to rape in 1977 and being an exile from America ever since. It'd be a fitting comeuppance for horndog Don.
Unless we're reading this all wrong and that woman who invaded the Draper's apartment in "The Crash" was supposed to be Charles Manson?
Follow Christian Blauvelt on Twitter @Ctblauvelt | Follow Hollywood.com on Twitter @Hollywood_com
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Fandom is a funny thing. Often, if the fervor toward a given subject — or in our case genre — is strong enough, fans become advocates, and advocates can become crusaders. That is not meant as a slight — furious debates in which film fans engage is often a reflection of thoughtful theoretical analyses. Horror fans are not immune to fierce defenses of dogma; indeed they are arguably the most stalwart.
Take Warm Bodies. In the film, a zombie falls in love with the girlfriend of one of his victims, and slowly regains his humanity through their relationship. Zombie purists have been decrying the film from trailer one, citing it as an affront to canon.
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The ugly, shambling, worm-ridden truth however is that there is no zombie canon anymore. The mythos has been rehashed and reinvented so many times that even the zombie model to which we steadfastly cling is a reconfiguration. Perhaps it would be best to look at the benchmarks in the evolution of this classic cinematic monster to illustrate that there has never been a solid rulebook.
The Voodoo Zombie
The origins of the walking dead go back to ancient voodoo beliefs centering on the ability to resurrect the dead. Most commonly associated with Haiti, the roots go back as far as tribal Africa. This historical mythology is the basis for some of the very first zombie films. Bela Lugosi’s 1932 classic White Zombie plays upon this origin, as does Jacques Tourneur’s unsettling I Walked with a Zombie.
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These zombies did not consume their victims, they were the victims; reanimated in a stupor in order to engage in manual labor. At a time when the censorship was oppressive, the idea of anyone coming back from the dead was enough of a shock for audiences without the added cannibalism. The voodoo connection has not been entirely lost in subsequent decades, 1974’s Sugar Hill and 1988’s The Serpent and the Rainbow, but for the most part, this cultural derivation of zombie lore is dead and buried.
The Zombie We Know and Love
When there is no more room for convention, Night of the Living Dead will be unleashed upon the Earth. The conceptualization of the modern zombie is owed almost entirely to George Romero. In 1968, he took the undead out of the tropics and shoved them up through the soil of the Pennsylvania farmlands. There is actually a cultural context to Night of the Living Dead as well.
America continued to lose ground in Vietnam, and as the horror of the war spread across the heartland, the standards for zombies reflected the pessimism of the era. Suddenly there was no witchcraft prompting the rising of the dead, no reason at all in fact. It was shot in bleak black-and-white, and now the zombies were full-blown flesh-eaters. Interestingly, despite the establishment all these formative characteristics, the word “zombie” is not used once.
And now we reach the monumental irony of zombie dogma. By now, Zombies are an indelible part of pop culture as much a horror cinema mainstay.
Even people who have never seen a single zombie film will at least make the association between the undead and brains. Zombies have always subsisted on the brains of the living, right? That’s just a fundamental component of the living dead.
Well, it is now, but the advent of zombies munching on human noggins didn’t come about until 1985.
Alien screenwriter Dan O’Bannon directed Return of the Living Dead, which was originally conceived as a Night of the Living Dead sequel until O’Bannon rewrote it.
This strange punk rock horror comedy was the first time that zombies, which had previously dined on flesh indiscriminately, went directly for the brain. O’Bannon even offers a loose explanation that the devouring of brains eases the pain of being dead.
The Sprinting Dead?
Many people like to credit Danny Boyle’s 28 Days Later as ushering in the age of the running zombie. Traditional doctrine mandates that zombies shamble rather slowly, but Boyle’s incarnations sprint at dizzying and terrifying speed.
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The undercutting semantic argument of course is that Boyle’s zombies are not zombies at all; they are “infected.” The confusion inherent here stems from the fact that by the time 28 Days Later was released, the term zombie became a catchall for any threatening ravenous horde. So actually Boyle’s film incited two separate debates about zombie tenets.
If you subscribe to the idea that “the infected” are indeed zombies, 28 Days Later is not the first to introduce the quickly-moving horde. In David Cronenberg’s 1977 film Rabid, a strain of rabies turns normal people into violent bloodthirsty monsters that routinely pursue their victims with lightning speed. Here again, the argument can be made that since we’re dealing with a virus in Rabid, that precludes the notion that the antagonists are zombies. However, by that logic, Boyle did not create the first running zombies either.
As you can see, arguing the exact parameters of zombie canon is as productive as trying chew threw the concrete walls of a fallout shelter.
[Photo Credit: Summit Entertainment]
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In his day, Charlton Heston had the market cornered on the epic movie. The prolific leading man would turn his name into a genre watermark, delivering behemoth films about fantastic people and places. Teaming regularly with visionary Cecil B. DeMille, Heston breathed life into Bible stories from Testaments Old and New, and invited audiences to take a new, dramatic look at cultural icons. His career brought him to fallen empires, strange planets, and thrilling mysteries. And although many would argue that Heston's cinematic accomplishments cannot truly be duplicated, Hollywood will try, try again to relive his majesties. The latest in the film industry's many endeavors to reproduce a Heston classic involves Ben-Hur, William Wyler's three-and-a-half-hour drama that set the star as a Jewish prince forced into slavery and then thrust upon a revenge quest against the companion who betrayed him.
Deadline reports that MGM, the studio that produced the 1959 opus (and its 1925 silent film precedent), is looking to recreate the story of Judas Ben-Hur for modern audiences. The studio will call back to writer Lew Wallace's 1880 novel Ben-Hur: A Tale of the Christ, which inspired both pictures. Interestingly, Wallace's Ben-Hur stood as the second best selling piece of writing in the world, next to the Bible, from the time of its publication until the release of Gone with the Wind. Living up to the glory of its source material, Wyler's Ben-Hur maintained status as the only film to win 11 Academy Awards (Best Picture included) for almost 40 years (1997's Titanic broke Ben-Hur's record with 14 Oscar wins).
With this sort of legacy, the plight of a Ben-Hur remake will not be an effortless one. Looking at reattempted Heston pieces of past, we can surmise just what direction in which MGM might plan to take its bountiful new prospect...
The Tim Burton Travesty
In 2001, Tim Burton kicked off a long line of disappointing remakes with Planet of the Apes, transforming the 1968 science-fiction allegory into a misguided mass of Wahlbergian yelling. And just imagine what a field day Burton would do with Ben-Hur's famous chariot sequence, what with the endless reach of modern stop-motion animation at his disposal and an inexplicable penchant for spiraling appendages.
The Sub-Disney Animated Family Film
From Heston's Ten Commandments came a like-titled animated movie, with the likes of Ben Kingsley, Christian Slater, Alfred Molina, and Elliot Gould (as the man upstairs) offering voices to the Biblical characters. The reason you might not have heard of this 2007 picture is because of its critical panning, minute gross, and small studio backing. Ratatouille it was not. (Although a Pixar take on Ben-Hur might be worth exploring...)
The Tuesday Night Sitcom
A decade following Heston's turn in P.T. Barnum biopic The Greatest Show on Earth, Jack Palance took on the ringleader role in an ABC dramedy that involved the star in the trials and tribulations of his various circus performers. The show didn't last very long, failing in the ratings warfare with more popular comedies of the era. Today's small screen Judah B.? Probably something in the vein of Noah Wyle, if he can ever step away from Falling Skies.
The CGI-Heavy Franchise Seedling
A far more successful endeavor than any of those mentioned again stemmed from Planet of the Apes. The 2011 hit Rise of the Planet of the Apes was markedly more imaginative than Burton's turn with the material, this time predating the events of the original film with a prequel of sorts, placing ape Caesar at the center of the story. There aren't too many animals worthy of shifting the focus toward in Ben-Hur... maybe the racing horses? I wonder what they're thinking... Call Serkis.
[Photo Credit: MGM]
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You would be hard pressed to find anyone who doesn’t know the name Alfred Hitchcock. There are a few classic directors whose legacies have lived on long after their passing, but few can match the renown of "The Master of Suspense" himself. After all, can John Ford or Billy Wilder be recognized by their silhouettes alone? Hitch’s films read like a list of the thriller genre’s greatest hits. Though his prolific output provides ample room for discussion, many consider his best film to be 1960’s Psycho. Whether you find yourself in agreement with this appraisal, it’s no surprise that the first big screen biopic of Hitch centers around the production of the seminal horror movie.
And yet while we all know the name Hitchcock, recognize his famous profile, and are at least acquainted with a number of his films, there is so much of the man’s life that falls far outside the domain of common knowledge. Sacha Gervasi’s biopic Hitchcock aims to help inject some of those tidbits of this great artist’s personal life and trials into the public consciousness. That being said, the biopic doesn’t exactly spoon-feed the audience with exposition so there can be a sense of being thrown into the deep end for those who don’t count themselves among the Hitchcock literati. So here are a few things you’ll probably want to know before you see the movie. At the very least, it will help you better distinguish between what is fact and what might be dramatic embellishment.
Norman Bates is Based on Ed Gein
When contemporary audiences view Psycho, they may be quick to note the tameness of the violence. This is of course a function of the fact that it was produced in 1960, but it is also ironic considering the story basis for the film. Psycho was based on Robert Bloch’s novel of the same name. Though a fictionalized novel, it was largely influenced by the deeds of real-life psychopath Ed Gein.
In the late 50s, Ed Gein killed two women in his Wisconsin town and dug up a number of other corpses to fashion morbid trophies from their body parts. These trophies adorned his home when police later raided it. Gein was said to have dug up middle-aged women who reminded him of his deceased mother, with whom he had been exceedingly close. Within minutes of Hitchcock’s opening, you’ll understand why this information is valuable. Interesting side note, Gein also served as the blueprint for Leatherface and Buffalo Bill from Silence of the Lambs.
Hitch’s Troubled Relationship with His Leading Ladies
Alfred Hitchcock, during the course of his career, had the great privilege to work with some of the most beautiful women in Hollywood history. Grace Kelly, Doris Day, Eva Marie Saint, and of course Psycho’s Janet Leigh. Though he may have preferred blondes, there has been much made of the fact that when it came to his relationship with his leading ladies, Hitch was no gentleman. He had a strange obsession with the glamour of starlets and was known to be rather rough and even cruel to them on set; conjectured to be an expression of his frustration at not being able to sleep with them.
One example of this involves Tippi Hedren, the star of Hitch’s The Birds as well as Marnie. Hedren has gone on record about the abuse she suffered at the hands of her director, noting that it seemed like he loved her except that most people don’t treat the people they love so badly. During the filming of The Birds, she was told repeatedly that her now iconic scene in the attic would involve only fake birds. It wasn’t until the day they were to shoot that scene that a crewmember let slip that the birds would be real. Hedren was beset by real birds, some of which were attached to her, for an entire week. While Hitch didn’t devise anything this malevolent for Janet Leigh, he did leave the prop corpse of Norman’s mother in her dressing room to get the right scream from her. This tendency toward obsession is important to understand going in, so that certain scenes in Hitchcock don’t feel awkwardly out of place.
The Studio Conflict
While Alfred Hitchcock was one of the most celebrated directors in the world by the time he started making movies in America, he was no stranger to having to battle studios and studio executives to accomplish his various visions. In 1940, David O. Selznick, the first American producer with whom he worked, re-edited Hitch’s Rebecca without his knowledge, and solely accepted the Oscar when the film won for Best Picture. This would be the only Academy Award Hitch would win until his lifetime achievement award in 1968. This rocky relationship with the studio system would persist well into his golden era.
Psycho became one of Hitch’s most acclaimed films as well as his most financially successful. But at the time, Paramount balked at Psycho’s content and its dark themes. They also expressed concern that Hitch was going too arty again, wanting to shoot in black-and-white, and were afraid of another financial flop like Vertigo. They didn’t want to produce it, and certainly did not want to finance it. It wasn’t until Hitch agreed to bankroll the movie himself that they agreed to at least distribute it, though they refused to let him shoot on the lot. The movie was instead filmed on the Universal backlot. Universal was only too happy to be back in the Hitchcock game. Since he had last made movies with them, they had been creatively stagnate and were deeply in debt. Keep this in mind when observing the various professional conflicts in the film.
The Importance of Alma
Though he was rumored to be obsessed with his leading ladies, there was no denying Hitch was thoroughly devoted to his wife Alma. She was not merely a loving companion and a source of inspiration, but also Hitch’s most important collaborator. At various points throughout his career, she was his screenwriter, his editor, and she also provided the final say on whether a proposed project was worthy of his time. In fact, if she didn’t like it a script that crossed Hitch’s desk, he didn’t bother moving forward with it. He revered her throughout their whole lives. When he was a young man, first working an entry-level job at a film studio in England, Alma was already established there and, because she held a higher position, Hitch considered it improper to speak to her. Her importance in his life is a central focus of the film.
Hitchcock Was Also a Master Showman
Though he would probably bristle at the comparison, Alfred Hitchcock was sort of the P.T. Barnum of the film world. The attraction he was selling was always himself. Even before he came over to the United States, marking his further meteoric rise, Hitch’s success in England prompted him to hire a team of people whose sole function was to promote Hitchcock; not just his films, but also the Hitchcock name. His marketing and theatrical stunts became the stuff of Hollywood lore. Spying the director’s inevitable cameo became part of the fun of seeing a new Hitchcock film. He also followed Walt Disney’s example and hosted his own television show: Alfred Hitchcock Presents.
For Psycho, he actually forced theater managers to disallow the admission of patrons who arrived late for fear that it would ruin the film’s frightening surprises. It was for this reason he also held no early screenings for the press; a risky gamble to be sure. He also recorded special radio advertisements and even sent manuals to theater owners explaining his gimmicks. Not only are these signature marketing tricks examined in Hitchcock, but Sir Anthony Hopkins, who plays Hitch in the film, actually appears in an ad running in theaters right now instructing audiences to turn off their cell phones. This meta approach would have made Hitch smile — to the extent that Hitch could smile, of course.
[Photo Credit: Fox Searchlight]
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You might recall, if you think back to the age-old era of 2011, the REELZ Network miniseries The Kennedys, the Greg Kinnear and Katie Holmes starrer that chronicled the former First Family of the United States, strangers neither to glory nor tragedy. If you do remember the series, you'll likely also remember the none too favorable reviews it received from television critics. They weren't Guy Fieri bad, but they were nothing to write home about, either. Still, the family perseveres — REELZ is planning a sequel to The Kennedys, as announced by network President Stan E. Hubbard.
The second series will find source material in the book After Camelot: A Personal History of the Kennedy Family, written by J. Randy Taraborrelli. In a press release, Hubbard states, "With The Kennedys miniseries we saw tremendous response to powerful storytelling along with an intense interest in this remarkable family. In his book, J. Randy Taraborrelli tells the incredible true story of the Kennedys from 1968 to today."
Hubbard continues: "The Kennedy family continued to make an indelible mark on the life of America and the world after Robert Kennedy’s assassination, including universal healthcare and the creation of the Special Olympics."
As with the first series, the forthcoming sequel is being produced by Muse Entertainment.
[Photo Credit: Kennedys Productions (Ontario) Inc. and Zak Cassar/Reelz]
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The actor was drafted into the U.S. army in 1968 at the age of 19, and after he was released he launched a career in entertainment.
A short time later Delate's experiences as a soldier in Vietnam came back to haunt him in the form of terrifying flashbacks, and he signed up for intensive psychotherapy to control anxiety attacks.
But when two planes crashed into the World Trade Center in New York City on 11 September, 2001, the nightmares returned, prompting the actor to seek further professional help.
Opening up about his story to the New York Daily News ahead of America's Veterans Day on Sunday (11Nov12), he says, "After 9/11, it just threw me right back into the nightmares. I would call them Picasso nightmares. Things were in pieces: an image of a friend of mine, but just his face, and right next to it would be some Vietnamese woman I didn't even know. I was almost shocked at what I was feeling and remembering. It was very chilling and dark."
Since then Delate has tried to help others cope with similar problems by producing his own movie, Soldier's Heart, which is about a veteran's struggle to readjust to post-war life, and he also participates in the annual Big Apple Veterans Day Parade.
He says, "It's such an honour and a privilege. It's so powerful because it is about remembrance and that's why I love it."
I'm always a little stunned when someone tells me they aren't excited for the Summer Olympics. Never mind that it finally gives us all something to watch in the midst of programming wasteland that is summer television, or that you can chant "USA! USA! USA!" without the slightest twinge of irony, the Olympics are the great unifier. In that, at some point, we're all going to get a little misty-eyed (or, full-on ugly cry sobs) watching history and drama unfold right before our eyes.
And there's nothing quite like those Olympics tears, are there? Whether its hearing your country's national anthem or connecting with an athlete whose story of perseverance not only inspires, but truly puts things in perspective. But even those people who are mostly indifferent to the Olympics would have to be completely made of stone to not be in awe of one of the young athletes heading to London this year.
Oscar Pistorius (pictured), a 25-year-old runner from South Africa, will compete in the 2012 Summer Olympics, and his inclusion will be a momentous one. Pistorius, a double-amputee who lost both of his legs before he turned one (he was born without a fibula in both of his legs), will be the first Paralympian to compete in an able-bodied track event.
Pistorius, who set his sight on the Olympics after competing and winning in the Paralympics, said in a statement on his website this week, "Today is truly one of the proudest days of my life. To have been selected to represent Team South Africa at the London 2012 Olympic Games in the individual 400m and the 4x400m relay is a real honour and I am so pleased that years of hard work, determination and sacrifice have all come together."
The athlete, who has specially-made prosthetic limbs, continued, "I have a phenomenal team behind me who have helped get me here and I, along with them, will now put everything we can into the final few weeks of preparations before the Olympic Games where I am aiming to race well, work well through the rounds, post good times and maybe even a personal best time on the biggest stage of them all. I am also hugely excited to then be competing to defend my three Paralympic titles at the Paralympic Games. I believe [we] will see some amazing times posted and I am very much looking forward to what will be an incredible Olympics and Paralympics in London."
No matter how Pistorius fares at the 2012 Olympics and Paralympics, there's no question that he will have the support of not only his team, but the entire world. That, in itself, is a thing of beauty. (Seriously, how can you not love the Olympics?)
Of course, Pistorius' story is just one of the many that can put a lump in your throat in the great history of the Summer Olympics. Here now, are some more of the most inspiring, amazing moments and athletes. And no, I'm not crying. I'm super crying.
Overcoming an Injury: When you fall, you've got to dust yourself off and get back up again. There's been no more dramatic reminder of that than Olympians whose years of hard work can come apart in a second when they are faced with the horror of an injury. U.S. gymnast Kerri Strug became a national treasure in 1996 and had one of the most memorable (not to mention parodied) moments in Olympics history when she came back from a vault injury to help her team, known as the Magnificent Seven, clinch the gold. But there may no more inspirational moment in the history of the Olympics, or all of sports for that matter, than during the 1992 Barcelona games when U.K. runner Derek Redmondsuffered a devastating tear to his hamstring. Redmond, in agony, got up to finish the race and was joined on the track by his father, who helped get him to the finish line. While Redmond, who was met with a standing ovation by the crowd of 65,000, was technically disqualified, to the world he still
Winning for a Loved One: It's an unimaginably heartbreaking scenario for the athletes who finally make it to the Olympics, only to lose a loved one who would never be able to see their triumph. At the 2008 Beijing games German weightlifter Mattias Steiner won the gold in the superheavyweight category a year after his wife passed away. Tragically, many athletes have had to go on just days after the death of a family member. In the 2010 games in Vancouver, Canadian figure skater Joannie Rochette competed, nearly flawlessly, just four days after her mother died from a heart attack. She earned the bronze and dedicated the win to her late mother. In 1988 speed skater Dan Jansen's sister Jane died just before the games were underway. He promised to win for her, but tragically Jansen fell during his race. Then, six years later at the 1994 games in Lillehammer, Jansen, in a dramatic fashion made good on his word. The skater earned the gold and took a victory lap with his daughter, Jane. Watch a tribute video here:
Victory in the Face of Adversity: While the Olympics, at their core, are about unifying the world, we haven't always lived in a unified world. In the 1936 Berlin games in Berlin, runner Jesse Owens, an African-American, raced when Adolf Hitler attempted to prove Aryan supremacy. That did not happen. Owens proved that he was not inferior and the track and field star won four gold medals at the games. Overcoming racial divides made for one of the most iconic photos in history, not to mention one of the most significant moments in civil rights when U.S. track and field athletes Tommie Smith and John Carlos took to the podium at the 1968 Mexico City Olympics to get their gold and bronze medals, respectively. During the ceremony, Smith and Carlos raised their fists to the sky, signifying what was interpreted as the Black Power salute during a time when there was still great racial divide in America. Smith would later say that it was for human rights; the indelible image still speaks volumes today.
Defying the Odds: Do you believe in miracles? If you've ever watched the Olympics, you most certainly should. The unimaginable becomes a reality during the Olympic games, especially for the underdog. A Jamaican bobsled team brought in the viewers at 1988's Calgary games; although the team lost, it earned the respect of the world, and became the inspiration for the film Cool Runnings. At the 1984 Los Angeles games, 16-year-old Mary Lou Retton became a tiny forced to be reckoned with when she became the first American in history to win a gold in gymnastics. But the miracle to trump all sports miracles happened during the 1980 games at Lake Placid, when the United States' men's hockey team defeated the favored Soviet team. Heralded as one of greatest moments in sports and U.S. history, it remains the ultimate underdog victory tale and became the inspiration for its own film called, aptly, Miracle. Watch the dramatic win here:
Superhuman Strength: If an athlete makes it to the Olympics, there is no doubt they are an accomplished force already. They are world-class athletes, in every sense of the word. From the mind-boggling record-breaking runs from Michael Johnson and Usain Bolt to logic-defying turns by Jonny Moseley and Nadia Comaneci, the Olympics have given us some of the greatest athletes of our time. But no one proved to be a super-athlete quite like swimmer Michael Phelps did during the 2008 summer games. Winning eight gold medals in a single Olympiad, more than any other competitor in history, Phelps changed both the course of the Olympics, as well as what we imagine an athlete can do, in the span of 16 thrilling days. Watch:
The 2012 Summer Olympics kick off on Friday, July 27 in London.
[Photo credit: WENN.com]
The tough 60 Minutes regular passed away at a care centre in New Canaan, Connecticut.
Wallace interviewed the most famous people and leaders around the world in a television career which spanned over 50 years.
He won a stack of awards for his hard-hitting interviews with people including Iranian President Mahmoud Ahmadinejad, Dr. Jack Kevorkian and Malcolm X.
After a successful triple bypass operation early in January 2008, he retired from public life.
Wallace made his national TV debut in America with The Mike Wallace Interview in 1957 after a series of hit local news shows in the New York area, where he became known as a tough newsman who asked the difficult questions of public figures.
He was picked to front 60 Minutes when the weekly CBS news programme debuted in September, 1968. After a slow start, the show became a hit among critics and when it switched to its regular Sunday night spot in 1977 it quickly became one of the most-watched shows in America.
Paying tribute to Wallace on Sunday (08Apr12), CBS network boss Leslie Moonves said, "It is with tremendous sadness that we mark the passing of Mike Wallace. His extraordinary contribution as a broadcaster is immeasurable and he has been a force within the television industry throughout its existence."