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30th Anniversary Quotes Biography

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Whether their singles were ‘Cold as Ice’ or ‘Hotblooded’, the seventies saw rock band Foreigner shoot straight to the top of the charts, where the group achieved platinum status time and again. With veteran rocker Mick Jones at its helm, the success of Foreigner’s brand of arena rock proved that audiences craved a solid middle ground between the harsh nature of punk and the optimistic sounds of disco.

Foreigner was established in 1976 out of lead guitarist Mick Jones’s desire “to combine Blues and R&B with British rock and make it sound soulful and authentic”. It was also the result of a challenge issued by the multi-instrumentalist to his manager Bud Prager that Jones could succeed as a musician.

In fact, the Englishman was already familiar with the music business by the time he founded Foreigner. In the mid-Seventies, having played with bands such as Spooky Tooth, Jones found himself at a loose end following an acrimonious departure from his latest venture as the guitarist for The Leslie West Band.

Deflated by this latest failure and determined to prove himself to Prager and the industry, Jones began auditions to assemble a team of musical talent.

Despite being based in New York, Jones’s search immediately uncovered a second Brit in ex-King Crimson guitarist and Middlesex-born Ian McDonald, who was first to join the fold. The multi-talented musician was shortly followed by American keyboard player Al Greenwood, English drummer Dennis Elliott and US born Ed Gagliardi on bass.

The final element required for this experienced group to become a band was a lead vocalist, yet Jones struggled to fill the part. It was only following 50 auditions that he found New York native and relative newcomer Louis Grammatico, known as Lou Gramm. The group was complete.

After searching for inspiration as to the band’s identity, Jones called the ensemble ‘Foreigner’ because of its collection of musical talent from both sides of the Atlantic.

The newly named band immediately set forth to produce an album and find a record deal, yet the abundance of groups such as Led Zeppelin and The Rolling Stones meant that Foreigner failed to pose a draw for the labels. It was finally Atlantic Records who saw the potential in the experienced players. They would not regret their decision.

In March 1977, Foreigner released its first self-titled album. ‘Foreigner’ (1977) did the unthinkable. It immediately shot to the top of the charts, selling over five million copies and exceeding even Jones' expectations.

Bouyed by the song writing chemistry between Jones and Gramm, Foreigner bucked the trend by selling singles as well as albums. The songwriters were even nominated for a Grammy for Best New Artist. Songs such as ‘Cold as Ice’ and ‘Long, Long Way from Home’ captured a legion of fans who bought them in their millions and catapulted the band into instant stardom.

Realising that he needed to capitalise on this success, Jones immediately returned the band to the studio to create their next album. In a move that many would have considered risky, Foreigner enlisting Grateful Dead producer Keith Olsen in place of Gary Lyons and John Sinclair who had helped create their debut record in order to keep their sound fresh.

This change worked and the release of ‘Double Vision’ (1978) was met with widespread public approval. Fans seemed undeterred by the scorn piled upon album by critics such as Keith Tucker of Rolling Stone who dubbed it “incredibly self-absorbed and nearly paralyzed by redoubled caution”.

In fact, ‘Double Vision’ became another massive hit for the group, selling over seven million records in the US alone and proving that Foreigner was not a passing phase. Singles such as the title tack ‘Double Vision’ and ‘Hot Blooded’ also became radio favourites, peaking at numbers two and three respectively in the US charts and keeping in the album in the top ten for a grand total of six months.

Foreigner seemed unbreakable. Yet, as they embarked on their third album, ‘Head Games’ (1979), they did so without original member Gagliardi, who was replaced by Rick Willis. ‘Head Games’ proved yet another sensation for the group, spawning top ten singles such as ‘Dirty White Boy’ and peaking at number five on the US Billboard charts.

Yet it seemed that the evolution of the band was far from complete. In 1980, seeing himself as the visionary of the band tasked with shepherding it forward, Jones sacked both Greenwood and McDonald, leaving the group as a quartet. Further changes would follow, testing the band to its limit.

The group did not release an album that year, perhaps signalling a need for its members to take stock of their increasing fame and their depleted line up. Foreigner’s next offering, the aptly named ‘4’ (1981), would need to serve as a steadying force, both to the shaken group and its wary public.

Jones proved himself a shrewd strategist, enlisting Mutt Lange as producer and filling the void left by the missing band mates with a throng of musical cameos, including Junior Walker’s saxophone solo on the hit ‘Urgent’.

The public seemed to fall under the musician’s spell and the record soared, peaking at number one on the Billboard charts. This success did not however heal the rift in the group, which would not release another studio album for three years.

In 1984, Foreigner returned to a different audience. The rise of the MTV generation posed new challenges to the platinum selling group, requiring them to prove that they were still relevant. Yet their break from the limelight appeared to have imbued the group with a new level of energy and Foreigner battled their modern demons with ‘Agent Provocateur’ (1984).

The band’s first release from the album was the gospel-inspired, theatrical rock ballad ‘I Wanna Know What Love Is’. Backed by the New Jersey Mass Choir, Gramm was in his element, his throaty voice transcending any generational divide.

The single was massive hit, providing the band with their first number one on the US charts. However, the fact that this song was a ballad also confused some of Foreigner’s fans, who were unsure whether to embrace them as a pure rock group or whether this marked a change of genre.

Whilst this uncertainty did not affect album sales, cracks began to emerge in Foreigner’s façade as the band divided along musical lines. In particular, whereas Jones was leaning towards a new pop sound, Gramm harked back to the band’s original rock roots.

The members tried to work through their differences, releasing the album ‘Inside Information’ (1987). However, as the tension grew between the band’s leader and its vocalist, the situation proved untenable. In 1989, Gramm left Foreigner, claiming that Jones had become too controlling.

Jones quickly found a replacement for Gramm, bestowing the band with the new voice of Johhny Edwards. The change proved a step too far. Fans showed their disapproval, shunning Foreigner’s 1991 album, ‘Unusual Heat’.

The failure of this record seemed to pull Foreigner further into a spiral of dissent. Dennis Elliott followed in Gramm’s footsteps, leaving the group without a drummer and with only Jones as an original member. Larry Aberman acted as a temporary replacement, but Foreigner would struggle for years to replace Elliott.

Gramm returned to Foreigner in 1992, after Atlantic Records mediated between him and Jones. The reunion was long enough for the band to release a best hits album and an intended comeback record, ‘Mr Moonlight’ (1995). However, the album failed to achieve this aim, floundering near the bottom of the charts and producing only one minor hit, ‘Until the End of Time’.

As the future of the group lay in peril, Gramm faced a private battle which threatened his life. In 1997, he was diagnosed as having a brain tumour. The illness took its toll as the medication prescribed to the vocalist caused his voice to suffer.

In 1999, Gramm was well enough to join Foreigner on a summer tour with fellow Eighties sensation Journey, as well as other performances through to 2002. However, the feud between Gramm and Jones appeared to be far from over. In late 2002, the two parted ways, leaving Jones to gather the pieces of Foreigner once again.

As the last remaining original member of the band, Jones’ attempt to create a new Foreigner yielded little success. In 2004, the band appeared for a one-off show in yet another guise as a sextet which included Jason Bonham, the son of Led Zeppelin’s drummer, John. This would be Foreigner’s last performance for three years.

It was only in 2007 that Jones raised the group back from its near death. That year, Eighties super group Def Leppard announced that Foreigner and Styx would join it on its American tour.

Jones had managed to carve a new face for Foreigner, retaining Bonham as the group’s drummer and recruiting ex-Hurricane singer Kelly Hansen as lead vocalist. The venture proved so successful that Foreigner took to the road again later that year, marking its 30th anniversary with a ‘Greatest Hits’ tour.

On 15 July 2008, Foreigner sent a message to its fan base and to the critics who denied the band had staying power with the release of ‘No End in Sight’. The best hits album containing three new singles and spawned a tour for the group, which had added Jeff Pilson and Tom Gimbel to its line up. Foreigner still boasted the talents of Hansen and Jones.

Foreigner’s eclectic influences and professional approach to the music business catapulted it into the rock scene in the Seventies, earning it immediate success with rock tunes that became anthems. Yet, whilst the band has produced hit after hit, selling albums in their millions, it is perhaps the members’ passion for music which has been their undoing. Whether it has been the desire to pursue solo careers or disagreements over their musical tone, Foreigner has struggled to maintain its line up. Nevertheless, the group’s hits have never suffered, each withstanding the test of time.
Lana Turner was born Julia Jean Mildred Francis Turner in Wallace, Idaho. There is some discrepancy as to whether her birth date is February 8, 1920 or 1921. Lana herself said in her autobiography that she was one year younger (1921) than the records showed, but then this was a time where women, especially actresses, tended to "fib" a bit about their age. Most sources agree that 1920 is the correct year of birth. In 1929 her father was murdered and it was shortly thereafter her mother moved her and the family to California where jobs were "plentiful". Once she matured into a beautiful young woman, she went after something that would last forever: stardom. She wasn't found at a drug store counter, like some would have you believe, but that legend persists. She pounded the pavement as other would-be actors and actresses have done, are doing and will continue to do in search of movie roles. In 1937 Lana entered the movie world, at 17, with small parts in They Won't Forget (1937), The Great Garrick (1937) and A Star Is Born (1937). These films didn't bring her a lot of notoriety, but it was a start. In 1938 she had another small part in Love Finds Andy Hardy (1938) starring Mickey Rooney. It was this film that made young men's hearts all over America flutter at the sight of this alluring and provocative young woman--known as the "Sweater Girl"--and one look at that film could make you understand why: she was one of the most spectacularly beautiful newcomers to grace the screen in years. By the 1940s Lana was firmly entrenched in the film business. She had good roles in such films as Johnny Eager (1941), Somewhere I'll Find You (1942) and Week-End at the Waldorf (1945). If her career was progressing smoothly, however, her private life was turning into a train wreck, keeping her in the news in a way no one would have wanted. Without a doubt her private life was a threat to her public career. She was married eight times, twice to Stephen Crane. She also married Ronald Dante, Robert Eaton, Fred May, Lex Barker, Henry Topping and bandleader Artie Shaw. She also battled alcoholism. In yet another scandal, her daughter by Crane, Cheryl Crane, fatally stabbed Lana's boyfriend, gangster Johnny Stompanato, in 1958. It was a case that would have rivaled the O.J. Simpson murder case. Cheryl was acquitted of the murder charge, with the jury finding that she had been protecting her mother from Stompanato, who was savagely beating her, and ruled it justifiable homicide. These and other incidents interfered with Lana's career, but she persevered. The release of Imitation of Life (1959), a remake of a 1934 film (Imitation of Life (1934)), was Lana's comeback vehicle. Her performance as Lora Meredith was flawless as an actress struggling to make it in show business with a young daughter, her housekeeper and the housekeeper's rebellious daughter. The film was a box-office success and proved beyond a doubt that Lana had not lost her edge. By the 1960s, however, fewer roles were coming her way with the rise of new and younger stars. She still managed to turn in memorable performances in such films as Portrait in Black (1960) and Bachelor in Paradise (1961). By the next decade the roles were coming in at a trickle. Her last appearance in a big-screen production was in Witches' Brew (1980). Her final film work came in the acclaimed TV series "Falcon Crest" (1981) in which she played Jacqueline Perrault from 1982-1983. After all those years as a sex symbol, nothing had changed--Lana was still as beautiful as ever. She died June 25, 1995, in Culver City, California, after a long bout with cancer. She was 75 years old.

IMDb Mini Biography By: Denny Jackson

Spouse
Ronald Pellar (9 May 1969 - 26 January 1972) (divorced)
Robert P. Eaton (22 June 1965 - 1 April 1969) (divorced)
Frederick May (27 November 1960 - 15 October 1962) (divorced)
Lex Barker (8 September 1953 - 22 July 1957) (divorced)
Henry J. Topping, Jr. (26 April 1948 - 12 December 1952) (divorced)
Stephen Crane (14 March 1943 - 21 August 1944) (divorced) 1 child
Stephen Crane (17 July 1942 - 4 February 1943) (annulled)
Artie Shaw (13 February 1940 - 12 September 1940) (divorced)

Trivia
Born at 12:30pm-PST

According to the book "Golden Girls of MGM" by Jane Ellen Wayne, she lost her eyebrows due to the glue used to attach false ones to give her an Asian look.

In her autobiography, she stated that her true birthdate is February 8, 1921. She stated that "I am one year younger than the records show."

Fainted during her 1953 wedding to Lex Barker.

One daughter: Cheryl Crane (fathered by Steve Crane).

Billy Wilkerson of The Hollywood Reporter found her sipping a Coke in a drugstore and was so taken by her he blurted out that standard Hollywood line, "How'd you like to be in pictures?". Her first role, sure enough, had her in a tight skirt and even tighter sweater sitting at a drugstore counter.

She was set to appear in Anatomy of a Murder (1959) with James Stewart until she objected to the off-the-rack wardrobe that director Otto Preminger had selected for her. Lee Remick took over the role.

Her daughter, Cheryl Crane, wrote a book about her life with her mother, her mother's 7 husbands and numerous boyfriends and living in Hollywood. It was entitled "Detour: A Hollywood Story" and was published in 1988 (ISBN:o-380-70580-X)

Once when she was being interviewed by Hedda Hopper, Lex Barker, Lana's future husband, was in the same room. There was a large vase of flowers blocking her view of Lex, so Lana got up, walked across the room and removed them, remarking, "He's brand new and I want to look at him!"

Her auburn hair was bleached for Idiot's Delight (1939). She was withdrawn from the film, but the fact that she had become a blonde not only changed her screen image but gave her such an outgoing, swinging personality that Hollywood called her the Nightclub Queen.

She was called the Sweater Girl. Interestingly, Lana, translated into Spanish means "wool."

In the movie Dr. Jekyll and Mr. Hyde (1941) with Spencer Tracy and Ingrid Bergman she was originally supposed to play the part of Ivy, the tart, and Bergman was supposed to play the innocent girl engaged to Tracy but Bergman wanted Turner's part and so the roles were switched.

Once she was forced to evacuate her apartment building when a fire broke out. Having only minutes to collect what she needed, Lana grabbed her lipstick, her eyebrow pencil and her hairdryer.

She was a true American hybrid, with a mixture of Scottish, Irish, Dutch and English ancestry.

Is one of the many movie stars mentioned in Madonna's song "Vogue"

Is portrayed by Brenda Bakke in L.A. Confidential (1997)

Once said that her turn as Cora Smith in The Postman Always Rings Twice (1946) was "the role I liked best".

In Italy, almost all of her films were dubbed by either Lidia Simoneschi or Rosetta Calavetta. She was occasionally dubbed by Dhia Cristiani.

"The Private Diary of My Life With Lana", a memoir, written by one of her closest friends, Eric Root, was published one year after her death. Root, a long time friend and hairdresser of Turner's, has a large collection of jewelry that belonged to Miss Turner. He still owns the beauty salon in Beverly Hills where Turner and many other iconic stars were clients.

Campaigned for Franklin D. Roosevelt in the 1944 presidential election.

Was originally hired to play Caddy Compson in The Sound and the Fury (1959), but was replaced by Margaret Leighton before filming began.

Featured in "Femme Noir: Bad Girls of Film" by Karen Burroughs Hannsberry (McFarland, 1998).

Was considered for the role of Maggie Pollitt in Cat on a Hot Tin Roof (1958), which was eventually given to Elizabeth Taylor.

Sister-in-law of Daniel Topping during her marriage to his brother, Henry Topping.

She was never married for more than five years. Her longest marriage was to Henry Topping at 4 Years 7 Months 14 Days. Her shortest marriage was her first marriage to Stephen Crane, which was annulled, at 6 Months 18 Days (38 days later, she married him again). She was married to Artie Shaw for 6 Months 27 Days.

Although diagnosed with throat cancer in 1992, Turner continued to smoke until almost the very end of her life.

Was offered the role of Mrs. Cabot on the series "Hotel" (1983), but made so many demands that she was dropped and replaced by Anne Baxter.

According to Richard Burton's biography "And God Created Burton" Turner had an affair with the actor when they were filming The Rains of Ranchipur (1955) together.

February 14, 1954, CBS: This episode was an hour long tribute to help celebrate MGM's 30th anniversary. Lana Turner made a live appearance on the show and performed the "Madame Crematante" number (aka "A Great Lady Has An Interview") that Judy Garland had performed in 1946's "Ziegfeld Follies". Among the male singers/dancers featured were Steve Forrest, Edmund Purdom, and John Ericson.

In her autobiography, Turner wrote that she was had skipped a typing class at Hollywood Highschool. She went to the Top Hat Cafe, on Sunset Boulevard, and was sitting at the counter, sipping a Coke. According to the Sunset Boulevard website, Billy Wilkerson, who wrote for the Hollywood Reporter, noticed her and thought she was attractive enough to be in films. With her mother's approval, he introduced Turner to the agent, Zeppo Marx, Groucho's brother. Soon, she was put under contract to MGM.

Was 2 months pregnant with her daughter Cheryl Crane when she completed filming Slightly Dangerous (1943).

Returned to work 5 months after giving birth to her daughter Cheryl Crane in order to begin filming Marriage Is a Private Affair (1944).

Suffered 3 stillbirths (in 1949, 1951 and 1956) during her life as a result of having the Rh factor.

Became pregnant by her 1st husband Artie Shaw in 1940 and later her then-lover Tyrone Power in 1946; on both occasions she had abortions.

Was offered the role of Eloise Y. Kelly in Mogambo (1953) but she turned it down. Ava Gardner, who went on to receive a Best Actress Oscar nomination for her performance, was cast instead.

She became involved with co-star Fernando Lamas during "The Merry Widow," but after they had a falling out, he was replaced by Ricardo Montalban a week before shooting would begin on "Latin Lovers.".

Turner was born in a small mining town, where her father Virgil, an itinerant miner and one of twelve children, eloped with 15 year-old Mildred Frances Cowan. Her parents objected until they learned she was pregnant with what would be her only child.

Shewas not 'discovered' seated on a stool in Schwab's drugstore, but she was seen in an ice cram parlor across the street from Hollywood High by Billy Wilkerson, founder and publisher of "The Hollywood Rporter," only a block or two away. Through Wilkerson she was taken on as a client by Zeppo Marx.

Turner's father was murdered in December 1930 after participating in an all-night crap game in San Francisco, where the family had moved.

After her small but stunning part in "They Won't Forget," she was signed by director Mervyn LeRoy, not by Warner Brothers as often believed. When LeRoy moved to MGM, he took Turner with him.

Personal Quotes
A successful man is one who makes more money than a wife can spend. A successful woman is one who can find such a man.

I find men terribly exciting, and any girl who says she doesn't is an anemic old maid, a streetwalker, or a saint.

[on Hollywood] It was all beauty and it was all talent, and if you had it they protected you.

I planned on having one husband and seven children, but it turned out the other way around.

Humor has been the balm of my life, but it's been reserved for those close to me, not part of the public Lana.

I've always loved a challenge.

Trash is something you get rid of - or disease. I'm not something you get rid of.

I liked the boys and the boys liked me.

The thing about happiness is that it doesn't help you to grow; only unhappiness does that. So I'm grateful that my bed of roses was made up equally of blossoms and thorns. I've had a privileged, creative, exciting life, and I think that the parts that were less joyous were preparing me, testing me, strengthening me.

The truth is, sex doesn't mean that much to me now. It never did, really. It was romance I wanted, kisses and candlelight, that sort of thing. I never did dig sex very much.

[on her father's murder] The shock I suffered then may be a valid excuse for me now - may explain things I do not myself understand.