Cecil Whig - - ACCENT -

It took a 56-hour bom­bard­ment, but on Sept. 29, 1918, World War One’s Al­lied forces fi­nally breached the Hin­den­burg Line, or the last streak of Ger­man de­fenses on the Western Front. Both sides sus­tained heavy losses dur­ing the Hun­dred Days Of­fen­sive, but the Al­lies — led by Aus­tralian and U.S. troops — pushed through by ex­ploit­ing the south­ern part of the de- fen­sive zone, vul­ner­a­ble in part be­cause it was within sight of ar­tillery ob­ser­va­tion.

The Hin­den­burg Line (called the Siegried Po­si­tion by the Ger­mans) was an oth­er­wise for­mi­da­ble de­fen­sive zone, con­sist­ing of six de­fen­sive lines over some 6,000 yards. It’d been built in 1917 in ef­forts to counter an an­tic­i­pated in­crease in An­glo-French at­tack power. Once it was bro­ken, the end of the war fol­lowed shortly. On Nov. 11, 1918, Ger­many fi­nally agreed to an armistice.

On Sept. 30, 1955, the United States lost a tal­ented young ac­tor and now-cul­tural icon in James Dean. The 24-yearold had been on track for su­per­star­dom at the time of his sud­den death.

At around 5:45 p.m., the Porsche Dean was driv­ing struck an­other car at an in- ter­sec­tion, killing him and badly in­jur­ing his pas­sen­ger. The driver of the other car, a univer­sity stu­dent, was mostly un­in­jured. At the time of his death, Dean had only ap­peared in “East of Eden,” based on John Stein­beck’s novel of the same name, though “Rebel With­out a Cause” and “Gi­ant” opened after­ward.

For his role in “East of Eden,” Judges at the 1956 Academy Awards gave a nod to the late Dean with the first post­hu­mous nom­i­na­tion for Best Ac­tor in the award show’s his­tory.

In other his­tor­i­cal pop cul­ture news, Rod Stew­art landed his first No. 1 hit on Oct. 2, 1971, with the iconic “Mag­gie May.”

The song, which fol­lows the story of a young man’s failed re­la­tion­ship with an older woman, was orig­i­nally re­leased as a B-side to the sin­gle “Rea­son To Be­lieve.” Un­sur­pris­ingly, ra­dio shows started flip­ping the record in fa­vor of “Mag­gie May.”

In ret­ro­spect, it’s hard to un­der­stand what Stew­art (or a la­bel rep­re­sen­ta­tive) heard in “Rea­son to Be­lieve” that he didn’t hear in “Mag­gie May,” which so punc­tu­ally high­lights his gritty-but-melodic voice with acous­tic gui­tar and man­dolin in­stru­men­ta­tion. Time has its say in the end.

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