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Arnel Pineda

Movie Review: Don't Stop Believin': Everyman's Journey

Zorianna Kit | Posted 05.12.2013 | Entertainment
Zorianna Kit

Don't Stop Believin': Everyman's Journey is a thoroughly enjoyable, feel-good documentary that proves dreams can come true if you keep at it long enough, even if you live in the most far-flung and remote corners of the world.

Interview: The Journey to Make Don't Stop Believin': Everyman's Journey

Marshall Fine | Posted 05.12.2013 | Entertainment
Marshall Fine

Arnel Pineda was a former street kid in the Philippines, singing in a cover band in a Manila club. Suddenly, he was singing in front of 20,000 people in a stadium in Chile -- as frontman for Journey.

Movie Review: Don't Stop Believin': Everyman's Journey

Marshall Fine | Posted 05.05.2013 | Entertainment
Marshall Fine

Not to put too fine a point on it, but as someone who was working as a rock critic for the first decade and a half of Journey's existence, I always regarded them as unexplainably popular, an at-best thoroughly mediocre hit-making machine.

EXCLUSIVE: First Trailer For Journey Doc

Posted 02.11.2013 | Entertainment

From radio stations to sport arenas to the series finale of "The Sopranos" to the series premiere of "Glee" to Broadway hit "Rock of Ages" to perhaps ...

Journey Talks Possible Steve Perry Reunion

The Huffington Post | Mike Ryan | Posted 04.24.2012 | Entertainment

In 1986, Journey, with frontman Steve Perry, released the studio album "Raised on Radio" and traveled the globe for an accompanying world tour. Journe...

Don't Stop Believin': Everyman's Journey - A Tribeca World Premiere Playlist

E. Nina Rothe | Posted 06.23.2012 | Home
E. Nina Rothe

Within this headline-making rock and roll documentary, there lies a very personal story of survival, of achieving one's dream against all odds and of the hard work required to maintain that dream once it becomes a reality.

Making Don't Stop Believin': Everyman's Journey

Ramona Diaz | Posted 06.20.2012 | Entertainment
Ramona Diaz

Three days before the premiere, my producers and I sat in a dark studio in a post-production house in NY and watched the final color-corrected, sound-mixed version of the film. When the lights went up after the screening, we were all a little shell shocked; we looked at each other as if to say "what now?"