A TRIP DOWN MEMORY LANE

PHOTOS OF THE DAY: FINAL PHOTOS OF THE STARS - 2026 EDITION

2026-11-02T12:28:00.000-08:00

Here are some more final photos of many celebrities that we knew and loved for years. Again it might be morbid to publish these photos, but it also shows that these great legends are huan like all of us...

Olivia Newton-John on February 11, 2022. She died on August 8, 2022.

James Caan in April of 2022. He died on July 6, 2022 (seen here with Pierce Brosnan)

Fred Astaire in September of 1986. He died on June 22, 1987.

Catherine O'Hara on September 14, 2025. She died on January 30, 2026.

Shelley Fabares on December 24, 2025. She died on August 22, 2026. (Pictured here with husband Mike Farrell).

Robert Preston in October of 1986. He died on March 21, 1987.

Past editions:

THE FRANK CRISTI MURDER HOUSE

2026-10-30T10:05:00.000-07:00

Actor Frank R. Christi, best known for his gangster-style roles in The Don Is Dead and numerous TV shows, was shot to death on July 9, 1982, at his home at 6969 Woodrow Wilson Drive in Los Angeles, CA. He was ambushed in his driveway just after midnight, and investigators later suspected the killing was tied to a lover’s jealous husband. For years the case remained unsolved, with suspects only named more than a decade later.

He appeared in the films, "The Story Of Pretty Boy Floyd" (1974), "The Don Is Dead" (1973), "Hit!" (1973), "Terminal Island" (1973), and "The Steagle" (1971). He also made guest appearances on the television shows, "Charlie's Angels," "The Rockford Files," "Baretta," "The Incredible Hulk," "Serpico," "The Blue Knight," "Cannon," "The Invisible Man," "Mannix," "Kojak," "Mission Impossible," "The F.B.I.," "Batman," and "The Adventures Of Wild Bill Hickok."

According to Zillow this House is currently for sale.

In California, sellers are required by law to disclose any death that occurred on a property within the past three years, after that, buyers may never know unless they ask. Tragic events like this remind us why it’s important to research a property’s history...

HOLLYWOOD BEAUTY: MARY CARLISLE

2026-10-25T11:09:00.000-07:00

Actress Mary Carlisle lived to be 104, but she did not make movies for a long time. She was a beautiful actress who exemplified the golden age of Hollywood...

FAVORITE FOODS OF CLASSIC HOLLYWOOD

2026-10-21T08:21:00.000-07:00

Classic Hollywood wasn’t just about glitz, glamour, and unforgettable performances—it was also about indulgence, personality, and taste. Behind the scenes, many of the silver screen’s most iconic stars had favorite dishes that reflected their unique styles and backgrounds. From elegant French cuisine to humble comfort food, here’s a look at what some of Hollywood’s golden age legends loved to eat...

Audrey Hepburn – Spaghetti al Pomodoro

Elegant and effortlessly chic, Audrey Hepburn was known for her grace both on and off screen. Her favorite dish? A simple yet flavorful spaghetti al pomodoro. Hepburn often cooked it herself, favoring fresh tomatoes, garlic, basil, and olive oil. She believed in eating well but simply, and this classic Italian dish was a staple in her kitchen.

James Dean – Apple Pie

Rebel with a sweet tooth? James Dean, the brooding heartthrob of the 1950s, had a soft spot for apple pie. Raised in Indiana, Dean’s tastes leaned toward traditional American fare. Apple pie, often served warm with a scoop of vanilla ice cream, was his comfort food of choice.

Marilyn Monroe – Stuffing with Nuts and Raisins

Marilyn Monroe’s diet was famously unconventional, but one of her favorite recipes was surprisingly wholesome: turkey stuffing with nuts and raisins. In a handwritten recipe discovered after her death, Monroe detailed a complex stuffing made with herbs, meats, and dried fruits—a dish she reportedly made herself.

Clark Gable – Ham and Eggs

The “King of Hollywood” preferred hearty, no-nonsense meals. Ham and eggs were a breakfast favorite for Clark Gable, reflecting his rugged persona and Midwestern roots. He often enjoyed them with toast and black coffee before heading to set.

Elizabeth Taylor – Fried Chicken

Elizabeth Taylor, known for her beauty and bold personality, had a deep love for Southern fried chicken. She even published her own recipe, which included garlic salt, paprika, and a generous amount of butter. Taylor’s version was crispy, flavorful, and indulgent—just like her lifestyle.

Humphrey Bogart – Steak and Potatoes

Tough guy Humphrey Bogart kept things classic with steak and potatoes. Whether dining at home or out in Hollywood’s finest restaurants, Bogart’s go-to meal was a well-cooked steak, preferably medium rare, with a side of mashed or baked potatoes.

Lucille Ball – Chinese Food

Lucille Ball, the queen of comedy, had a surprising favorite: Chinese food, especially chow mein. She often dined at Los Angeles’ famous Chinese restaurants and even had her favorite dishes delivered to the set of I Love Lucy. Her love for bold flavors matched her vibrant personality.

Frank Sinatra – Veal Milanese

Ol’ Blue Eyes had a refined palate, and his favorite dish was veal Milanese—a breaded veal cutlet, pan-fried and served with lemon. Sinatra’s Italian-American heritage influenced his tastes, and he often enjoyed this dish with a glass of red wine and good company...

THE MYSTERIOUS DEATH OF THOMAS INCE

2026-10-18T12:00:00.000-07:00

The mystery surrounding the death of silent-era film producer Thomas Ince revolves around the conflicting reports and rumors surrounding his death in November 1924, after falling ill on a yacht owned by William Randolph Hearst. While the official cause of death was heart failure, the circumstances, including the presence of Hearst's mistress Marion Davies and Charlie Chaplin, led to speculation that Ince was accidentally shot by a jealous Hearst or died from foul play, though no official charges were ever filed.

Ince revolutionized the motion picture industry by creating the first major Hollywood studio facility and invented movie production by introducing the "assembly line" system of filmmaking. He was the first mogul to build his own film studio, dubbed "Inceville" in Palisades Highlands. Ince was also instrumental in developing the role of the producer in motion pictures. Three of his films, The Italian (1915), for which he wrote the screenplay, Hell's Hinges (1916) and Civilization (1916), which he directed, were selected for preservation by the National Film Registry. He later entered into a partnership with D. W. Griffith and Mack Sennett to form the Triangle Motion Picture Company, whose studios are the present-day site of Sony Pictures.

Ince became ill on November 19, 1924, while aboard Hearst's yacht, the Oneida, during a trip intended to celebrate Ince's 42nd birthday. Guests on the yacht included Hearst's mistress, actress Marion Davies, and her close friend Charlie Chaplin. Ince became violently ill, was taken off the yacht in San Diego, and died three days later. The official report stated Ince died from heart failure, possibly related to acute indigestion. Media reports initially circulated that Ince had been shot.

A prominent theory suggested that a jealous William Randolph Hearst, concerned about his mistress Marion Davies' relationship with Charlie Chaplin, attempted to shoot Chaplin but accidentally shot Ince instead. Confusion surrounding the events and a lack of communication from those on board fueled speculation about a cover-up. The District Attorney of San Diego, Chester C. Kempley, investigated the death and publicly stated that Ince died of heart failure caused by indigestion. Despite the extensive rumors of murder, no charges were ever filed.

Years later, Hearst spoke to a journalist about the rumor that he had murdered Ince. "Not only am I innocent of this Ince murder," he said, "So is everybody else." Nell herself was increasingly frustrated over the rumors surrounding her husband's death and remarked: "Do you think I would have done nothing if I even suspected that my husband had been victim of foul play on anyone's part?" Still, the myth of Ince's death overshadowed his reputation as a pioneering filmmaker and his role in the growth of the film industry. His studio was sold soon after he died. His final film, Enticement, a romance set in the French Alps, was released posthumously in 1925.

The true story of Ince's final days remains a subject of debate and mystery, inspiring books and films like the 2002 movie The Cat's Meow. Ince's untimely death at the height of his career marked a significant shift in the industry, accelerating the decline of independent producers as the studio system consolidated power...

BING CROSBY: THE HOLLYWOOD YEARS - PART 14

2026-10-14T08:49:00.000-07:00

STORY BEHIND THE PHOTO: MARION DAVIES

2026-10-10T10:38:00.000-07:00

This sad photo is from the funeral of Clark Gable on November 19, 1960. Marion Davies is in the photo with her last husband, Horace G Brown, at the funeral of Clark Gable, just ten months before her own death. She had always nursed a drinking problem but in her final years she became a tragic alcoholic and a bitter woman...

RIP: EVA MARIE SAINT

2026-10-06T15:44:35.463-07:00

Oscar-winning actress Eva Marie Saint, who starred in such memorable classic films as "On the Waterfront" and "North by Northwest," died Tuesday at her home in Los Angeles. She was 102.

The delicate, fine-boned actress, one of the first breakout talents from early television, won her Academy Award as best supporting actress for "On the Waterfront" in 1955, making her the oldest living Oscar winner. She played Edie Doyle in the Marlon Brando starring film, with the New York Times writing in its review, "Amid scenes of carnage, she gives tenderness and sensitivity to genuine romance."

One of her most memorable roles was as the cool but seductive blonde spy in Alfred Hitchcock's 1959 spy thriller "North by Northwest." "Not only does she provide the requisite icy sex appeal as Eve Kendall, a shadowy secret agent, but she also proves to be much more than a standard damsel in distress," Variety wrote in an appreciation on her 97th birthday.

"Saint's character is fully capable of pulling the wool over the eyes of sinister villains and usually remains two or three steps ahead of Grant's hapless Madison Avenue executive Roger Thornhill," the appreciation continues.

Saint made her TV debut on "Camp Hoop La," then became a regular on "One Man's Family." She broadened her dramatic range in such anthology series as "Philco Playhouse," "Robert Montgomery Presents" and "Studio One." Highlights during the period included Paddy Chayevsky's "Middle of the Night" (1954) and a musical adaptation of Thornton Wilder's "Our Town" (1955) co-starring Paul Newman and Frank Sinatra (both shows brought her Emmy nominations); Sidney Howard's "Yellow Jack"; and the drama "Claudia."

In 1956 she took on the glamorous female lead in "That Certain Feeling" opposite Bob Hope, followed by the 1957 film version of "A Hatful of Rain" and "Raintree County."

After "North by Northwest," she appeared in "Exodus" and "All Fall Down." The latter, directed by John Frankenheimer and co-starring Warren Beatty, saw her give one of her best dramatic performances.

She was the numinous but scorned wife in 1965's Elizabeth Taylor-Richard Burton adultery tale "The Sandpiper" and then appeared in a better vehicle, Norman Jewison's comedy "The Russians Are Coming the Russians Are Coming," in 1966. Her performance in "Loving," co-starring with George Segal, was highly regarded and rated with her best work. Other roles include "36 Hours" and "Grand Prix." Except for another Hope comedy, "Cancel My Reservation," she spent most of the next two decades on TV and onstage.

On Broadway she acted in "The Lincoln Mask" in 1972 and then, opposite Henry Fonda, in "The First Monday in October" in 1979. In 1983 she appeared in a Chicago production of "Duet for One." Her television credits include "School for Bachelors," "A Carol for Another Christmas," "'The First Woman President," "Mrs. Epenshade," "Taxi" and miniseries "How the West Was Won." The latter two roles also brought Emmy nominations.

Saint received good critical notices for "A Christmas to Remember" with Jason Robards, "When Hell Was in Session," "The Curse of King Tut's Tomb," "The Best Little Girl in the World," "Malibu," "My Antonia" and "Jane Doe," among other roles.

The actress had a recurring role on the ABC series "Moonlighting," starring Cybill Shepherd and Bruce Willis, as Shepherd's mother.

In 1986 she returned to the big screen with a role in the Tom Hanks-Jackie Gleason vehicle "Nothing in Common." Saint appeared in many TV movies throughout the 1990s, including roles in "I'll Be Home for Christmas," "Kiss of a Killer," "After Jimmy" and "Open House," along with a cameo as Roz's mother in "Frasier." After four previous Emmy nominations, Saint finally took the statuette with a supporting actress Emmy win in 1990 for her role in the NBC miniseries "People Like Us."

Saint returned to film again in the 2000s, appearing in pics such as "I Dreamed of Africa" (2000), "Because of Winn-Dixie" and "Don't Come Knocking" (2005) and 2006's "Superman Returns," in which she played Martha Kent. In 2014 she made her final big screen appearance, in the Akiva Goldsman written and directed "Winter's Tale."

Her husband, TV director Jeffrey Hayden, died in 2016. Survivors include her two children, Darrell and Laurette, four grandchildren, Eli, Tyler, Molly, and Stella and two great grandchildren, Arlo and Finley...

RADIO'S GOLDEN AGE: THE RAILROAD HOUR - OCTOBER 4, 1948

2026-10-04T06:07:00.000-07:00

Let's go back to radio's golden age for the great show The Railroad Hour. Starring Gordon MacRae, each episode was a full musical adaptation. This episode from October 4, 1948 featured Good News. The guests for the week included Dinah Shore and Jane Powell...

THE MYSTERIOUS ANDY KAUFMAN

2026-09-30T05:43:00.000-07:00

Andy Kaufman didn’t want to make you laugh—he wanted to make you uncomfortable. Onstage, he wasn’t a comedian in the traditional sense. He called himself a “song and dance man,” but what he really was… was a disruptor.

On Taxi, he played Latka Gravas, the sweet, mumbling mechanic with a childlike innocence. Viewers adored him. But Kaufman resented being boxed into a sitcom character. Offscreen, he waged war on expectations. He’d walk onto a comedy stage, read The Great Gatsby out loud for half an hour, and refuse to stop. The audience thought it was a prank. It wasn’t—he was serious.

Kaufman invented personas like Tony Clifton, a chain-smoking, foul-mouthed lounge singer who heckled audiences so brutally people stormed out. The brilliance? Kaufman never admitted Clifton was him. Even his closest friends sometimes weren’t sure. He blurred the line between performance and life until there was no line at all.

His infamous wrestling act—challenging women in the ring, declaring himself the “Inter-Gender Wrestling Champion of the World”—was equal parts comedy, cruelty, and genius. Crowds booed, enraged. Kaufman thrived on that outrage. He didn’t care if people loved him. He wanted them to feel something real in the middle of a fake show.

But behind the chaos was a man with quiet contradictions. Friends described him as gentle, almost shy, someone who meditated daily, adored his family, and sometimes longed for the same acceptance he claimed to reject. He died young—just 35, from cancer—but even then, many fans refused to believe it. They thought it was one last bit, a final performance. Decades later, conspiracy theories still circulate that Andy Kaufman faked his death.

Maybe that’s the point. Andy Kaufman didn’t just change comedy—he changed the very idea of what comedy could be.

Because for him, the greatest punchline was leaving us unsure whether the joke was ever really a joke...

THE EULOGY OF AL JOLSON

2026-09-26T05:53:00.000-07:00

Comedian George Jessel gave the eulogy for Al Jolson's funeral in October of 1950. They were lifelong friends, and Jessel's words were well said...

A BREEZE FROM San Francisco Bay and the life of the greatest minstrel that America has ever known is in the balance. A turn of a card -- a telling of a gag -- and within a few moments, a wife, a legion of friends, and a nation are broken-hearted. So it was and so, alas, it is the passing from this earthly scene of Al Jolson. And the voice that once put majesty into the American popular song must from now on come from a disc instead of the heart, from whence it came.

Oh, my friends, I know it is the purpose of the speaker at times like these to voice lofty phrases of consolation about a life full lived and a happy conclusion to a great career. But I, contemporary of Al's, find myself too shocked and torn within to say that all is well, and I dare not lie from this sacred platform to say that I, and we, must rejoice in the fact that now he is at peace. It would be far from the truth, and I would need the spiritual strength of a rabbi, a minister, and a priest combined to do so. The human flesh and the frailty of human nature seem to be the sad order of the day as far as I am concerned.

It will take a long time for the people in my business who have been wounded by this event to become reconciled that this dynamic bundle of energy with its God-given talent that called itself Al Jolson is at peace. The very humanly emotional heart of the theatrical business does not heal so easily, and the tears that must fall from the eyes of the many who miss him already cannot be halted by the spoken word. No, the word will not take the place of his song.

And not only has the entertainment world lost its king, but we cannot cry, "The King is dead -- long live the King!" For there is no one to hold his scepter. Those of us who tarry behind are but pale imitations, mere princelings. And American Jewry suffers as well and I must psychologically inform you of the great inspiration that Al was to the Jewish people in the last forty years. For in 1910 the Jewish people who emigrated from Europe to come here were a sad lot. Their humor came out of their own troubles. Men of thirty-five seemed to take on the attitude of their fathers and grandfathers, they walked with stooped shoulders. When they sang, they sang with lament in their hearts and their voices, always as if they were pleading for help from above, And the older they got, the more they prayed for the return to Jerusalem. Or yearned for the simple little villages where they spent their childhood. And the actors, even the great ones, came on the stage also playing characters like their fathers. Vaudeville and the variety and the musical-comedy stage and the legitimate theater had Ben Welch and Joe Welch, monologists with beards and shabby clothes telling humorous stories that had a tear behind them. Likewise did this happen in legitimate theater. David Warfield in The Auctioneer and many others in plays bewailing the misfortunes that had happened to the Jew. And then there came on the scene a young man, vibrantly pulsing with life and courage, who marched on the stage, head high with the authority of a Roman emperor, with a gaiety that was militant, uninhibited, and unafraid, and told the world that the Jew in America did not only have to sing in sorrow but could shout happily about Dixie, about the Night Boat to Albany, about coming to California, about a girl in Avalon. And when he cried "Mammy" it was in appreciation, not in lament. Jolson is the happiest portrait that can ever be painted about an American of the Jewish faith. Jolson was synonymous with victory at the race track, at the ball game, at anything that he participated in, he would say, "I had the winner, ha, ha, why didn't you ask me?" This was not in bravado alone: this was the quintessence of optimism. Whatever you're in, whatever game you play, feel like you are the winner.

The history of the world does not say enough about how important the song and the singer have been, from the days of old when a man first sang "Yankee Doodle" on the streets of Boston or the soldier in France who first sang "The Marseillaise." But history must record the name Jolson, who in the twilight of his life sang his heart out in a foreign land, to the wounded and to the valiant. I am proud to have basked in the sunlight of his greatness, to have been part of his time, and to have only a few days ago -- this last Sunday night -- hugged him and said, "Good night, Asa, take care of yourself." And now, my friends, I find my faith in good coming back to me. I feel strengthened in heart and mind -- and I would lay my sackcloth and ashes aside and therefore say to my fellow mourners and the little lady who bears Al's name that I am thankful to God that there was and there is an Al Jolson. And I have faith that he will never die in the hearts of people. No, no. No such blot will ever fall on the fair charter of American memories. Baruch adenoi. Praise the Lord. Good night, Al.

ON THIS DAY - SEPTEMBER 23, 1957

2026-09-23T08:37:00.000-07:00

69 years ago...

On this day, Buddy Holly and The Crickets reached the very top of the charts with That’ll Be the Day — their first Billboard hit and their only US #1. The song’s title came from a phrase John Wayne used in the 1956 film The Searchers, and Holly’s driving rhythm and vocal style turned it into a rock ’n’ roll anthem.

The record went on to sell over a million copies in America, cementing Holly as one of the most important pioneers of early rock. Though his career was tragically cut short, his impact was undeniable. After That’ll Be the Day, Holly scored more hits with Peggy Sue, Oh, Boy!, Maybe Baby, and It Doesn’t Matter Anymore.

His innovative songwriting, use of double-tracking, and his look — horn-rimmed glasses and all — influenced generations to come, from The Beatles to Bob Dylan to modern rockers...

HOLLYWOOD URBAN LEGEND: RUSS COLUMBO

2026-09-20T10:45:00.000-07:00

URBAN LEGEND: Did friends and family keep the news of crooner's Russ Columbo's death from his own mother until her death?

ANSWER: Yes, that urban legend is true!

Russ Columbo's family kept his death a secret from his mother, Mrs. Columbo, in a "tender deceit" to protect her. They did not inform her that he had died when he was killed in 1934, and the deception continued for ten years until her own death in 1944. The family's decision to hide the news of his death was an act of kindness, intending to spare his mother the grief of his sudden passing.To maintain the elaborate deception, people wrote fake letters from him, suggesting he was on a long tour in Europe. They played records of his old radio shows to make it seem as though his broadcasts were still ongoing. Also they persuaded friends and acquaintances to talk as if Columbo were still alive.

Giulia "Julia" Colombo died on August 30, 1944 never knowing her famous song had died a decade earlier...

CAROL BURNETT: THE ULTIMATE MISS HARRIGAN

2026-09-17T08:29:00.000-07:00

When Annie hit theaters in 1982, audiences were already familiar with Carol Burnett as the queen of sketch comedy, thanks to The Carol Burnett Show. But nothing quite prepared them for her turn as Miss Agatha Hannigan—the gin-soaked, silk‑slipped, delightfully unhinged matron of the Hudson Street Orphanage. Burnett didn’t just play Miss Hannigan; she transformed her into a chaotic, tragicomic force of nature who would ultimately define the film’s long‑lasting appeal.

Most fans don’t realize Burnett wasn’t the first choice for the part. The role of Miss Hannigan was initially offered to Bette Midler, whose powerful voice and theatrical style would have taken the character in an entirely different direction. But fate had other plans, and Burnett stepped in—bringing with her a blend of vaudeville sharpness, emotional nuance, and comedic timing that made the character unforgettable.

That choice would turn out to be a defining moment for the film. Burnett’s performance became so memorable that many viewers now associate Annie not just with its red‑haired heroine, but with the unstable caretaker who belted out “Little Girls” while drunkenly threatening to hang up on life itself.

Burnett portrayed Miss Hannigan as a woman teetering between slapstick comedy and real emotional despair. That balance wasn’t accidental. She has acknowledged that aspects of Hannigan’s alcoholism echoed experiences from her own upbringing, grounding the character in lived emotional truth even amid exaggerated physical humor.

Nowhere is that balance more evident than in the musical number “Little Girls.” Burnett staggers, sways, rearranges a painting just so she can make it crooked again—all tiny touches that reveal Hannigan’s unraveling mind. Critics and fans alike still cite the scene as a masterclass in comedic acting, done with just enough darkness to feel real.

Filming wasn’t as glamorous as the final product suggests. Director John Huston, best known for gritty noir films like The Maltese Falcon, was an unusual choice for a musical—and his dramatic sensibilities clashed with Broadway‑style energy on set. Yet somehow, the mismatch created a vibrant, oddball atmosphere that Burnett thrived in.

To make matters even more complicated, Burnett underwent chin surgery between filming and reshoots. When she returned to set, her new look posed a continuity nightmare—especially for the “Easy Street” scene, which originally involved over 400 background performers before being scaled down. She joked to Huston, “Two months ago, I didn’t have a chin. Now I do.” The director’s solution? “Just come out looking determined.” And she did, with impeccable comedic confidence.

Forty years later, there have been multiple adaptions of Annie—TV films, live musicals, and reimaginings. But none have surpassed the charm, chaos, and layered humor of Burnett’s performance.

Whether she was belting out songs with Tim Curry and Bernadette Peters or snarling at her army of exhausted orphans, Burnett gave Miss Hannigan a soul—albeit a twisted, booze‑soaked one. She made the villain weirdly lovable, even when she was at her worst. And that is why her portrayal continues to be the definitive version for generations of fans...

RIP: BOB MACKIE

2026-09-14T09:14:40.731-07:00

Bob Mackie, iconic fashion and Costume Designer, has died at the age of 87. Bob Mackie was an internationally renowned costume and fashion designer who has dressed some of the most glamorous entertainment icons in the world. With a career spanning five decades, nine Emmy Award wins, three Academy Award nominations, and an induction into the Television Academy Hall of Fame.

Mackie's Instagram posted the following message:

It is with a heavy heart that we share the news that Mr. Bob Mackie passed away today. He lived his 87 years to the fullest, fulfilling his dream of being a Fashion and Costume Designer, which is all he ever wanted to do. His genius and extraordinary designs will live on forever, continuing to bring beauty into this world.

Bob Mackie's career is nothing short of legendary. Most recently, he received a 2019 Tony Award, Drama Desk Award, and Outer Critics Circle Award for his work on The Cher Show.

A native of Southern California, Bob's career began in 1961, where he was in demand as a sketch artist for many costume designers in film, including Edith Head and Jean Louis. In 1966, the vivacious Mitzi Gaynor decided she was ready for a whole new look and quickly engaged Mackie to design the costumes for her famous Las Vegas Review and her upcoming television specials. For Mackie, this was a marriage made in heaven with dance, glamour, and comedy all in one package.

After seeing Gaynor's Las Vegas show, Carol Burnett and TV producer, Joe Hamilton hired him to design the entire wardrobe for the first Carol Burnett Show, where he remained the show's Costume Designer for it's eleven year run on air. Bob is equally well known for his designs worn by Cher on her television show, as well as her concert tours, winning an Emmy in 1999 for Cher: Live in Concert from Las Vegas and in 2003 for Cher: The Farewell Tour.

His theatrical credits include Lorelei with Carol Channing, On the Town with Bernadette Peters, Platinum with Alexis Smith, The Best Little Whorehouse Goes Public with Dee Hooty, Moon Over Buffalo and Putting It Together, both with Carol Burnett; and Minnelli On Minnelli with Liza Minnelli. He also designed the costumes and scenery for the world premiere of the ballet, Blue Suede Shoes, featuring the music of Elvis Presley, as well as the costumes for the San Francisco Opera's production of Alban Berg's Lulu.

In 1999, the Museum at The Fashion Institute of Technology ("FIT") honored Mackie's enormous contribution to fashion and costume design with the retrospective Unmistakably Mackie, now hailed as one of the most highly attended exhibitions in New York City history. The exhibit included more than 125 examples of Mackie's designs, sketches, photos, and videos spanning his incredible career. In conjunction with the retrospective, the vibrantly illustrated book, Unmistakably Mackie by Frank DeCaro, was also released.

Women who wear Mackie dare to be noticed, and many of the entertainment industries biggest and brightest stars are still clamoring to be dressed by him. The Mackie brand continues to flourish with the QVC Wearable Art Collection and partnerships with Kas Rugs, Premium Bag, Horizon Beauty Group, Glance Eyewear, and The Bradford Exchange. With his choice of vibrant colors, luxurious fabrics, and intricate detail, Bob Mackie's work continues to exude timeless glamour...

BORN ON THIS DAY: CLAUDETTE COLBERT

2026-09-13T10:21:00.000-07:00

Claudette Colbert, born Emilie Claudette Chauchoin on this day in 1903, was one the greatest actresses of the 20th century. The family moved to the United States when she was three. As Claudette grew up, she wanted nothing more than to play to Broadway audiences (in those days, any actress or actor worth their salt went for Broadway, not Hollywood). After her formal education ended, she enrolled in the Art Students League, where she paid for her dramatic training by working in a dress shop. She made her Broadway debut in 1923 in the stage production of "The Wild Wescotts". It was during this event that she adopted the name Claudette Colbert.

When the Great Depression shut down most of the theaters, Claudette decided to make a go of it in films. Her first film was called For the Love of Mike (1927). Unfortunately, it was a box-office disaster. She wasn't real keen on the film industry, but with an extreme scarcity in theatrical roles, she had no choice but to remain. In 1929 she starred as Joyce Roamer in The Lady Lies (1929). The film was a success and later that year she had another hit entitled The Hole in the Wall (1929). In 1930 she starred opposite Fredric March in Manslaughter (1930), which was a remake of the silent version of eight years earlier. A year after that Claudette was again paired in a film with March, Honor Among Lovers (1931). It fared well at the box-office, probably only because it was the kind of film that catered to women who enjoyed magazine fiction romantic stories. In 1932 Claudette played the evil Poppeia in Cecil B. DeMille's last great work, The Sign of the Cross (1932), and once again was cast with March. Later the same year she was paired with Jimmy Durante in The Phantom President (1932). By now Claudette's name symbolized good movies and she, along with March, pulled crowds into the theaters with the acclaimed Tonight Is Ours (1933).

The next year started a little on the slow side with the release of Four Frightened People (1934), where Claudette and her co-stars were at odds with the dreaded bubonic plague on board a ship. However, the next two films were real gems for this young actress. First up, Claudette was charming and radiant in Cecil B. DeMille's spectacular Cleopatra (1934). It wasn't one of DeMille's finest by any means, but it was a financial success and showcased Claudette as never before. However, it was as Ellie Andrews, in the now famous It Happened One Night (1934), that ensured she would be forever immortalized. Paired with Clark Gable, the madcap comedy was a mega-hit all across the country. It also resulted in Claudette being nominated for and winning the Oscar that year for Best Actress. IN 1935 she was nominated again for Private Worlds (1935), where she played Dr. Jane Everest, on the staff at a mental institution. The performance was exquisite. Films such as The Gilded Lily (1935), Drums Along the Mohawk (1939) and No Time for Love (1943) kept fans coming to the theaters and the movie moguls happy. Claudette was a sure drawing card for virtually any film she was in. In 1944 she starred as Anne Hilton in Since You Went Away (1944). Again, although she didn't win, Claudette picked up her third nomination for Best Actress.

By the late 1940s and early 1950s she was not only seen on the screen but the infant medium of television, where she appeared in a number of programs. However, her drawing power was fading somewhat as new stars replaced the older ones. In 1955 she filmed the western Texas Lady (1955) and wasn't seen on the screen again until Parrish (1961). It was her final silver screen performance. Her final appearance before the cameras was in a TV movie, The Two Mrs. Grenvilles (1987). She did, however, remain on the stage where she had returned in 1956, her first love. After a series of strokes, Claudette divided her time between New York and Barbados. On July 30, 1996, Claudette died in Speightstown, Barbados. She was 92...

HISTORY BREAK: A 9/11 MEMORY

2026-09-11T04:00:00.000-07:00

Twenty five years ago the world changed for millions of people. There are countless stories of heroes and victims, and as sad as these stories are - hopefully this tragedy will never be forgotten. At two and a half years old, Christine Lee Hanson was the youngest of the eight children who were killed on 9/11, all passengers aboard the aircraft commandeered by terrorists. Christine’s life will be remembered through the display of her beloved Peter Rabbit, which will be installed in the 9/11 Museum’s Memorial Exhibition Thursday, June 11, after closing.

On September 11, 2001, Christine and her parents, Peter and Sue Kim Hanson, left their residence in Groton, Mass. and boarded United Flight 175 at Logan Airport. The family was flying to Los Angeles to visit Sue Kim’s relatives, followed by a trip to Disneyland. The hijacked plane never reached its destination. Two other children died on the same flight when it crashed into the South Tower of the World Trade Center.

Christine was a bright, busy toddler who loved taking trips to the playground and helping her father in the garden. An attentive caretaker of her toys, she favored a stuffed Peter Rabbit character from the classic Beatrix Potter series. It was given to her by her grandmother, Eunice Hanson, in acknowledgement of Christine’s birth in the Chinese Year of the Rabbit. Peter Rabbit replaced Christine’s previously best-loved plaything: a red Teletubby acquired in infancy that “went everywhere with her,” Eunice Hanson recalls.

In 2014, both of these cherished keepsakes were entrusted to the 9/11 Memorial Museum by her grandparents, Eunice and Lee Hanson. Two Winnie the Pooh stickers that Christine placed on Peter Rabbit’s torso are still attached. “She put stickers on everything she liked; I suppose it was her mark of approval,” Eunice Hanson said.

Included in the Hanson’s gift to the Museum was a photograph of Christine celebrating her first birthday, with the word Peace incised on the picture frame. “The Peace frame containing Christine’s picture, taken in a traditional Korean outfit, is most poignant,” said Eunice Hanson. “That one word describes Christine’s parents, who were loving people and believed in kindness. I could ask volumes of questions why this happened to them, given who they were.”

MEL BROOKS AND HIS HIGH ANXIETY

2026-09-09T09:30:00.000-07:00

On this date in 1977, "High Anxiety" was released. It is really an underrated Mel Brooks film!

Mel Brooks once said of Alfred Hitchcock: "Anyone who has ever rolled a foot of film owes something to this man."

Brooks took great pains to not only spoof Hitchcock films, but also to emulate the look and style of his pictures. In an interview he said, "I watch the kind of film we're making with the [director of photography], so he knows not to be frivolous. He's got to get the real lighting, the real texture. For 'High Anxiety', it was 'What is a Hitchcock film? What does it look like? What does it feel like? How does he light them? How long is a scene? What is the cutting? When does he bring things to a boil?' We just watch everything."

Brooks hired the actual bird handler from Alfred Hitchcock's "The Birds" (1963) for work on this picture. The bird droppings were actually mayonnaise and chopped spinach. However, Brooks reported to Johnny Carson on "The Tonight Show" that the helicopter spraying the fake bird droppings scared the pigeons so much that he believed half of the bird droppings were real.

One of Brooks' favorite routines was doing a musical impression of Frank Sinatra, and in this film he performs the song "High Anxiety" in an exaggerated version of Sinatra's singing style, right down to dropping the first syllable of the word "anxiety." . Brooks wrote the song and lyrics. Brooks claimed he received singing offers from Las Vegas casinos and clubs following the release of the film.

During a special preview screening, Alfred Hitchcock's only criticism of the film to Brooks was that in the shower scene, when the shower curtain is torn off the rail, they used 13 shower curtain rings, whereas in "Psycho" (1960), they only used 10. After viewing the film, Hitchcock sent Brooks a case containing six magnums of 1961 Château Haut-Brion wine with a note that read, "A small token of my pleasure, have no anxiety about this."

A HOLLYWOOD HERO: JACK NICHOLSON

2026-09-08T06:55:00.000-07:00

When the planes struck the Twin Towers on September 11, 2001, Jack Nicholson was in Los Angeles, seated alone in his Mulholland Drive home, glued to the television. He didn’t move for hours. By the end of the first day, he’d already canceled a long-planned charity golf tournament, paused talks for a new film with Warner Bros., and phoned his assistant to pull him out of an upcoming public appearance. Those close to him said Nicholson’s reaction was swift, solemn, and deeply personal.

Friends remember that he didn’t eat much during those days. One recalled entering his living room the evening after the attacks and finding him still in the same spot, eyes fixed on the screen. “He hadn’t changed clothes. The ashtray beside him was overflowing. He looked up at me and said, ‘You can’t pretend it’s business as usual, not now,’” the friend said.

Nicholson, typically charismatic and open in interviews, refused to speak publicly about 9/11. Not a single televised statement. No press release. No social commentary. But his actions behind closed doors told a different story. Within 72 hours of the attack, he sent out anonymous donations to several New York-based emergency relief groups. A quiet phone call went out from his lawyer’s office to a Manhattan firehouse, an inquiry about what supplies were needed. He then arranged for protective gear, boots, and medical kits to be shipped to a fire department without identifying himself as the benefactor.

A retired NYPD detective, who later learned of the donation through internal channels, said, “It came from a private source on the West Coast. The only hint was a handwritten note that said, ‘Thank you for being brave when the world went dark.’ No name. But someone on the force recognized the handwriting from a signed photo hanging in a precinct office. It was Jack.”

Nicholson’s silence wasn’t detachment. It was a vow. One of mourning. He canceled plans to attend a high-profile celebrity gala later that week, saying, “This isn’t a week for business. This is a week for mourning.” That quote, relayed by a friend to Vanity Fair, never appeared in official print. It was passed on quietly, like everything else he did during that time.

He even stepped away from the spotlight entirely for several weeks. Producers who tried to reach him were told he wasn’t taking calls. The gate to his estate remained locked, and even his usual crew of poker buddies was told to wait. “He took it hard,” said one longtime friend. “I mean, Jack’s not the kind of guy who cries at movies. But that week… he’d choke up every time they replayed that footage.”

FORGOTTEN ONES: BRIAN EPSTEIN

2026-09-06T08:36:00.000-07:00

Other than Beatles fans, does anyone remember the name of Brian Epstein? He was an English music entrepreneur who discovered and managed the Beatles. He was often referred to as a "fifth" member of the group. Epstein was born into a family of successful retailers in Liverpool, who put him in charge of their music shop. Here he displayed a remarkable gift for talent-spotting, and got a strong intuition about the potential of an unknown four-man group, The Beatles, at a lunchtime concert at Liverpool's Cavern Club in 1961. Although he had no experience of artist management, Epstein put them under contract and insisted that they abandon their scruff-image in favor of a new clean-cut style, with identical suits and haircuts. He then persuaded George Martin of the prestigious EMI group to produce their records. In August 1962, drummer Pete Best was replaced with Ringo Starr, and the group's familiar line-up was established. Within months, the Beatles' fame had swept the world, and Epstein accompanied them to America, where he was besieged by merchandising offers, but had signed away 90 per cent of the rights in advance. This is viewed as his one miscalculation. Some of Epstein's other young discoveries had also prospered at this time under his management.

They included Gerry and the Pacemakers, Billy J. Kramer and the Dakotas, Tommy Quickly, and Cilla Black, his only female client. As a gay man, Epstein had to observe great discretion in public, since homosexuality was still illegal in the UK, although he tolerated a certain amount of banter about it in private. The stress of managing the world's first supergroup took its toll, and he withdrew into drink and pills. On August 27, 1967, Epstein died at age 32, from an accidental overdose of sedatives. Epstein was found on a single bed, dressed in pyjamas, with various correspondence spread over a second single bed. He is buried at Liverpool Long Lane Jewish Cemetery in Liverpool, England. The Beatles did not attend Epstein's funeral, both to allow his family some privacy and to avoid attracting fans and the media...

ROBERT LEVITT JR: LIVING IN MERMAN'S SHADOWS

2026-09-03T09:22:00.000-07:00

When people think of Ethel Merman, they remember one of Broadway's most powerful voices and one of the most influential musical theater performers of the twentieth century. What is less widely known is the story of her son, Robert Levitt Jr., a man who spent much of his life avoiding the spotlight that defined his famous mother's career. His journey is a fascinating blend of privilege, personal struggle, family tragedy, and ultimately a search for purpose far removed from celebrity.

Robert Levitt Jr. was born on August 11, 1945, to Ethel Merman and her husband Robert Levitt, a newspaper executive. Growing up in Manhattan, he experienced a life of comfort and wealth that came with having one of the biggest stars in America as a parent. Yet beneath the glamorous surroundings, his childhood was more complicated than many outsiders might have imagined. According to his own recollections, Merman's demanding career often kept her away from home, and he frequently felt emotionally disconnected despite the family's financial success.

After his parents divorced and his father later died while Robert was still young, family life became increasingly complex. Merman's subsequent marriages brought new parental figures into the household, including airline executive Robert Six. Robert Jr. later spoke openly about witnessing tensions within the family and feeling that the adults around him paid little attention to his emotional development. While he enjoyed privileges that most children never experience, he also described feeling largely left to navigate adolescence on his own.

His teenage years proved difficult. Given unusual freedom at a young age, he reportedly skipped school, drifted without much direction, and took advantage of the resources available to him as the child of a celebrity. Looking back, he described himself as a young man lacking guidance and structure. Unlike many celebrity scandals that dominate headlines, Robert's struggles were quieter but no less significant. They reflected the challenges that can arise when fame and wealth exist without consistent parenting and personal support.

Tragedy struck the family in 1967 when Robert's sister, Ethel "Nicole" Levitt, died from an accidental overdose. Her death devastated those closest to her and remained a painful chapter in the family's history for decades. Family members later recalled that Ethel Merman never fully recovered from the loss of her daughter and often spoke about missing her.

Another painful episode came through Robert's marriage to actress Barbara Colby. Colby was a respected stage and television performer whose career was steadily growing in the early 1970s. Although the couple eventually separated, tragedy struck again when Colby was murdered in Los Angeles in 1975. The crime remains unsolved. Public records indicate that Robert and Barbara were no longer together at the time of her death, but the event nevertheless became another sorrowful chapter connected to his life story.

Despite these setbacks, Robert gradually found his own path. Instead of pursuing fame as a performer, he gravitated toward backstage theater work. His early opportunities may have come through family connections, but over time he developed professional relationships and earned the respect of mentors who helped him mature both personally and professionally. Unlike his mother, whose career depended on public recognition, Robert appeared more comfortable working behind the scenes.

As he grew older, Robert became increasingly involved in charitable and community-focused activities. Reports about his later years describe involvement with environmental causes and nonprofit organizations, including arts-related charities that assist underserved youth. Rather than embracing a celebrity lifestyle, he devoted much of his energy to service and advocacy. Those efforts suggest a man attempting to create meaning through helping others rather than seeking attention for himself.

One of the most meaningful aspects of his later life was his relationship with an adopted son who had previously experienced homelessness. Robert reportedly took enormous pride in that relationship and viewed it as one of his greatest accomplishments. For many observers, it represents a powerful contrast to the loneliness and lack of guidance he often described in his own childhood

His relationship with Ethel Merman remained complex throughout his life. He acknowledged the extraordinary talent and success that made her a Broadway legend, but he also spoke candidly about the emotional distance he felt growing up. At the same time, he remembered small moments of affection, including a bedtime tradition in which mother and son sang together before she left for evening performances. Those memories suggest that although the relationship was imperfect, genuine love still existed beneath the pressures of fame and demanding careers.

Today, Robert Levitt Jr. is remembered less for notoriety than for resilience. He endured family loss, difficult personal years, and the burden of growing up in the shadow of an American icon. Yet he also forged his own identity through theater work, charitable efforts, and meaningful relationships. His story serves as a reminder that the children of famous people often experience challenges that are invisible to the public. While Ethel Merman spent her life commanding center stage, her son ultimately chose a quieter path, one defined not by applause but by perseverance, compassion, and the determination to build a life on his own terms...

THE LAST DAYS OF GENE KELLY

2026-09-01T09:22:00.000-07:00

The decision by Gene Kelly’s widow not to organise a funeral for her late husband when he died in 1996 no doubt surprised many, but she has now revealed the wish came from the Singin’ In The Rain star himself before he passed away.

The legendary actor and dancing star died at the age of 83 following a series of strokes, shortly after he married his third wife Patricia Ward Kelly. His declining health stemmed from strokes he suffered in July 1994 and February 1995, from which he never fully recovered.

Patricia tours the world talking about Gene in which she stands in front of a crowd and reads back, plays and recites some of their memories together – portraying a more personal side to the legendary star. And one subject she touches on is his declining health in his final years.

“I talk about this in the show because a lot of people don’t talk about the end of life and I think it’s really integral. It’s part of it, talking about grief and loss,” she said. “He was in and out ill for much of the time we were together. A lot of it was kept out of the press, we would sneak into hospitals as best we could. He really did face the end of his life with such grace and such dignity. It was really a lesson in how to deal with difficulty, and it was really a bonding time for the two of us.”

The pair first met at the Smithsonian in Washington DC, US, in 1985, when he was the host for a television special about the museum and she was a writer on the project. Despite their 47-year age gap, they enjoyed more than a decade of blissful happiness together, with Patricia helping to care for him before his death.

At the time, she was helping to write down his memories for a book about his life, so has records of almost all of their conversations and movements. She claimed patient confidentiality wasn’t so much of a thing in the ’90s and they’d have nurses selling stories to the press about Gene as he battled illness in his final years. In fact, she claimed some journalists even dressed up as priests to sneak in themselves.

“It was awful. People assume that a celebrity will have the best, but in fact I think it’s very, very hard for a celebrity, very difficult. But in a way it brought us closer, we were fighting the same fight. Of course I was writing down everything, which was a way for me to cope,” she explained.

“As long as I was writing, he was still alive. But then the problem is you realise when you stop writing, what happens then?”

While Patricia said she had grown up herself in a household that spoke openly about death, it wasn’t something she’d touched on initially with Gene. However as he grew older that changed and she expressed pride in how open he became with her.

“It was something that was very familiar when I grew up with my family, so I just felt that I wanted to know exactly what he wanted,” she said. “I assured him that I would do exactly what he wanted me to do.

“I think it was really good for him because, here was a guy from a different generation talking about things that you just generally didn’t talk about. I have to give him a lot of credit, for a man of that age and that stature to really assess and reassess his life and also to consider the end of life as frankly as he did, and lay it out.

“I was very proud of him. And it helped me a lot because I knew, people have such interesting feelings and thoughts about death and the final days, so I just needed to know what he wanted. I stuck to that and I knew, if I took any flack in the public, the press or anything, I would know that I did what he asked me to do. You have to do that for somebody, you have to make that promise.”

In the end, it was Gene’s wish not to have a memorial service or funeral, instead keeping the mourning private for his family. While many will no doubt have been surprised by the decision, Patricia explained it followed a life lived in the limelight – with his final wish for it to happen behind closed doors.

“He was very specific, he wrote that out – I had him write it out and notarise that!” she admitted. “He didn’t want to be buried anywhere, he said, ‘I’m tired of being on a tour bus route. Every time we would leave our house the tour bus would be going by and would follow us. He said, ‘For me it’s dust to dust’, he didn’t need to have a big memorial some place. I really understand that.

“I think some people think they have to go someplace, but for me he’s just always here so I don’t need to go to a particular spot to mourn him. He was very thoughtful.

“I think what helped him was experiencing the death of so many of his friends. He saw what happened to them, so it also helped to guide his choices. We’d sat through a lot of memorial services and visited a lot of gravesites, so he decided what he wanted.”

Before meeting Patricia and settling down, Gene had always insisted he would never marry again following the death of his second wife Jeanne Coyne. The couple had two children together, while Gene already had a daughter with his first wife Betsy Blair, who he divorced in 1957.

However, Patricia admitted it crept up on him and after five years, he eventually popped the question. She recalled: “I think by falling into this relationship through work… we set out to work together and then the other just came upon us both, it wasn’t until five years into being together when I’d lived with him the whole time that he finally got around to it.”