Monday, September 14, 2026

RIP: BOB MACKIE

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...



Sunday, September 13, 2026

BORN ON THIS DAY: CLAUDETTE COLBERT

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...



Friday, September 11, 2026

HISTORY BREAK: A 9/11 MEMORY

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.”



Wednesday, September 9, 2026

MEL BROOKS AND HIS HIGH ANXIETY

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."


Tuesday, September 8, 2026

A HOLLYWOOD HERO: JACK NICHOLSON


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.”



Sunday, September 6, 2026

FORGOTTEN ONES: BRIAN EPSTEIN

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...



Thursday, September 3, 2026

ROBERT LEVITT JR: LIVING IN MERMAN'S SHADOWS

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...