RED NICHOLS IN THE 1920s

1920s' New York was full of young jazz musicians who’d rolled in from somewhere else. Ernest Loring Nichols, a redheaded kid from Utah fell into partnership with a studious-looking trombone player from nearby Long Island named Miff Mole. Instantly they clicked, and together set the standard for hot recording bands of the early 20s. They recorded under an ever-changing roster of goofy names like The Arkansas Travelers, or The Tennessee Tooters—names that seem at odds with the polished skill and urban sound of their hits.

By 1925 Red Nichols was the man to see if you were a musician in New York and needed a job. He was the 'go to' guy, equally connected to record labels needing talent and top-flight musicians looking for work. A well-schooled musician tutored by his bandmaster father, Red could pick up a violin, sit down at the piano or play the cornet. His cornet style has been praised for its “ringing tone and springy, punchy, rhythmic drive.”

When George and Ira Gershwin mounted their 1930 Broadway musical Strike Up the Band, they turned to Red Nichols to put their orchestra together. Nichols filled the chairs in the pit band with rising stars in the jazz world. On opening night as the curtain parted, first-nighters were treated to the sound of Jack Teagarden, Benny Goodman, Jimmy Dorsey and Glenn Miller—all under the baton of Red Nichols.

Red Nichols was a skilled talent scout. His studio sessions were a magnet and proving ground for top, young, white jazz players. Many would go on to become star bandleaders of the Swing Era. In the late summer of 1927 Jack Teagarden had finished a gig in a society dance band at San Antonio’s Gunther Hotel. Impulsively the 25-year-old trombonist hit the road for New York in a Cadillac belonging to the wife of one his band mates. One warm August evening they landed in Times Square. Dropped off at a phone booth in mid-town with his bags and instrument case, the first person Jack called was Red Nichols. Always on the lookout for something new to offer the record-buying public, Red was quick to capture Jack Teagarden’s soulful, blues-driven sound and playful vocals on disc.

Pint-sized with flame-red hair, Red Nichols was a go-getter with a good head for business. And he was clean and precise in his playing, a modernist always exploring new territory. But Nichols’ popular success drew criticism from some who called him an 'entertainer' rather than an 'artist.' Critics saw his success as “selling out” or somehow inauthentic, not true to the spirit of hot jazz as it was played by Jazz Age cornet hero, Bix Beiderbecke.

Saxophonist Bud Freeman and his friends often worked in studio groups led by Red Nichols but would not agree with Sudhalter about Nichols' musicianship. Freeman once said, “In the opinion of our group, Nichols was a synthetic player. He was a clever musician and made a lot of records, but he was a very mechanical player.”

This week on Riverwalk Jazz The Jim Cullum Jazz Band tells the story of Red Nichols and his Five Pennies, illustrated with numerous historical recordings of Nichols and the ensembles he led.

In spite of the controversy surrounding his work, Red Nichols was the most recorded and successful musician-bandleader in New York in the 1920s. He led enormously popular bands featuring some of the most creative white jazz players of that time, under names such as The Five Pennies, The Red Heads, and Miff Mole and His Little Molers. This voluminous output of recorded work—Red appeared on about 4,000 recordings in the 1920s—is recognized today as a major expansion and refinement of the harmonic and compositional possibilities in jazz...

CHEERS: THE SAGA OF SAM AND DIANE

Ted Danson and Shelley Long lit up television in the 1980s through the hit sitcom "Cheers" (1982–1993). As Sam Malone, the ex–Red Sox pitcher turned bar owner, and Diane Chambers, the sophisticated waitress with lofty ambitions, their on-screen relationship became one of the most iconic love-hate dynamics in TV history. From the very first episode, the tension between Malone’s smooth-talking charm and Diane’s intellectual wit created an irresistible spark. Viewers could sense that every argument carried a flirtatious undercurrent, and every romantic moment carried the risk of another fiery clash. This constant push and pull made the show’s heart beat just as strongly as its comedy.

The creative team behind "Cheers" understood immediately that Danson and Long had a rare chemistry. Danson’s laid-back style and physical humor balanced perfectly against Long’s sharp delivery and polished presence. Even during long stretches of dialogue-heavy scenes, they kept audiences riveted. Their banter felt natural, never forced, which allowed the relationship between Sam and Diane to evolve in a way that felt believable. By the time the two characters officially became a couple in season two, millions of viewers were invested not just in the comedy but in the outcome of their romance.

Behind the scenes, their working relationship mirrored some of the tension portrayed on-screen. Shelley Long was known for her meticulous approach, dissecting scripts and often seeking adjustments to ensure her character’s integrity. Ted Danson, while equally committed, relied more on instinct and spontaneity. At times, their different methods led to friction, but that friction translated into energy that fueled their performances. Cast members recalled that even when Long and Danson debated over how to play a scene, the result was almost always electric once the cameras rolled.

The romantic storyline between Sam and Diane became so central to the series that it shaped much of "Cheers" during its early years. Episodes were built around their arguments, reconciliations, and the constant question of whether their personalities could ever truly fit together. Critics praised the pairing as one of television’s most complex comedic romances, noting that Danson and Long elevated what could have been a standard sitcom relationship into something layered with vulnerability and bite. Their connection made the audience believe that two people who clashed so fiercely could also care so deeply.
Off-camera, their relationship remained professional, though not always easy. Shelley Long’s decision to leave the show in 1987 after five seasons was a pivotal moment. For Danson, who continued on as the lead for the remainder of the series, it meant saying goodbye to a partnership that had defined the show’s identity. Long explained that her departure was motivated by a desire to pursue film opportunities and to spend more time with her young daughter, but she also acknowledged that the intensity of working on "Cheers" had taken its toll.

Their careers took different directions after that point. Ted Danson went on to solidify his place as one of television’s most versatile stars, appearing in projects ranging from "Becker" (1998–2004) to "The Good Place" (2016–2020). Shelley Long transitioned into film roles such as "Troop Beverly Hills" (1989) and "The Brady Bunch Movie" (1995), while occasionally returning to television, even reprising Diane in later "Cheers" episodes and a memorable guest spot on "Frasier." Each time they reunited on screen, audiences were reminded of the spark that once dominated Thursday nights.

Time has continued to highlight the impact of their partnership. Shelley Long, born in 1949, is now 77 years old. Ted Danson, born in 1947, is 79 years old. Both are still cherished by fans who recall their era-defining roles. Long largely stays out of the spotlight today, while Danson continues to act in acclaimed projects, but the memory of Sam and Diane remains a centerpiece whenever conversations turn to the greatest couples in television history.

Their on-screen firestorm still stands as a reminder that sometimes the most powerful connections are born from differences, not similarities, and that audiences never forget when two actors strike lightning together...

FORGOTTEN ONES: LOUISE CAMPBELL

Louise Campbell is just a footnote in Hollywood history. She made films for just a short 10 year period, and her most famous work was probably with Bing Crosby. Louise Campbell Weisbecker was born on May 30, 1911 in Chicago. Despite her success in Hollywood, she made it clear she preferred the stage.

Campbell attended St. Michael's School.and DePaul University, studying dramatic arts at the latter. She gained additional dramatic training at the Chicago School of Expression. She said that when she was 6 years old, she decided to be an actress after she watched a production of Uncle Tom's Cabin.

At one point, she worked as a dental assistant, an experience which she said was "invaluable to me in my acting" as she observed changes in patients' facial expressions in the dentist's office, with their changing expressions displaying "their real character."

Campbell gained early theatrical experience by performing in stock theater. Her Broadway debut was in Three Men on a Horse (1935). Her other Broadway credits include Julie the Great, Guest in the House (1941), A House in the Country (1936) and White Man (1936). A column in the June 13, 1942, issue of Billboard complimented "Louise Campbell, that fine actress, for a lovely, beautifully projected, altogether excellent performance in Guest in the House."

Campbell went to Hollywood in 1937 and made 13 films in the 1930s and 1940s. Her film debut was in Bulldog Drummond Comes Back (1937).Her film credits included Bulldog Drummond sequels, Night Club Scandal (1937), Men with Wings (1938), The Buccaneer (1938) with Fredric March, and The Star Maker (1939) with Bing Crosby. It would be her most popular film, playing Bing's wife in the loose bio of songwriter Gus Edwards. Watching her film appearances, Louise looks and sounds amazingly like Mary Martin.

Despite leaving Hollywood in 1947, she would occasionally act on the stage. “The demands of the screen are less than those for the stage,” she told The Times in 1939. The close-up, for instance, is a tremendous aid to the screen player. In close-ups the star has a chance to put over any emotion called for, with a lot of rehearsals and direction, whereas on the stage the actress must manage to get that emotion over without any such assistance whatsoever. Then, too, the stage demands talent and hard work, not merely personality and looks.”

Campbell was married to actor Horace McMahon, whom she met when they were both in the Broadway play Three Men on a Horse. They wed in 1938 and remained married until his death in 1971. Not much is know about Louise's private life, but I believe she had three children. Campbell died November 5, 1997, in Norwalk Hospital in Norwalk, Connecticut. She is buried at St. Mary's Cemetery in Norwalk, Connecticut. Louise led a full life, and she was remembered by her family even if she was not remembered by Hollywood...

RECENTLY VIEWED: TOY STORY 5

I really didn't cry during Toy Story 5, like I did at the other movies, but the film was still extremely sad. I saw the movie with my 13 year old daughter, who announced this past Father's Day weekend that she wants to see the new live action Moana movie with her friend. I am crushed but back to Toy Story 5. Toy Story 5 is a 2026 American animated adventure comedy-drama film produced by Pixar Animation Studios for Walt Disney Pictures. Directed by Andrew Stanton, who conceived the story and co-wrote the screenplay with Kenna Harris, it is the fifth main installment in Pixar's Toy Story film series and the sequel to Toy Story 4 (2019). The ensemble voice cast features Tom Hanks, Tim Allen, and Joan Cusack among those reprising their roles from the previous films, joined by Conan O'Brien, Scarlett Spears, Greta Lee, Shelby Rabara, Mykal-Michelle Harris, and Craig Robinson. Set two years after the events of the fourth film, Toy Story 5 follows Jessie (Cusack), Woody (Hanks), and Buzz Lightyear (Allen) as they and the other toys deal with the presence of Lilypad (Lee), a tablet and the new favorite plaything of Bonnie (Spears).

While Hanks said in May 2019 that Toy Story 4 was the final film in the franchise, the possibility of a fifth film had not been ruled out. Development on a fifth film was confirmed in February 2023, with Hanks and Allen returning. Stanton was confirmed as the director in June 2024 and later as a writer. It is the first main film in the series with no involvement from co-creator John Lasseter, who left Pixar in late 2018. The franchise's composer, Randy Newman, returned to score the film, marking his tenth collaboration with Pixar, while Taylor Swift contributed the number-one single "I Knew It, I Knew You" to the soundtrack. With a budget of $250 million, Toy Story 5 is one of the most expensive animated films ever made, and the most expensive film produced by Pixar.

Toy Story 5 had its world premiere in Los Angeles on June 9, 2026, and was theatrically released in the United States on June 19. Like its predecessors, it received positive reviews from critics, who praised its visuals, voice performances, humor and themes, although some questioned the screenplay and justification for existing. It has grossed $310.2 million worldwide, breaking several box office records, and becoming the ninth-highest-grossing film of 2026.

I won't talk about the plot, but there are some truly tender moments. Now that my children are teenagers, I feel like those toys. One line in the film stuck with me: "You may not feel like you don't matter anymore, but what's important is you mattered to someone sometime"

MY RATING: 8 out of 10

THE LAST DAYS OF JANIS JOPLIN

On October 3, 1970, Janis Joplin walked down the quiet hallway of Hollywood’s Landmark Motor Hotel, a new pack of cigarettes in her hand. A clerk later described her as friendly, but restless an image that now feels haunting.

That day, she had been making phone calls that went unanswered. Her brightly painted Porsche sat outside untouched, a symbol of her wild energy, even as her own seemed to dim. She told her producer about recording “Buried Alive in the Blues” the next morning, speaking with the same enthusiasm that had fueled her career. But as the hours passed, her spark faded into silence.

On stage, Janis was pure fire her voice raw, fierce, unforgettable. But when the spotlight turned off, loneliness often crept in. She reached out to old friends, searched for company, and found herself alone once more. Every missed call, every canceled plan, pressed harder on her heart.

She still found the strength to share a joke with the hotel staff before retreating to her room for the last time. By morning, the door would never open again. At just 27 years old, her life ended in that small space, leaving behind unfinished songs, unspoken words, and the ache of what might have been.

Joplin's sister Laura said "the heroin Janis used that night she had purchased around 4PM that afternoon from George, her supplier for as long as she used the drug. She was careful to use only one supplier, and he was careful about what he sold," Laura wrote in Love, Janis. "Usually, he had a chemist check the drug before he sold it. For that batch, the chemist had been out of town. He had sold the dope without checking it. The dope Janis had bought that Saturday was four to 10 times stronger than normal street heroin. It was 40-to-50 percent pure."

The official report called it a heroin overdose. But those who knew her best believed it was more than that, it was the weight of rejection, the hunger for love, and the scars she carried long before the fame.
Janis Joplin’s voice still echoes, not only in her music but in her story: a reminder that behind even the brightest flames, there can be fragile souls yearning simply to belong...

STAR FRIENDS: BING CROSBY AND CONNEE BOSWELL

The year was 1937, and the airwaves were alive with the sound of swing. Bing Crosby, already a household name with his warm, easygoing baritone, was redefining popular singing. Across the country, Connee Boswell—formerly the heart of the Boswell Sisters—was stepping into her own spotlight. Her voice carried a jazz-inflected elegance, a playful lilt that could turn even the simplest melody into something unforgettable.

When Bing and Connee first met in a Los Angeles studio, it wasn’t just another session. Bing, ever the gentleman, greeted her with that trademark grin and a casual, “Ready to make some magic?” Connee, seated in her wheelchair—her disability never dimming her spirit—shot back with a mischievous smile: “Only if you can keep up.”

The microphone crackled to life, and the band struck up the opening bars of “Bob White (Whatcha Gonna Swing Tonight?)”. What followed was pure chemistry. Bing’s voice flowed like a calm river, steady and reassuring, while Connee’s danced around his lines—syncopated, teasing, full of swing. The duet soared to #2 on the charts, and listeners couldn’t get enough of their playful banter woven into melody.

Over the next few years, their partnership blossomed. They recorded “Alexander’s Ragtime Band”, a spirited Irving Berlin classic that hit #1 and even raised funds for polio research—a cause close to Connee’s heart. Then came “An Apple for the Teacher”, a cheeky tune that had audiences grinning from coast to coast. Each song was more than a recording; it was a conversation between two artists who understood each other’s rhythms.

Offstage, Bing often spoke of Connee as one of his favorite female vocalists. “She’s got something no one else has,” he told a reporter. “That phrasing—she swings without trying.” Connee, in turn, admired Bing’s generosity in the studio. He never overshadowed her; instead, he created space for her artistry to shine.

Their collaborations weren’t confined to records. Radio listeners tuned in to hear them on programs like Kraft Music Hall, where their duets brought warmth and wit into American homes during uncertain times. For many, those broadcasts were a lifeline—a reminder that joy could still be found in harmony.

As the 1940s dawned and musical tastes shifted, Bing and Connee’s paths diverged. Yet their recordings remain timeless, echoing an era when music was intimate, playful, and profoundly human. Today, when you hear “Basin Street Blues” or “Between 18th and 19th on Chestnut Street”, you’re not just listening to notes—you’re hearing a friendship, a shared love of song, and a moment in history that still swings...

PHOTOS OF THE DAY: CANDID LUCILLE BALL

Here are some candid photos of the great Lucille Ball (1911-1989). I am in the minority. I think she was a better movie actress than television comedian...