RIP: JOANNA PETTET

Beloved London born Hollywood actress Joanna Pettet died on Tuesday July 7 at the age of 83. The sad news was confirmed by her friend, actress Pam DuBois, who revealed the poignantly significant date of her death in a touching Facebook post. Alongside an image of the star at a graveside she wrote: "We all loved Jo - But there was one person who loved her more. And yesterday on the 31st anniversary of his death. Damien Zach took his mother to heaven and there she will stay with him forever. God bless you Jo." No cause of death has been revealed as of yet.

On August8, 1969, the star had lunch at the home of Sharon Tate, just hours before the members of the Manson Family slaughtered the pregnant star, making her one of the last people to see the tragic actress alive. Quentin Taratino included the lunch in his 2019 fictional/alternate-reality 2019 film Once Upon a Time. In Hollywood, in which she was portrayed by Rumer Willis.

Amongst the stars big screen credits was the role of Mata Bond in the 1967 James Bond satire Casino Royale, loosely based on the first of Ian Fleming's books about the super spy.

She also starred in 1968's Blue opposite Terence Stamp, and 1969's Victorian period comedy The Best House in London. However she was best known for her extensive work on TV which included roles in Route 66, The Doctors, Dr. Kildare, Mannix, Night Gallery, Thriller, Police Woman, Charlie’s Angels, The Love Boat, Hotel, and Murder, She Wrote.

Her final role was in the 1990 thriller Terror in Paradise, after which she retired from acting although she was only in her 40s...

THE SHORT LIFE OF RUDOPLH VALENTINO

Born on May 6, 1895 in Castellaneta Italy, Rodolfo Alfonso Rafaello Pierre Filibert Guglielmi di Valentina D’Antonguolla came to America in 1913. He was penniless, and lived on the streets of New York City. He eventually got a job as a taxi dancer at a cabaret called Maxim’s, where he’d spend his nights dancing with wealthy women for money. During this time, he met Blanca de Saulles, an heiress in an unhappy marriage who would end up shooting her husband to death. Valentino, who had already been tangled up in legal trouble with the couple, decided it was best to leave New York and head to California.

Valentino continued to work as a dance instructor on the West Coast and had some small parts in films as well. It is said that he would show up at auditions driving fancy automobiles he’d borrow from wealthy clients. He eventually found himself in Florida, where he shot parts of “Stolen Moments” (1920) for the American Cinema Corporation in Saint Augustine alongside Marguerite Namara. During production, Valentino learned that Metro Pictures were planning an adaptation of the novel The Four Horsemen of the Apocalypse. Interested, he made his way back to New York and was cast as Julio Desnoyers. Released in 1921, the film was a box office smash and would thrust Valentino’s name into the spotlight. That same year, he would star in the wildly successful, “The Sheik”. Valentino became known as The Latin Lover, an image and a burden he found unbearable. Women adored him, and men (known as Vaselinos) wanted to be him. But not everyone was impressed.

In 1922, the writer Dick Dorgan published a piece in Photoplay magazine, stating, “the Sheik is a bum Arab, that he is really an Englishman whose mother was a wop or something like that.” Valentino did not take the insult lightly, and he swore that he would kill the writer if he saw him. But that didn’t seem to deter Dorgan. He went on to publish another piece entitled, “A Song of Hate”. In it, Dorgan would refer to Valentino’s long eyelashes, earrings and “patent leather hair”.

Dorgan wasn’t the only man who took issue with Valentino. Photoplay would later publish another piece by Herbert Howe. He writes, “The movie boys haven’t been the same, they’re all racing around wearing spit curls, bobbed hair and silk panties.… This can’t keep up. The public can stand just so many ruffles and no more.” Valentino began to despise his image and would fight tooth and nail against it. Still, the actor’s masculinity was constantly called into question.

Things finally reached a boiling point in 1926, when the Chicago Tribune ran an anonymous editorial entitled, “Pink Powder Puffs”. The author railed against a powder dispenser that had been installed in a public men’s room and blamed Valentino and his influence on society. He wrote, “A powder vending machine! In a men’s washroom! Homo Americanus! Why didn’t someone quietly drown Rudolph Guglielmo , alias Valentino, years ago?… Do women like the type of “man” who pats pink powder on his face in a public washroom and arranges his coiffure in a public elevator?… Hollywood is the national school of masculinity. Rudy, the beautiful gardener’s boy, is the prototype of the American male.”

Valentino was furious, and he sent a challenge to a competing Chicago newspaper: “To the man (?) who wrote the editorial headed ‘Pink Powder Puffs’ in Sunday’s Tribune, I call you in return, a contemptible coward and to prove which of us is a better man, challenge you to a personal test.” He then goes on to challenge him to a boxing match. The challenge was never accepted, but Valentino still received boxing lessons from his friend Jack Dempsey and, after all the tough talk, a sportswriter named Frank O’Neil decided to take Valentino on. The match took place on the roof of the Ambassador Hotel. O’Neil only got one punch before Valentino quickly took him down. But, always the gentlemen, he immediately helped him up and apologized. The public ate it up.

But Valentino wasn’t satisfied and he continued to take the insults to heart. His friend H.L. Mencken would later write about how much it haunted Valentino: ““Here was a young man who was living daily the dream of millions of other young men. Here was one who was catnip to women. Here was one who had wealth and fame. And here was one who was very unhappy.”

Later that year, Valentino starred in “The Son of the Sheik”. The film was another hit and Valentino was particularly pleased with the press he received that repeatedly referred to his manliness. One reviewer wrote that: “the sheik has an arm that would do credit to a pugilist and a most careless way of hurling himself off balconies and on and off horses. One leap from a balcony to a swinging chandelier is as good as anything Douglas Fairbanks ever did.”

Sadly, Valentino collapsed two weeks later at the Ambassador Hotel. He was rushed to the hospital where he underwent surgery for a ruptured appendix. It was a routine procedure, but he then developed pleuritis in his left lung and his condition worsened. On August 23, Rudolph Valentino slipped into a coma. Hours later, at the age of 31, he was gone.

More than 100,000 people gathered outside the funeral home where Valentino lay. The New York Police Department had to be called in to control the mob. His body was then taken by train to the West Coast and he was laid to rest in Hollywood.

For many years after, on the anniversary of his death, a veiled woman in black could be found at Valentino’s Hollywood tomb. She would place twelve red roses and one white one on his grave. It was later proven to be another publicity stunt, but that hasn’t stopped countless other women in black who have continued the tradition.

A HOLLYWOOD HERO: GARY SINISE

In 1974, Gary Sinise and two friends, Terry Kinney and Jeff Perry, founded the Steppenwolf Theatre Company. Since then, Steppenwolf has showcased the talents of notable actors such as Joan Allen, Kevin Anderson, Gary Cole, Ethan Hawke, Glenne Headly, John Mahoney, John Malkovich, Laurie Metcalf, Martha Plimpton, Jim True-Frost, and William Petersen. Sinise honed his acting and directing skills at Steppenwolf, and received a Joseph Jefferson Award for his direction of Lyle Kessler's play "Orphans". That took him from Chicago to New York City, and then to London's West End, where he worked on more than thirty of the company's productions.

In 1982, Sinise's career began to take off when he directed and starred in Steppenwolf's production of "True West". In 1983, he earned an Obie Award for his direction, and a year later appeared with John Malkovich in the PBS' American Playhouse production of the play. In 1988, Sinise directed "Miles from Home", a film starring Richard Gere, about two brothers' fight against the foreclosure of the family farm. Sinise collaborated with fellow actor Tom Hanks three times, including "Forrest Gump" (1992), "Apollo 13" (1995), and "The Green Mile" (1999).

Sinise is a supporter of various veterans' organizations, both personally and through the Lt. Dan Band (named after his Oscar-nominated character from "Forest Gump"). He frequently performs on USO tours at military bases around the world, and volunteered for the National Vietnam Veterans Arts Museum now called the National Veterans Art Museum. In 2013, he was awarded the third highest honor within the Department of the Army Civilian Awards, the Outstanding Civilian Service Award, for substantial contributions to the U.S. Army community through his work with the Gary Sinise Foundation. Each year the foundation raises over $30 million which it uses to benefit military veterans, including building smart homes for those who are disabled. He received the 2015 Sylvanus Thayer Award, awarded by the West Point Association of Graduates to a non-West Point graduate whose character, service, and achievements reflect the ideals prized by the U.S. Military Academy...

HEALTHWATCH: DANNY GLOVER

The "Lethal Weapon" star, 79, shared news of his diagnosis in a conversation with the "Today" show that aired Wednesday, July 1. He said he has been living with the disease for several years and that it has slowed his speech, movement and memories.

Glover sat down in his home with NBC's Lester Holt for the interview.

"I could live with it, in a sense," Glover said, but added that as the disease progresses, "things are going to be different and changing."

Alzheimer's disease, the most common type of dementia, is a progressive brain disorder that "begins with mild memory loss and can lead to the inability to carry on a conversation, carry out daily activities, or respond to the environment," according to the Centers for Disease Control and Prevention.

Glover also spoke with the media about receiving his diagnosis in 2023, saying he came to terms with it with the help of his family. "I still have my daughter, I have friends," he told the outlet. "I want to just say, your life continues."

"I'm still not accepting in my mind all parts of it," he also said. "There are the moments that you keep remembering that validate the fact that you can remember stuff. And there are moments I'll never forget."

Glover's daughter, Mandisa, told the media that her father is "aware sometimes and then sometimes not," and she described the diagnosis as a "change in the core of who you think you are or don't think you are." But the actor said he doesn't feel it's "the end of my life," telling  us, "There's work to do." Glover shared the news of his diagnosis weeks before his 80th birthday on July 22.

Glover is best known for his role opposite Mel Gibson as homicide detective Roger Murtaugh in the "Lethal Weapon" franchise. He has also starred in movies like "Predator 2," "The Color Purple" and "Places in the Heart," and he has received five Emmy nominations, including for his role as Nelson Mandela in the TV film "Mandela."

In 2022, Glover received the Jean Hersholt Humanitarian Award, an honorary Oscar given to individuals "whose humanitarian efforts have brought credit to the industry by promoting human welfare and contributing to rectifying inequities."'I'm so proud': Danny Glover accepts humanitarian award at Governors Awards

In a ceremony at the time, Alfre Woodard honored Glover for his longtime activism, noting he was a "driving force" in a student walkout that led to the creation of the Department of Black Studies at San Francisco State University.

"Danny Glover always does the right thing first, without testing the prevailing winds of public opinion," Woodard said. "The places in his heart where he has put his time and his resources outnumber his years...

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...