Showing posts with label Movies. Show all posts
Showing posts with label Movies. Show all posts

Thursday, October 29, 2026

Italian American Heritage Month: Adriana Caselotti

Adriana Caselotti was born into an operatic family. 

Her father Guido, an immigrant from Italy, taught music in New York City. Her mother Maria, originally from Naples, sang at the Royal Opera. Her sister Louise was a noted opera singer & voice teacher. 

At 18, she was chosen by Walt Disney to voice Snow White in his first full-length animated feature Snow White and The Seven Dwarfs (1937). He had been looking for a fresh as well as natural voice and asked her father if any of his students might be suitable. Upon hearing Adriana's voice, he realized his search was over. 

In the days of studio contracts and indenture, Walt wanted to keep the mystery of Snow White's voice, so except for a bit part in The Wixard of Oz (1939), she didn't do any other film work but later she did some voice over work. When comedian Jack Benny wished to have her appear on his radio show, Walt refused as he owned the voice and it couldn't be used anywhere else. 

She tried opera singing, invested in real estate and the stock market while living a full life.

Just In Case You Were Wondering . . .


 

Sunday, October 25, 2026

'The Mob' On Hulu? No Way! Take It Down NOW!

The Italian American One Voice Coalition (IAOVC), America’s largest independent Italian American anti-bias organization, today condemned Hulu’s new reality series The Mob for its demeaning and hurtful portrayal of Italians and Italian Americans through the tired mobster and mafioso stereotype. The series is packed with mob references, threats of violence, and casual talk of “wacking” people. By filming in Italy, The Mob ties that stereotype to the Italian people and the Italian homeland, as if being Italian and being a mobster were the same thing. IAOVC demands that Hulu answer for it.

“This is not entertainment. It is ethnic stereotyping, packaged and sold for ratings,” stated Andre DiMino, President, IAOVC. “The title alone says it all. The Mob. And they filmed it in Italy, so the message to the viewer is that Italy and Italians equal organized crime. Imagine a network green-lighting a reality series that reduced any other people and their homeland to criminals, thugs and buffoons. The outcry would be immediate, and the show would be pulled. Yet when it is Italians and Italian Americans, the entertainment industry shrugs, laughs and cashes the check. Why does political correctness vanish the moment the target is Italian?”

Filmed in Italy, and Turning a Nation of Culture Into a Criminal Backdrop

Italy gave the world Michelangelo, Leonardo da Vinci, Dante, Galileo, Verdi, Puccini, Marconi and Montessori. It gave the world the Renaissance, opera, and some of the finest cuisine, fashion, engineering and design on earth. Hulu and the producers of The Mob chose to take cameras to this land and use it as the setting for a show built on mobsters and violence. 

That choice goes beyond one program. It tells American viewers, and a global streaming audience, that Italy is a place of mobsters, and that Italians at home and abroad are criminals or wannabe criminals. It hits Italian Americans especially hard, because the ties of family, heritage and ancestry that bind them to Italy become raw material for a cheap stereotype. 

A Double Standard the Industry Refuses to Admit

Hollywood and the streaming giants say they are committed to inclusion and respect, and they apply those standards loudly and rightly to other communities. Italians and Italian Americans are left out of that protection. For decades they have been acceptable targets, and The Mob is the latest example.

The series trades on the same worn-out formula:Mobsters and mafiosi as the defining image of Italian and Italian American identity
Casual talk of violence, including threats to “wack” people, played for laughs
Bimbos and buffoons as the supporting cast of a so-called Italian world
Italy itself as the stage for the stereotype.

“This is not harmless fun,” DiMino continued. “These images shape how Americans and the world see Italians and Italian Americans. They affect how our children are teased in school, how our young people are viewed by employers, and how our community is judged. Stereotypes cause real harm.”

The Real Italian and Italian American Story

Nearly 17 million Americans proudly claim Italian ancestry - hardworking, law-abiding citizens, and their contributions are among the foundations of this nation:
Scientists and inventors, from Enrico Fermi, whose work helped usher in the atomic age, to Antonio Meucci, recognized by the U.S. Congress for his pioneering work on the telephone
Public servants and jurists, including Fiorello La Guardia and Supreme Court Justices
Physicians and medical researchers who have saved countless lives
Business leaders, artists, filmmakers and athletes who enriched American culture
Police officers, firefighters and military heroes, including the Italian Americans who ran toward danger on September 11, 2001, and the generations who served in World War II and every conflict since

“Our fathers and grandfathers fought on the beaches of Sicily and Salerno, built America’s bridges, tunnels and skyscrapers, and ran into burning buildings to save strangers,” DiMino said. “To reduce that legacy, and the land it came from, to a cartoon of ‘wise guys’ and ‘wackings’ is an insult to every one of them.”

Shame on Those Who Lend Their Names, Especially Those of Italian Heritage

IAOVC reserved particular criticism for cast members of Italian heritage, including Bruno Tonioli and Aida Turturro, who have lent their talent and credibility to the production.
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“It is especially disappointing, and frankly shameful, when people of Italian heritage take part in perpetuating the very stereotype that has wounded our community for generations,” said DiMino. “They know better. They know the cost of these caricatures. To participate in The Mob gives cover to producers and executives who would never dare to do this to anyone else. We call on them to reconsider their participation and to stand with their heritage, not against it.”

IAOVC’s Demands

The Italian American One Voice Coalition calls on:
Hulu and its parent company to acknowledge that The Mob should never have been commissioned, and withdraw it from its platform.
The producers, writers and executives of The Mob to take responsibility for the stereotypes they have promoted and to meet with Italian and Italian American community leaders.
Advertisers and sponsors to reconsider their association with content that demeans an entire people.
The entertainment industry to extend to Italians and Italian Americans the same respect and sensitivity it demands for every other community.
Viewers everywhere to speak out. Do not watch. Do not share. Do not subscribe. Contact Hulu and demand better.

“We are done being the punchline,” DiMino concluded. “Italians and Italian Americans have earned respect, not ridicule. Hulu made a mistake by getting involved with The Mob. We will not be silent. We urge every American who believes in fairness to join us in saying: ENOUGH.”

About IAOVC

The Italian American One Voice Coalition (IAOVC) is an IRS-registered 501(c)(3) nonprofit organization dedicated to combating defamation and negative stereotyping of Italian Americans and to promoting the community’s true history, achievements and contributions to America. IAOVC is a nationwide coalition of Italian American organizations and individual members. IAOVC membership is open to individuals and all Italian American organizations to join together as a coalition defending and celebrating Italian American heritage and culture. To join visit iaovc.org/membership.

IAOVC issues a free email newsletter, “The Alfano Digest.”. The Digest issues alerts on instances of bias, stereotyping, discrimination, and defamation. It contains informative Italian American cultural, educational and heritage information. To request the Alfano Digest at no charge, fill out the form on iaovc.org.

Friday, October 16, 2026

Italian American Heritage Month: Adam Carolla

Adam Carolla (that's his actually name, his dad was Italian American) is best known as a comedian, actor, radio personality, television host, and New York Times best-selling author. 

He currently hosts The Adam Carolla Show, which holds the Guinness Book of World Records for the most downloaded podcast. Adam started The Adam Carolla Show podcast from his home office in February 2009. The podcast now receives more than 30 million downloads a month and has been featured in Fast Company Magazine, Entrepreneur, The New York Times, and The Los Angeles Times.

After years of “digging ditches and swinging hammers” on construction sites throughout Southern California that led to a job rebuilding a boxing gym, Adam traded that for an opportunity to coach boxing. Little did he know this would lead to a fateful meeting with Jimmy Kimmel, which would officially put him on the path to comedy stardom.

After joining Kimmel on KROQ’s hit morning show, Adam launched his national comedy career on the syndicated radio program Loveline with Dr. Drew Pinsky. MTV developed a television version of the show, which was co-hosted by Adam and Dr. Drew for five seasons (1996–2000). With Jimmy Kimmel and creative partner Daniel Kellison, Adam created and starred in two hit Comedy Central shows, The Man Show (1999–2003) and Crank Yankers (2002–2005).

He later took that construction acumen into the television world with TLC’s The Adam Carolla Project, which saw him and old construction buddies remodeling and flipping his childhood home; Spike TV’s To Catch a Contractor where he busted shady contractors and made them fix their shoddy work; and Adam Carolla and Friends Build Stuff Live where he coached celebrity guests on various DIY challenges.

Adam became a New York Times best-selling author when his book, In 50 Years We’ll All Be Chicks, topped the charts for ten weeks. The audio version went straight to the #1 position on iTunes. He has since written five more books including New York Times best-sellers Not Taco Bell Material and President Me.

Adam also co-wrote, produced, and starred in two independent feature-length films: The Hammer (2007) and Road Hard (2015), a crowdfunded comedy that raised over a million dollars in a single month. Through his venture Chassy Media, he produced the inspirational documentaries Winning: The Racing Life of Paul Newman, Uppity: The Willy T Ribbs Story, and The 24-Hour War, which documents the battle between Ford and Ferrari in the 1960s for racing dominance at Le Mans.

Along with hosting his daily podcast, Adam headlines clubs, theaters, and casinos nationwide as a stand-up comic touring his particular brand of commonsense comedy that aired as his first stand-up special on Fox Nation in the winter of 2025.

Tuesday, October 13, 2026

Italian American Heritage Month: Bobby Darin

Bobby Darin’s voracious desire for show business fame was fueled by a sense that the sword of Damocles was always hanging over him. Darin was born Walden Robert Cassotto on May 14th, 1936 in the Bronx to a family of very modest means.

At an early age Darin developed rheumatic fever which damaged the valves of his heart. He was a frail and sickly boy, and normal stickball in the streets or roughhousing with other kids his age was just not possible for him. He was however a very bright and gifted boy and his “mother” Polly realized this early on. Polly was a Vaudeville performer in her youth and she encouraged Bobby to explore music and to read constantly.

Music played a big part in the Cassotto household in Bobby’s youth. By the time he was in his early teens he could play the piano and drums. With Polly’s love and encouragement and with a deep desire to make Polly proud, Bobby began to plan and work towards his dreams.

Bobby attended the prestigious Bronx High School of Science which only very gifted students could attend. After graduation he attended Hunter College but dropped out after one semester. He concluded that college was not the path for him and he would “fight the fight in the streets to achieve his show business dreams.” He began to write songs and sing demos and hung around the famous Brill Building, which was the epicenter of music and creativity in New York City at that time.

The musical gods shined on Darin as a recording session on April 10, 1958 produced a song that would go to number 3 on the charts. ”Splish Splash” was written by Darin in 15 minutes after a half-joking dare from disc jockey Murray the K Kaufman’s mother. Other hits soon followed such as “Queen of the Hop,” and the beautiful Latin-flavored tune he wrote “Dream Lover,” which sold over a million copies and went to number 2 on the charts. With regular appearances on the Dick Clark and Ed Sullivan Shows and regular touring gigs, Darin began to fulfill the dream he and Polly had mapped out.

The 1959 album “That’ s All” launched Bobby Darin into another level of artistry, global fame and critical acclaim. “Mack the Knife” reached number one and stayed there for 10 weeks and sold over two million copies. “Beyond the Sea” reached number 6 and may be the most well known Darin song ever due to its constant usage in movies, ads, documentaries and TV shows. Darin won a 1959 Record of the Year Grammy Award for “Mack the Knife” and a Grammy for best new artist.

The early 60’s saw Darin perform to sellout crowds at the most prestigious nightclubs in the country, from the Copa in New York to the Flamingo in Las Vegas. He also began to do movies. He met his future wife Sandra Dee on the film “Come September” filmed in Italy in 1960. A seven-picture deal with Paramount showcased what a fine actor he was. His gritty performance with Sidney Poitier in the film “ Pressure Point" brought critical acclaim. His role in the 1963 film “ Captain Newman M.D.” with Gregory Peck garnered him a best supporting Oscar nomination.

In 1968 Bobby had become close with Senator Robert F. Kennedy and he campaigned for him actively. He was with the Senator the day before he was killed in Los Angeles on June 5, 1968. This stunned Bobby to the core but an even more painful chapter was about to be revealed. RFK had spoken at length with Darin about his running for political office. Darin was serious about it and when his sister Nina and “father” Charlie heard about it they had to unearth a very dark secret. Nina and Charlie feared that if Darin got into politics the press would uncover a hidden bombshell. His beloved Polly, whom he so revered, was not his biological mother but actually his grandmother. Nina, who he had known as his sister his entire life, was actually his biological mother.

This revelation emotionally scarred Darin for the rest of his life. He was angry with Nina and he felt that his whole life had been a lie. In the wake of a totally changed musical landscape, the death of RFK, and the revelation about his family, Bobby Darin sold all his possessions and moved into a trailer in Big Sur in northern California to reevaluate his life. He read voraciously, spent time with his son, and debated politics with friends who lived on the property with him.

Gone were the super polished Vegas act and the hipster swagger of a consummate showman. What replaced it was a man who was writing and singing about the issues the country was facing and what he personally was facing; turmoil. He told Dick Clark at the time that he was “lost” and that back in the day he “chose plastic when he should have chosen ethnic.”

By 1971 Darin was facing serious health problems. Throughout the 60’s he would battle heart arrhythmias and extreme fatigue. In February 1971 he underwent open-heart surgery to put in a pacemaker. The surgery was a success and he began to reemerge into the show business world again. In addition to Vegas gigs, he appeared as a guest on many TV shows of the era including the Flip Wilson Show, The Dean Martin Show and Sonny and Cher.

Darin was determined to not to be an old rocker or Vegas hipster simply to be trotted out for retirement conventions. In 1972 he got his own weekly variety show on NBC, which ran through 1973. He also had a regular gig at the prestige venue of the time, The Las Vegas Hilton which was home to Elvis and Barbra Streisand. Things were on the upswing for Bobby Darin after the tumultuous and deeply troubling times of 1967-68.

In early 1973 Darin was again having severe heart arrhythmias and exhaustion. The finest Doctors of the day could not find the cause. After wrapping his NBC TV show in May 1973 and then closing for the final time at the Las Vegas Hilton in August 1973, Bobby Darin went to LA to rest and try and get better. On December 20th, 1973 he underwent exploratory open-heart surgery. The Doctors found a massive infection in his heart and he died hours after the surgery. He left his body to medical research in the hope he could help other people. He was 37 years old.

Darin was posthumously inducted into the Rock and Roll Hall of Fame in 1990 and the Songwriter's Hall of Fame in 1999, and received the Grammy Lifetime Achievement Award in 2010. His life was portrayed in the 2004 feature film “Beyond the Sea” for Lions Gate entertainment. The 1998 PBS documentary “Beyond the Song” told his story in a poignant way with interviews from his peers, friends and family woven with footage of him performing. There have been five books written about his life. Because

In 2018 “Dream Lover” The Bobby Darin musical broke box office records in Melbourne, Australia and won a Helpmann award, the equivalent to a Tony Award in the US. Now, the new Bobby Darin musical "Just In Time" is a big hit on Broadway.

Monday, October 12, 2026

Italian American Heritage Month: Don Ameche

Don Ameche (born Dominic Felix Amici; May 31, 1908 – December 6, 1993) was a star of stage, TV, radio and many movies. His father, a bartender, was from the Marche region of Italy.

Some of Ameche's best known movie roles were in "Alexander's Ragtime Band," "In Old Chicago," "The Story of Alexander Graham Bell," "Heaven Can Wait," "Trading Places," and "Cocoon," for which he won the Academy Award for Best Supporting Actor.

On the radio, he famously starring alongside Frances Langford in "The Bickersons." He had a distinctive, cultured voice.

In the classic film "Trading Places," Ameche worked with fellow Golden Age actor Ralph Bellamy. He notably asked the entire crew and cast to bear with him as he tried to get one particular scene correct on the first take; it was a scene in which he had to use the "f word," which he did not want to do more than once. Well, he nailed it on the first try.

On Broadway, he starred in the musical "Henry, Sweet Henry" among other roles.

Late in his career he appeared on an episode of the TV series "The Golden Girls," in which he played the father of Rose (Betty White).

Ameche was Old School Hollywood and is fondly remembered to this day.

Sunday, October 11, 2026

Italian American Heritage Month: Giancarlo Esposito



Did you know that Giancarlo Esposito, one of Hollywood’s most recognizable actors, has Italian roots?

Born in Copenhagen, Denmark, in 1958, Esposito grew up with a fascinating multicultural heritage. His father, Giovanni Esposito, was Italian, originally from Naples, while his mother, Elizabeth Foster, was an African-American opera singer from the United States. Esposito lived in Italy until he was five and then his family moved to New York where he spent his formative years.

Long before becoming internationally famous as Gustavo Fring in Breaking Bad and Better Call Saul, Giancarlo was already building a remarkable career across theater, film, and television.

But behind the actor known around the world is also an Italian family story. Through his father, Esposito carries a connection to Naples — a city shaped by centuries of history, art, music, strong traditions, and an unmistakable identity. 

His story is another example of how Italian heritage has traveled far beyond Italy’s borders. Across generations, millions of Italians and their descendants have contributed to culture, entertainment, business, sports, and everyday life around the world.

Giancarlo Esposito’s background beautifully represents that meeting of cultures: Italian roots, an African-American heritage, a European birthplace, and a career that made him a global star. 

Sometimes an Italian story can be found where you least expect it.


Saturday, October 10, 2026

Italian American Heritage Month: Ida Lupino

Actress, singer, director, and producer Ida Lupino (1918-1995) cut one of the most alluring profiles of any Hollywood persona during the forties and fifties. She was of Italian descent on her father's side.

The star of classic films such as They Drive by Night (1940), High Sierra (1941), and Road House (1948), she was a stalwart of the screen throughout her early career and frequently received top billing ahead of stars such as Humphrey Bogart. While her talent was undeniable, her insistence on taking only roles she felt would challenge her professionally often put her at odds with the demands of studio executives.

It was in those periods of frustration and suspension as an actor that Lupino fostered a talent for the filmmaking process. In a bold decision for a woman of the era, she founded her own independent production company where she became widely regarded as one of the most prolific filmmakers working at the height of the Hollywood studio system. 

She has been described by fellow directors such as Martin Scorsese as "resilient, with a remarkable empathy for the fragile and heartbroken." A trailblazer for women, she was way ahead of her time and charted a path for so many others.

Remembering The Legendary Eva Marie Saint . . .

Thursday, October 8, 2026

Italian American Heritage Month: Adriani Trigiani

Adriana Trigiani is the New York Times bestselling author of twenty-one books of fiction and nonfiction, including The View from Lake Como, The Good Left Undone, The Shoemaker’s Wife and Lucia, Lucia. 

Her work has been published in thirty-eight languages around the world. An award-winning playwright, television writer/producer, and filmmaker, Trigiani wrote and directed the major motion picture of her debut novel, Big Stone Gap, adapted her novel, Very Valentine, for television, and directed the award-winning documentary, Queens of the Big Time. 

She has written for The Washington Post, the Richmond Times Dispatch and Bon Appétit magazine, among others. Adriana hosts the hit podcast, You Are What You Read, where she interviews authors and luminaries about the books that built their souls. In 2023, Adriana was named Cavaliere dell’Ordine della Stella d’Italia by President Sergio Mattarella of Italy, and in 2024, the Library of Virginia awarded her the Patron of Letters degree, their highest honor. She also holds honorary degrees from Saint Mary’s College and the University of New Haven. 

Adriana is co-founder of the Origin Project, a year-round, in-school writing program that has served over 50,000 students since its inception in 2012. Trigiani is honored to serve on the New York State Council on the Arts and on the Board of the Authors Guild. 

Adriana’s next novel is a sequel to The Godfather in partnership with the Mario Puzo Estate, Connie, the story of Connie Corleone. 

She lives in Greenwich Village with her family.

Monday, October 5, 2026

The Courtroom, The Public And The Razzle Dazzle

It's happened again. Just a few weeks ago, we saw it in the heart-wrenching trial of Lindsay Clancy. And now, the possibilities loom once more in the explosive rape allegations coming out of Cornell University, one of America's most prestigious institutes of higher education.

We're talking about the clash between the court of law and the court of public opinion.

In today's media saturated world knowing the difference between the court of law and the court of public opinion is vital if you want to have any sense of what's actually happening.

The most important thing to remember about the court of law and the court of  public opinion is that they couldn't be more different. 

They are almost like the two sides of the brain. One's more rational and linear. The other's more intuitive and non-linear. Think of the court of law as the verbatim transcript of a murder trial. Then, think of the court of public opinion as the same trial reported by TMZ.  That's an exaggeration, to be sure. But now, you're starting to comprehend the difference. For a better understanding, consider the following: 

1) In the court of law, facts theoretically count for something and the facts of the case are collected carefully and methodically and presented in some kind of order. In the court of public opinion, the facts may not be facts at all, and what information is brought forward is collected in a haphazard and fragmented manner and presented in bits and pieces in an often sensationalized fashion.

2) In the court of law, the rules are reasonably clear and they are presented to and known by all parties beforehand. In the court of public opinion, there really are few if any rules and besides, even if rules seem to exist, those rules can change at any moment.

3) In the court of law, the principals pretty much know who the main characters in the drama will be. In the court of public opinion, we never know who will pop up on which side and what role he or she may play.

4) Generally, the court of law is quiet and structured. People speak when spoken to. Only one person speaks at a time. Equal time is given for each side to present its case. A single presiding officer remains in charge. There is a clear sense of order and authority. The court of public opinion, on the other hand, is noisy and often downright chaotic. People do not wait to speak. Sometimes several voices are heard at once. While equal time guidelines may seem to exist, that does not mean they will be observed. No one seems to know who is in charge and the party who appears to have the "upper hand" may change many times during the course of the proceedings. There is virtually no sense of structure or order.

5) In the court of law, the proceedings have a beginning, a middle and an end. At some point, the matter is brought to a conclusion. A decision is made. In the court of public opinion, there often is no finality - no deciding moment. Just when you thought the story was over, a new chapter emerges. Today's victory can be tomorrow's debacle. The hero of 2025 is the villain of 2026. "Hot-button" issues now are "old hat" in a matter of weeks if not days.

If these contrasts seem to smack of hyperbole, think for a moment about some of the stories and characters that have inhabited the court of public opinion in recent years. The murder of George Floyd and the trial of Derek Chauvin. The charges against Kyle Rittenhouse and his subsequent law suit. The tales and travails of Jussie Smollett. Britney Spears' financial tussle with her dad. The legal journey of Bill Cosby. And, o
f course, who can ever forget the O.J. Simpson trial which became its own long-running daytime drama? 

And now the Clancy case and impending allegations of a gang rape.  One continues to play out in the court of public opinion following a hung jury while the other unfolds as a possible future trial. 

The court of public opinion hosts a variety of issues and personalities in a continuously chaotic, unpredictable setting. The whole show unravels in front of an often mesmerized audience that isn't always sure what it's seeing or what to think about it. 

Now, all along, of course, the audience is part of the show as the principals carry out a breakneck effort to sway the jury of public opinion. Glancing into this shrill well of public discourse, one can understand Ralph Waldo Emerson's frustration when he concluded: "The people are to be taken in very small doses."

Ideally, one would hope for a strong, sturdy wall between the two courts. But that simply is not the case -- if, indeed it ever was.

In the end, democracy demands that the people's voice be heard. That voice is what we call public opinion. And that collective opinion is monitored, scrutinized, analyzed, disseminated, amplified, manipulated and some might say magnified to the point where it is a force unto itself. 

And the court of public opinion is the collective environment in which this continuing process occurs. It is an environment inhabited by media moguls, TV cameras, cell phones, street reporters, satellite dishes, pollsters, newspaper scribes, podcasters, focus groups, social media influencers, bloggers, reality TV, marketing strategists, docudramas, packs of paparazzi, anchorpersons, commentators, talking heads, serious authors and ordinary Janes and Joes. Like it or not, it's a vital and integral part of what we call the popular culture. 

And, for better or worse, today's savvy lawyers are attuned to the court of public opinion and are adept at playing it like a fine instrument to advance their case in the court of law. They thrive within the periodic intersection of the two courts.

Or, as Billy Flynn sings in the iconic musical Chicago:

Give 'em the old three ring circusStun and stagger 'emWhen you're in trouble, go into your dance
Though you are stiffer than a girderThey'll let you get away with murderRazzle dazzle 'emAnd you've got a romance.

Italian American Heritage Month: Guy Williams

Armando Joseph Catalano (1924-1989) was born in New York to immigrant Sicilian parents.  

He grew up in Little Italy in the Bronx, and began his career as a model, including for cigarette and toothpaste brands. His agent Henry Wilson changed his name to Guido Armando, then to Guy Williams.

In 1957, at the age of 33, Walt Disney chose him to play Zorro. Guy Williams played the role of the Masked Justice for 82 episodes, directing every stunt and duel. 


His dashing good looks, eloquence and charm had female hearts fluttering, while the male audiences admired his fencing dexterity and effortless ladies'-man appeal. The Disney series was so popular that certain episodes were culled together and released into two feature films. He also played Professor John Robinson in Lost in Space.


He became a huge star!

Thursday, September 24, 2026

Finally, ROCKY Is Back Where He Belongs!


 Philadelphia's iconic Rocky statue has a new home at the top of the steps of the  Philadelphia Museum of Art.
The city-owned statue was moved Wednesday morning after spending several months inside the museum as part of an art exhibition. Prior to that it stood for many years at the bottom of the steps and off to the side, This year, the film Rocky commemorated its 50th aniversary

Wednesday, September 23, 2026

Hey, Anybody Remember THIS?

Monday, September 14, 2026

Bob Mackie, The Master Of Sequins, Rhinestnes

Rest in Peace Bob Mackie. 

Mackie was born March 24, 1939, in Monterey Park, California, to Charles Robert Mackie and Mildred Agnes (née Smith) Mackie. His father worked at Bank of America. He has an older sister. He was best known for his dressing of numerous entertainment personalities for television, movies, concerts, and live stage shows. 

Mackie was the costume designer for all of the performers on The Carol Burnett Show during its entire eleven-year run, and the creator of memorable ensembles for Cher and Elton John. He is referred to alternatively as the "Sultan of Sequins", the "Rajah of Rhinestones" or the "Guru of Glitter" for his sparkling and imaginative designs. 

Mackie once said, "A woman who wears my clothes is not afraid to be noticed." Mattel partnered with him to produce outfits for collectable Barbie dolls, and he introduced cultural diversity to their features and outfits to reflect the heritage of real-life women. 

Over his lifetime, Mackie received nine Primetime Emmy Awards, a Tony Award, and three nominations for the Academy Award for Best Costume Design for his work. He was nominated for the Oscar for costumes in Lady Sings the Blues (1972), Funny Lady (1975 and Pennies From Heaven (1981) and Emmys for The Carol Burnett Show, Mama's Family, The Sonny and Cher Show, Cher, Mrs. Santa Claus, Gypsy, Fresno and many others, Mackie received one honorary award and 9 competitive awards from 32 nominations

In April 2023, Mackie was accepted  the inaugural Giving Us Life-time Achievement Award by RuPaul at the RuPaul's Drag Race Season 15 finale Some of his other famous clients included Dolly Parton, Raquel Welch, Ann-Margeret, Goldie Hawn, Bette Midler, Farrah Fawcett, Doris Day and Oprah Winfrey among others. On March 14, 1960, Mackie married LuLu Porter (née Marianne Wolford), a singer and actress, and later an acting teacher. The couple divorced in 1963. They had a son, Robert Gordon Mackie, Jr. (known as "Robin"). Robin, a makeup artist, died in 1993 at the age of 33 of an AIDS-related illness due to drug use, predeceasing his parents. 

As featured in the 2024 documentary Bob Mackie: Naked Illusion, Bob and Lulu had remained very close throughout the years and later discovered that they share a granddaughter (through their son) with whom they enjoy a close relationship. They also have  two great grandchildren. 

Beginning in 1963, Mackie's significant other was costume designer Ray Aghayan, whom Mackie worked with as an assistant. The two worked together through the 1970s, as well as having separate clients. They remained together until Aghayan's death in 2011. Mackie created all of the costumes, including evening gowns, character outfits and dance clothing for guests during the run of The Carol Burnett Show, including the famous curtain dress from the "Went with the Wind!" sketch (spoofing Gone With the Wind) which was donated to the Smithsonian Institution. 

he announcement of Mackie's death says he died of natural causes at 87 years old.

Sunday, September 13, 2026

The REAL Names Of Those Solo-Named 'Stars'

What is it that makes some celebrities insist on being identified by only one name -- no first and last name, just one moniker?

Of course, there's a desire to stand out. That must have been the motivation in the case of the solo branded "stars" of another era -- people like Liberace, Hildegarde, Cantinflas, Capucine, Topol and more recently, Cher and Madonna. 

But now the whole one name trend seems to have gotten totally out of hand. Where it used to be the exception, it now seems to be emerging as the norm. And, of course, that defeats the whole purpose because it means that there's nothing exceptional about it anymore.

Which may be fine and, in fact, lead to the end of this nonsense, to which we say "Hooray!" as this is a trend we don't like -- one that's already become tiresome.

And we're gonna blow the cover on the whole thing. So, get ready Zendaya and Pink (see photo) because here are the real names of the whole damned bunch of ya:

  • Beyoncé: Beyoncé Giselle Knowles-Carter
  • Cher: Cherilyn Sarkisian
  • Bono: Paul David Hewson
  • Drake: Aubrey Drake Graham
  • Rihanna: Robyn Rihanna Fenty
  • Sting: Gordon Matthew Thomas Sumner
  • Madonna: Madonna Louise Ciccone
  • Pink: Alecia Beth Moore
  • Beck: Bek David Campbell
  • Shakira: Shakira Isabel Mebarak Ripoll
  • Enya: Eithne Pádraigín Ní Bhraonáin (Nicky Ryan)
  • Adewale / Awkwafina: Nora Lum
  • Common: Lonnie Rashid Lynn Jr.
  • Zendaya: Zendaya Maree Stoermer Coleman
  • RuPaul: RuPaul Andre Charles
  • Iman: Zara Mohamed Abdulmajid
  • Sinbad: David Adkins
  • Flea: Michael Peter Balzary
  • Elvira: Cassandra Peterson
  • Fabio: Fabio Lanzoni
  • Zendaya: Zendaya Maree Stoermer Coleman
  • RuPaul: RuPaul Andre Charles
  • Iman: Zara Mohamed Abdulmajid
  • Sinbad: David Adkins
  • Flea: Michael Peter Balzary
  • Elvira: Cassandra Peterson
  • Fabio: Fabio Lanzoni
  • Usher: Usher Raymond IV
  • Bon Jovi: John Francis Bongiovi Jr.