It is with profound sadness that we bid farewell to the incomparable Linda Lavin, who left us at the age of 87 after bravely battling complications from recently discovered lung cancer. Lavin’s extraordinary career stands as a testament to her exceptional talent, unwavering resilience, and deep passion for her art, and she leaves behind a legacy that will be treasured by her devoted fans and fellow artists for years to come.

Linda Lavin

Born in Portland, Maine, Lavin found her way to the bright lights of Broadway after graduating from the College of William and Mary. She began her career singing in nightclubs and ensemble productions, but her extraordinary talent caught the eye of iconic producer Hal Prince. This led to her breakout role in the Broadway musical It’s a Bird… It’s a Plane… It’s Superman, setting the stage for a illustrious career ahead.

Lavin’s journey through the entertainment industry was marked by both critical acclaim and widespread popularity, most notably as the star of the beloved sitcom Alice. Drawing inspiration from Martin Scorsese’s film Alice Doesn’t Live Here Anymore, the show debuted in 1976, introducing audiences to Alice Hyatt—an everywoman character who worked as a waitress in a diner while raising her young son after becoming a widow. With her iconic paper hat and a warm, relatable demeanor, Lavin became a symbol of perseverance for working moms everywhere.

The show, which featured unforgettable catchphrases like “Kiss my grits!”, quickly became a hit, reaching the top ten in ratings for several years. Lavin’s portrayal of Alice resonated deeply with viewers, making them laugh and cry in equal measure. Her musical talent shone through as she crooned the show’s theme song, “There’s a New Girl in Town,” which remains etched in the hearts of fans.

In addition to her television success, Lavin was a force on Broadway, earning a Tony Award for her outstanding performance in Neil Simon’s Broadway Bound. Her ability to capture the complexity of characters—from a self-described nag in The Lyons to the frazzled yet witty protagonist in Collected Stories—showcased her remarkable range and depth as an actress.

Despite her impressive accolades in theater, Lavin never lost sight of her roots. Her dedication to her craft continued to shine through in recent years, as she actively participated in projects, including a new Netflix series, No Good Deed—a testament to her enduring passion for storytelling. She was also busy filming for the forthcoming Hulu series, Mid-Century Modern, until her untimely passing, reminding us all how vibrant and dedicated she was right up to the end.

Beyond her roles on screen and stage, Lavin’s legacy is also defined by her commitment to nurturing the next generation of performers. Her mantra, “work brings work,” reflects her belief in the value of persistence and seizing every opportunity. This wisdom, offered to aspiring actresses, continues to inspire those seeking a place in the competitive world of entertainment.

The warmth of Lavin’s spirit extended beyond her work; her dedication to the arts included co-founding the Red Barn Studio Theatre in Wilmington, North Carolina, where she produced and starred in numerous acclaimed plays. It became a haven for creativity, showcasing both timeless classics and contemporary works to an appreciative audience.

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As we mourn the loss of Linda Lavin, we celebrate the joy, laughter, and inspiration she brought into our lives through her performances. Whether it was the role of a struggling waitress fighting for her dreams or a beloved mother bringing her family together, Lavin’s characters became an integral part of our cultural fabric. She will always be remembered as a talented actress and an unforgettable icon, reminding us to embrace every moment, and that it’s never too late to pursue our passions.

Thank you, Linda, for sharing your light with us. You will be missed, but your legacy will live on through the countless lives you touched. Rest in peace, dear Alice.

https://en.wikipedia.org/wiki/Linda_Lavin

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Life is full of uncanny moments that can leave us in awe, prompting us to reflect on the interconnectedness of our experiences. Recently, I stumbled upon one such moment when I found out about the passing of Bob McDermott, an actor who portrayed the lovable Bob Merona on my web series, CUPIC: Diary of an Investigator. Learning of his death nearly a decade later filled me with a blend of nostalgia, shock, and an unsettling realization of how our lives were, quite literally, intertwined during a time of tragedy.

Bob McDermott: A Rhythmic Force of Nature

Bob McDermott was more than just an actor to me—he embodied the very spirit of what CUPIC aimed to capture. His portrayal of Bob Merona brought warmth and levity to an often serious series focused on exploring the unexplained. Bob infused his character with his own life experiences, and his ability to resonate with audiences was one of the many reasons he was so beloved.

Beyond acting, Bob was a man of many talents. He worked at Best Buy in various capacities and later transitioned into running his own pest control business. This versatility exemplified his boundless energy and commitment to crafting his own path, whether it be on-screen or off.

The Unforeseen Loss

It was a jarring revelation to learn that Bob had passed away in 2015, the very same year tragedy struck my life. Just a day before Bob’s untimely death, I was plunged into grief and heartache with the passing of my younger sister on September 27. I had been unaware of Bob’s fate at the time, and it’s haunting how the timing of our losses converged.

As I prepared to resume filming CUPIC in late October, I reached out to Bob to schedule filming. His silence felt unusual, but I chalked it up to his busy schedule—a common occurrence for someone navigating the world of pest control during peak season.

The oddity started gnawing at me, however. As two weeks passed with no word from him, I began to suspect he might not be interested in the project anymore. Eventually, I had to recast the role with another talented actor, John Euber. Little did I know, I was making decisions in a world where the man who had breathed life into Bob Merona was no longer with us.

The Eerie Intersection of Coincidences

Reflecting on the simultaneous losses in my life, I can’t help but feel unnerved by the string of coincidences that unfolded. The intertwining of Bob’s death and my sister’s disappearance from my life produces an unsettling overlap that prompts deeper questions about fate, timing, and the threads that connect us all.

Coincidences like these invite us to ponder the mysteries of our existence. Are they mere accidents, or do they highlight a greater interconnectedness we often overlook? The notion of coexistence—of lives brushing against each other, only to part ways—evokes a raw vulnerability that lingers long after the moment has passed.

A Shared Journey of Discovery

The Central Unidentified Phenomenon Investigation Committee (CUPIC), as depicted in the series, embarked on quests to explore the mysteries of the universe with dedication and fervor. Similarly, Bob’s portrayal of Bob Merona mirrored this quest for truth, showcasing the beauty of the unknown in a way that made viewers question the world around them.

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In piecing together the threads of our respective lives, I realize that both Bob and I were on unique journeys filled with the unexplained—a fact that amplifies the eeriness of our shared timeline.

Taking it all in…

As I navigate the maze of memories and emotions surrounding Bob McDermott’s passing, I find myself confronted with the curious intersection of our lives. His unassuming yet profound impact as an actor and friend reminds me that the connections we forge are often integral to our experience of life itself.

Reflecting on Bob’s legacy evokes not only a sense of loss but also a renewed appreciation for the fleeting nature of existence. Life is a series of intricate, beautiful coincidences, and in the wake of sorrow, we learn to cherish the everyday magic that binds us all. Rest in peace, Bob. Your vibrant spirit and unmistakable charm will always remain a part of my journey.

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Aram Goudsouzian, University of Memphis

In the summer of 1967, Martin Luther King Jr. introduced the keynote speaker for the 10th-anniversary convention banquet of the Southern Christian Leadership Conference. Their guest, he said, was his “soul brother.”

“He has carved for himself an imperishable niche in the annals of our nation’s history,” King told the audience of 2,000 delegates. “I consider him a friend. I consider him a great friend of humanity.”

That man was Sidney Poitier.

Poitier, who died at 94 on Jan. 7, 2022, broke the mold of what a Black actor could be in Hollywood. Before the 1950s, Black movie characters generally reflected racist stereotypes such as lazy servants and beefy mammies. Then came Poitier, the only Black man to consistently win leading roles in major films from the late 1950s through the late 1960s. Like King, Poitier projected ideals of respectability and integrity. He attracted not only the loyalty of African Americans, but also the goodwill of white liberals.

In my biography of him, titled “Sidney Poitier: Man, Actor, Icon,” I sought to capture his whole life, including his incredible rags-to-riches arc, his sizzling vitality on screen, his personal triumphs and foibles and his quest to live up to the values set forth by his Bahamian parents. But the most fascinating aspect of Poitier’s career, to me, was his political and racial symbolism. In many ways, his screen life intertwined with that of the civil rights movement – and King himself.

An age of protests

In three separate columns in 1957, 1961 and 1962, a New York Daily News columnist named Dorothy Masters marveled that Poitier had the warmth and charisma of a minister. Poitier lent his name and resources to King’s causes, and he participated in demonstrations such as the 1957 Prayer Pilgrimage and the 1963 March on Washington. In this era of sit-ins, Freedom Rides and mass marches, activists engaged in nonviolent sacrifice not only to highlight racist oppression, but also to win broader sympathy for the cause of civil rights.

In that same vein, Poitier deliberately chose to portray characters who radiated goodness. They had decent values and helped white characters, and they often sacrificed themselves. He earned his first star billing in 1958, in “The Defiant Ones,” in which he played an escaped prisoner handcuffed to a racist played by Tony Curtis. At the end, with the chain unbound, Poitier jumps off a train to stick with his new white friend. Writer James Baldwin reported seeing the film on Broadway, where white audiences clapped with reassurance, their racial guilt alleviated. When he saw it again in Harlem, members of the predominantly Black audience yelled “Get back on the train, you fool!”

King won the Nobel Peace Prize in 1964. In that same year, Poitier won the Oscar for Best Actor for “Lilies of the Field,” in which he played Homer Smith, a traveling handyman who builds a chapel for German nuns out of the goodness of his heart. The sweet, low-budget movie was a surprise hit. In its own way, like the horrifying footage of water hoses and police dogs attacking civil rights activists, it fostered swelling support for racial integration.

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A better man

By the time of the actor’s Southern Christian Leadership Conference speech, both King and Poitier seemed to have a slipping grip on the American public. Bloody and destructive riots plagued the nation’s cities, reflecting the enduring discontent of many poor African Americans. The swelling calls for “Black Power” challenged the ideals of nonviolence and racial brotherhood – ideals associated with both King and Poitier.

When Poitier stepped to the lectern that evening, he lamented the “greed, selfishness, indifference to the suffering of others, corruption of our value system, and a moral deterioration that has already scarred our souls irrevocably.” “On my bad days,” he said, “I am guilty of suspecting that there is a national death wish.”

By the late 1960s, both King and Poitier had reached a crossroads. Federal legislation was dismantling Jim Crow in the South, but African Americans still suffered from limited opportunity. King prescribed a “revolution of values,” denounced the Vietnam War, and launched a Poor People’s Campaign. Poitier, in his 1967 speech for the SCLC, said that King, by adhering to his convictions for social justice and human dignity, “has made a better man of me.”

Exceptional characters

Poitier tried to adhere to his own convictions. As long as he was the only Black leading man, he insisted on playing the same kind of hero. But in the era of Black Power, had Poitier’s saintly hero become another stereotype? His rage was repressed, his sexuality stifled. A Black critic, writing in The New York Times, asked “Why Does White America Love Sidney Poitier So?”

That critic had a point: As Poitier himself knew, his films created too-perfect characters. Although the films allowed white audiences to appreciate a Black man, they also implied that racial equality depends on such exceptional characters, stripped of any racial baggage. From late 1967 into early 1968, three of Poitier’s movies owned the top spot at the box office, and a poll ranked him the most bankable star in Hollywood.

Each film provided a hero who soothed the liberal center. His mannered schoolteacher in “To Sir, With Love” tames a class of teenage ruffians in London’s East End. His razor-sharp detective in “In the Heat of the Night” helps a crotchety white Southern sheriff solve a murder. His world-renowned doctor in “Guess Who’s Coming to Dinner” marries a white woman, but only after winning the blessing of her parents.

“I try to make movies about the dignity, nobility, the magnificence of human life,” he insisted. Audiences flocked to his films, in part, because he transcended racial division and social despair – even as more African Americans, baby boomers and film critics tired of the old-fashioned do-gooder spirit of these movies.

Intertwined lives

And then, the lives of Martin Luther King Jr. and Sidney Poitier intersected one final time. After King’s assassination on April 4, 1968, Poitier was a stand-in for the ideal that King embodied. When he presented at the Academy Awards, Poitier won a massive ovation. “In the Heat of the Night” and “Guess Who’s Coming to Dinner” captured most of the major awards. Hollywood again dealt with the nation’s racial upheaval through Poitier movies.

But after King’s violent murder, the Poitier icon no longer captured the national mood. In the 1970s, a generation of “Blaxploitation” films featured violent, sexually charged heroes. They were a reaction against the image of a Black leading man associated with Poitier. Although his career evolved, Poitier was no longer a superstar, and he no longer bore the burden of representing the Black freedom movement. Yet for a generation, he had served as popular culture’s preeminent expression of the ideals of Martin Luther King.

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Aram Goudsouzian, Bizot Family Professor of History, University of Memphis

This article is republished from The Conversation under a Creative Commons license. Read the original article.

The Bridge is a section of the STM Daily News Blog meant for diversity, offering real news stories about bona fide community efforts to perpetuate a greater good. The purpose of The Bridge is to connect the divides that separate us, fostering understanding and empathy among different groups. By highlighting positive initiatives and inspirational actions, The Bridge aims to create a sense of unity and shared purpose. This section brings to light stories of individuals and organizations working tirelessly to promote inclusivity, equality, and mutual respect. Through these narratives, readers are encouraged to appreciate the richness of diverse perspectives and to participate actively in building stronger, more cohesive communities.

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