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Audrey Smith, nicknamed Little Audrey, is a fictional animated cartoon character, appearing in early 20th century comics prior to starring in a series of Paramount Pictures' Famous Studios cartoons from 1947 to 1958. She was devised after Paramount decided not to renew the license on Little Lulu, the comic strip character created by Marjorie Henderson Buell.

In the ever-shifting landscape of Hollywood, where beauty and talent intersect, Joi Lansing emerged as a beacon of glamour and allure. Born on April 6, 1929, in a Mormon household, Lansing’s early years were marked by a longing for stardom that burned brightly within her. At the tender age of 14, she embarked on a journey to Los Angeles, the city of dreams, accompanied by her mother and stepfather. Little did she know that her arrival in the City of Angels would set the stage for a career that would captivate audiences and leave an indelible mark on the annals of entertainment history.

Lansing’s ascent to stardom was nothing short of meteoric. Signed by MGM as a model, she quickly caught the eye of Hollywood’s elite with her striking looks and magnetic presence. Completing her high school education on the studio lot, Lansing wasted no time in making her mark on the silver screen, earning numerous small film roles as a teenager. It wasn’t long before she caught the attention of television producers, landing a pivotal role as Shirley Swanson in the beloved Bob Cummings Show, also known as Love That Bob. This role catapulted Lansing to nationwide fame, captivating audiences with her charm and charisma.

Yet, it was Lansing’s portrayal of Gladys Flatt in The Beverly Hillbillies that solidified her status as a television icon. As the buxom blonde bombshell, Lansing captivated audiences with her comedic timing and larger-than-life personality, earning her a permanent place in the hearts of fans around the world. Over the course of her career, Lansing amassed an impressive list of credits, ranging from small appearances in serious films to bit parts in B-movies. Her versatility as an actress was unmatched, allowing her to seamlessly transition between genres and mediums with ease.

Despite her success on screen, Lansing’s personal life was fraught with challenges and heartbreak. Her personal life was marked by a series of marriages and relationships that mirrored the highs and lows of her career. Married four times, her relationships often ended in turmoil, leaving Lansing to navigate the complexities of love and fame in the unforgiving world of Hollywood. Yet, amidst the trials and tribulations, Lansing found solace in her alleged love affair with Alexis Hunter, a relationship that defied societal norms and challenged perceptions of sexuality in the conservative landscape of the 1960s.

Joi Lansing embarked on her first marriage to Jerome Safron in 1950, followed by a brief union with Lance Fuller from 1951 to 1953. In August 1960, she entered into matrimony with Stanley Laurence Todd, her business manager at the time, marking a significant chapter in her personal and professional life. However, Lansing’s journey through love and marriage was fraught with challenges, as her marriages often ended in divorce within a short period. Despite the trials she faced in her relationships, they added depth to her persona and contributed to the complexity of her legacy.

Joi Lansing’s life was tragically cut short by breast cancer on August 7, 1972, at St. John’s Hospital in Santa Monica, California. Despite undergoing surgical treatment for the disease two years prior, Lansing’s health continued to deteriorate, compounded by severe anemia. Although some press accounts erroneously listed her age as 37, she was, in fact, 43 years old at the time of her passing.

Following her death, Lansing’s legacy endured through various mediums, including a highly fictionalized portrayal in James Ellroy’s 2021 novel Widespread Panic. Additionally, her presence extended beyond live-action performances, as she also appeared in the Tex Avery animated short The House of Tomorrow, released in 1949, further cementing her status as an enduring figure in entertainment history.

Though her star may have dimmed in the years since her passing, Lansing’s memory lives on through the pages of history, immortalized as a symbol of an era defined by glitz, glamour, and the relentless pursuit of the spotlight. As we reflect on her life and legacy, let us not only remember Lansing as the forgotten bombshell but also celebrate her enduring contributions to the world of entertainment, ensuring that her light continues to shine brightly for generations to come.

Beyond her on-screen persona, Lansing’s impact extended into the realms of fashion, music, and popular culture. As a style icon of her era, she set trends with her signature blonde locks, figure-hugging attire, and glamorous demeanor, inspiring countless imitations and cementing her status as a timeless fashion icon. Additionally, Lansing’s foray into the world of music showcased her versatility as an entertainer, with her sultry vocals and captivating stage presence earning her acclaim as a nightclub singer and recording artist. Though her musical career may have been overshadowed by her acting endeavors, Lansing’s contributions to the music industry remain a testament to her multifaceted talents and enduring appeal.

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Although she was one of four stars who alternated every four weeks on NBC’s All Star Revue from 1951 to 1953 and appeared in many specials from 1953 to 1955, comedienne Martha Raye had her own weekly show on NBC, The Martha Raye Show, during the 1955 – 56 season.

Raye’s broad, slapstick style, her mugging and her loud, comic song renditions made her one of television’s most popular comediennes.

Boxing champion Rocky Graziano (born Thomas Rocco Barbella) was a regular on her weekly series, which told a different story every week, with Graziano usually playing Martha’s boyfriend.

The show was set in a nightclub, which was the perfect setting for the numerous comedy sketches, songs and musical production numbers featured on each week’s show.

Joe E. Brown starred in the drama The Buick Circus Hour from 1952 to 1953 and made guest appearances on various other shows during the 1950s and early 1960s

Brown happily claimed that he was the only youngster in show business who ran away from home to join the circus with the blessings of his parents. In 1902, the ten-year-old Brown joined a circus tumbling act called the Five Marvellous Ashtons that toured various circuses and vaudeville theaters. Joe later began adding comedy bits into his vaudeville act and added more as it became popular. In 1920 he debuted on Broadway in an all-star review called "Jim Jam Jems". As he developed skits and comedy routines throughout the 1920s, he built up his confidence and his popularity soared. The same could not be said for his debut in movies. Hired for a non-comedy role in The Circus Kid (1928), he played a lion tamer whose fate is death. He didn't register with the public until he signed with Warner Brothers in 1929 to do comedy roles in the film adaptations of Broadway shows such as Sally (1929) and Top Speed (1930). Joe would be well known for his loud yell, his infectious grin and his cavernous mouth. Since many of his films revolved around sports, his natural athletic ability, combined with the physical comedy, made them hits. In Local Boy Makes Good (1931), Joe played a botanist who becomes a track star. As he had briefly played semi-pro baseball, he was a natural for films like Fireman, Save My Child! (1932), in which he played a pitcher who was also a fireman. Two of his biggest hits also involved the game of baseball, Elmer, the Great (1933) and Alibi Ike (1935). In his contract with Warners, he had it written that he would have his own baseball team at the studio to play when he was able. Joe was one of the top ten moneymaking stars for 1933 and 1936. In 1937, he left Warners to make films for David L. Loew, and it was a disaster. Most of the films were cheaply made with poor production values, and only a few were successful. Two of the better ones were Riding on Air (1937) and The Gladiator (1938). Brown always called signing with Loew his biggest professional mistake, and with Loew his popularity fell. By the end of the 1930s he was working in "B" material, which would have been unimaginable less than five years earlier. With the advent of World War II, Joe worked tirelessly to entertain the troops while his film career floundered. Their enthusiastic response enabled Joe to overcome the death of his son, Captain Donald Brown, on a training flight. In 1947 Joe was back in the biz and back on stage in a road company tour of the comedy "Harvey". His first movie role in three years was as a small-town minister in the drama The Tender Years (1948). Even though he gave a good performance, it would be another three years before he was again on the big screen, in the big-budget 1951 remake of Show Boat (1951), in which he played Cap'n Andy Hawks. When his film career became almost nonexistent, Joe worked on radio and in television. He starred as the clown in the drama The Buick Circus Hour (1952) from 1952 to 1953 and made guest appearances on a number of other shows in the 1950s and early 1960s. His peers regarded him as one of the few truly nice people in Hollywood. After a few small movie roles in the 1950s, he was discovered by a new generation as the millionaire Osgood Fielding III in Billy Wilder's classic Some Like It Hot (1959), uttering the immortal last line of the film, "Well, nobody's perfect."

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Birth Date: June 30, 1917 - Death Date: March 14, 1975 — 57 years old

Pretty, exuberant leading lady who began her Hollywood career in 1937 as a bit player and was a star by the mid-1940s. Talented and tempestuous, with a penchant for playing ripe melodrama with all the stops out, Hayward reached her peak in the early 1950s in such enjoyably sudsy vehicles as "My Foolish Heart" (1950), "With a Song in My Heart" (1952) and "I'll Cry Tomorrow" (1955). She was often cast as the brassy, defiant heroine, as in her Oscar-winning role "I Want to Live!" (1958), where she splendidly played the real-life Barbara Graham, a woman who was wrongly sentenced to death.

Hayward began as a photographer's model. After a color photo of her was seen by filmmaker George Cukor, she was invited to audition for Scarlett O’Hara in Gone with the Wind (1939). She acquired an agent and a new name, Susan Hayward, and began her film career with a series of uncredited roles. Her first credited role was in Girls on Probation (1938).

Hayward received five Academy Award nominations, winning Best Actress for I Want to Live! (1958).