Cheers: Where Everybody Knows Your Name

The following is from LIFE’s new special anniversary edition on the television classic Cheers, available at newsstands and online:

Diane Chambers never quite fit in at Cheers. A frustrated barmaid who dreams of being a famous novelist, she often feels left out by the staff and barflies who call the pub on Boston’s Beacon Street home. To make it up to her, Sam Malone, her boss and on-again-now-off-again boyfriend, takes part in a Diane Chambers Night with the bar’s other denizens. They escort Diane to a staging of her favorite opera, Lucia di Lammermoor. Afterward, when the couple return by themselves to the empty bar, she is giddy. They kiss and she admits, “Oh, Sam, I can’t fight it. Everything tonight has been leading me right into your arms.” But oh, no. Not again. Diane quickly thinks about what is happening and stops herself. “We are developing a very special relationship,” she explains to Sam, “and it would be wrong to jeopardize it by having sex.” Babe magnet that Sam is, he nervously replies, “No. I want to jeopardize it with sex.” Yet her analysis and hesitancy can’t stop, and of course nothing is consummated. 

Will they? Won’t they? Oh, please! Put them together. From its premiere on September 30, 1982, this comedy starring Shelley Long and Ted Danson offered a high-proof distillation of the best of the screwball films from the mid-20th century. The sexual tension between the two characters went on for years, and in season 5, the writers offered up a touching “What if?” segment dealing with Diane and Sam’s first attempted wedding. We spy the aged couple in their home. She tells him, “I wouldn’t trade one minute of my life with you for a Nobel Prize in Literature.” Content, they quietly dance. But alas, the wedding never happens, Diane heads off to finish her great American novel, and Long departed the show to make movies. Luckily for viewers, in her place arrived the incomparable Rebecca Howe, played by Kirstie Alley, who brought a new, maddeningly funny dynamic to the show as a corporate striver with a heart of mush.

Throughout Cheers’s amazing 275-episode run, viewers watched Diane and Sam and then Rebecca and Sam twist their egos and insecurities as they fell in and out of friendship, love, and bed, all the while resisting the need to dissolve their ossified cores to achieve a happily ever after. And the fact that they found it so hard to achieve marital or at least relationship bliss meant perfect chemistry within this roiling beaker of sitcom television.

Such sniping I-love-you-but-refuse-to-admit-it couples are now a staple of TV: Think of Ross and Rachel on Friends and Jim and Pam on The Office. Yet the ill-fated Cheers pairs were the first such matches on network TV. Created by James Burrows and Glen and Les Charles, who had previous success with Taxi, Cheers proved revolutionary for many other reasons. It was the first sitcom to have an evolving story line instead of self-contained episodes. To do this, before each new season the writers plotted out the arc for the coming two dozen episodes—a practice now expected for shows.

Thirty years after its final season aired, the series’s story line and razor-sharp gags are still well aimed and endearingly landed. Simple yet nuanced, the half-hour show unfolded like a must-see one-act play about barflies and bar workers, malcontents and the misunderstood. It was all beautifully brought to life by a perfectly tuned ensemble that included Long, Danson, and Alley, as well as Nicholas Colasanto, Kelsey Grammer, Woody Harrelson, Bebe Neuwirth, Rhea Perlman, John Ratzenberger, and George Wendt sitting and standing around a bar as they gabbed about life, sports, love, trivia—lots of trivia—and hopes. All desired understanding, companionship, and fulfillment. For them, it could be found in a mug of ale as they laughed and cried into their drinks, a barstool away from a fellow lonely soul dinging them with a pithy line or handing them a paper napkin to dry their eyes.

While Cheers at first earned abysmally low ratings—Burrows jokes to LIFE, “We like to say we were 77th out of 76 shows”—it was eventually recognized by critics and embraced by a growing fan base. Over 11 seasons, Cheers turned into a television juggernaut. It garnered 117 Emmy nominations and 28 golden statuettes, making this NBC show essential viewing, with all episodes now available anytime on Hulu, Peacock, and other streaming sites. 

Still fresh, funny, and poignant four decades later, the show about a bar and its inhabitants is a rare vintage that has beautifully aged. That is why it’s worth sidling up to your TV and savoring it again and again. Drinking not required.

Here is a selection of photos from LIFE’s new special anniversary issue, Cheers: Where Everybody Knows Your Name.

Frank Carroll/NBCU Photo Bank/Getty

Bar favorite Norm (George Wendt) in the Season One episode “Friends, Romans and Accountants.”

Paul Drinkwater/NBCU Photo Bank/Getty

The romance between Sam (Ted Danson) and Diane (Shelley Long) got off to a slapstick start in the opening episode of Season 2.

Gary Null/NBCU Photo Bank/Getty

Resident know-it-al Cliff (John Ratzenberger) has to answer a challenge to a fight in the Season 2 episode “Cliff’s Rocky Moment.”

NBCU Photo Bank/Getty

In a memorable episode from Season 2 of Cheers titled “Homicidal Ham,” Diane tried to help an obsessive ex-con become an actor.

NBCU Photo Bank/Getty

Rebecca Howell (Kirstie Alley) stepped in as Sam’s new love interest in Season 6, after Shelly Long left the cast.

Ron Tom/NBCU Photo Bank/Getty

Salty barmaid Carla (Rhea Perllman) in the episode “Baby Balk” that opened Season 10.

Kim Gottlieb-Walker/NBCU Photo Bank/Getty

In the Season 9 episode “Wedding Bell Blues,” Sam tried to save Rebecca from a making a marital mistake.

Kim Gottlieb-Walker/NBCU Photo Bank/Getty

The final episode of Cheers featured the return of Shelly Long as Diane Chambers.

Paul Drinkwater/NBCU Photo Bank/Getty

Crowds during the filming of the final episode of the 11-season run of Cheers.

Charles Krupa/AP/Shutterstock

Bye Bye, Bambino: The Funeral of Babe Ruth

If you don’t think Babe Ruth was a head of state—well, you’re right in the most literal sense. He was a ball player.

But in another sense, he was absolutely a head of state. It’s just not the kind of state that you can find on a map. His state was baseball, and he ruled it like no other. And that mattered to a lot of people, especially in the middle parts of the last century, when baseball was the undisputed national pastime. “It wasn’t that he hit more home runs than anybody else,” said legendary sportswriter Red Smith. “he hit them higher, better, farther, with more theatrical timing and a more flamboyant flourish.”

And so when when the Yankee slugger died from cancer at the age of 53, he received the kind of tribute normally reserved for kings and presidents. His funeral was a multi-day, multi-site affair, with the locations including St. Patricks Cathedral in midtown Manhattan, Westchester County’s Gate of Heaven Cemetery (whose other internees include James Cagney, Sal Mineo and Ralph Branca), and Yankee Stadium.

In the report on his funeral in the Aug. 20, 1948 issue, LIFE expounded on the unique place of the Babe in American culture. “In his 53-year lifetime he won a unique hold on U.S. affections,” LIFE wrote of the man who told sick kids he would hit home runs for them and came through. “…”The Babe loved applause as much as he did hot dogs, and he personified that spectacular age of U.S. sports, the 1920s,” And as LIFE pointed out, the other big sports stars of the 20s—Bill Tilden, Bobby Jones, Jack Dempsey—didn’t linger in the American imagination anywhere close to the way Ruth did.

And that is why the crowds assembled, and that is why LIFE assigned two staff photographers to the event, Cornell Capa and Martha Holmes. Some of the pictures capture the pomp of the moment. Some capture deeper emotion. What, ff happening behind the eyes of Joe DiMaggio, the Yankee legend who was at St. Patrick’s Cathedral and was the rare person who could see Ruth as a peer?

But the most poignant pictures are the ones that were taken at Yankee Stadium, where Ruth lay in state for two days in an open casket. The mourners are young and old, male and female, some dressed formally but most in their everyday clothes. An estimated 100,000 fans came by to see the Babe one last time in the House That Ruth Built.

Babe Ruth’s funeral at St. Patrick’s Cathedral in New York, 1948.

Martha Holmes/LIFE Picture Collection/Shutterstock

Babe Ruth’s funeral, 1948.

Martha Holmes/LIFE Picture Collection/Shutterstock

Babe Ruth’s Funeral, 1948.

Cornell Capa/LIFE Picture Collection/Shutterstock

Men standing solemnly outside St. Patrick’s Cathedral for funeral of baseball player Babe Ruth, 1948.

Cornell Capa/LIFE Picture Collection/Shutterstock

Joe Dimaggio at the funeral for Babe Ruth, 1948.

Cornell Capa/LIFE Picture Collection/Shutterstock

Babe Ruth’s funeral, 1948.

Cornell Capa/LIFE Picture Collection/Shutterstock

Babe Ruth’s funeral, 1948.

Cornell Capa/LIFE Picture Collection/Shutterstock

Mourners standing behind police barricade during funeral for baseball player Babe Ruth, 1948.

Cornell Capa/LIFE Picture Collection/Shutterstock

Babe Ruth [Death]

People standing outside receiving tomb at the Gate of Heaven Cemetery after conclusion of funeral for baseball player Babe Ruth.

Babe Ruth’s funeral, 1948.

Martha Holmes/LIFE Picture Collection/Shutterstock

Babe Ruth’s funeral, 1948.

Martha Holmes/LIFE Picture Collection/Shutterstock

Babe Ruth’s funeral, 1948.

Martha Holmes/LIFE Picture Collection/Shutterstock

Mourners praying during funeral for baseball player Babe Ruth, 1948.

Martha Holmes/LIFE Picture Collection/Shutterstock

People taking souvenir flowers after funeral for baseball player Babe Ruth, 1948.

Cornell Capa/LIFE Picture Collection/Shutterstock

Flags flying at half mast on top of Yankee Stadium following the death of Babe Ruth, 1948.

Cornell Capa/LIFE Picture Collection/Shutterstock

Mourners filing past body of baseball player Babe Ruth lying in state at Yankee Stadium, 1948.

Cornell Capa/LIFE Picture Collection/Shutterstock

Mourners pass the casket of Babe Ruth, lying in state at Yankee Stadium, 1948.

Cornell Capa/LIFE Picture Collection/Shutterstock

A mourner passes the casket for Babe Ruth, lying in state at Yankee Stadium, 1948.

Cornell Capa/LIFE Picture Collection/Shutterstock

A mourner passes the casket for Babe Ruth, lying in state at Yankee Stadium, 1948.

Cornell Capa/LIFE Picture Collection/Shutterstock

Babe Ruth lying in state at Yankee Stadium, 1948.

Cornell Capa/LIFE Picture Collection/Shutterstock

Babe Ruth lying in state at Yankee Stadium, 1948.

Cornell Capa/LIFE Picture Collection/Shutterstock

Babe Ruth lying in state at Yankee Stadium, 1948.

Cornell Capa/LIFE Picture Collection/Shutterstock

Babe Ruth lying in state at Yankee Stadium, 1948.

Cornell Capa/LIFE Picture Collection/Shutterstock

When Racing Babies Was a Thing

It wasn’t a sanctioned sport, exactly. It was more like a publicity stunt. In fact, it was entirely a publicity stunt, put on by an association of diaper delivery services. But for a while there, it was a rite of summer to hold baby races at an amusement park in North Jersey.

The action went down at Palisades Amusement Park, which closed in 1971 but back then was a popular center for family entertainment in Bergen County. In 1946 LIFE photographer Cornell Capa was there to document what was billed as the 8th annual Diaper Service Derby. As you might expect at a race where the competitors were too young to know the word “race,” the scene was chaotic, and not especially serious. No was going to mistake this for the Olympics.

“Some babies crawled in more than one of the four scheduled heats, which made little difference because there was no final,” LIFE wrote in its issue of Aug. 5, 1946. “Others fell asleep at the starting line. After three tortured hours, during which babies squalled, mothers complained about delays, and photographers stumbled over press agents for the National Institute of Diaper Services, which sponsored the event, the offspring of an adagio team was declared the winner.”

The winner was one-year-old Dennis Wendelken. LIFE wrote that he was given the championship ahead of three other heat winners “because we was better looking.”

But it is possible that the judges saw something in young Dennis, because the derby winner of 1946 would grow up to achieve fame based on his physical prowess. Under the name Dennis Wayne he became an accomplished ballet performer, and because of his dashing and rebellious qualities he became known as “The Bad Lad of Ballet.” (You can see some of that bad-boy streak in Capa’s photos—particularly the one where, during the victory ceremony, Dennis bites the microphone.) When he died in 2017 at age 72, he merited a substantial obituary in the New York Times which mentioned his derby triumph as well as his achievements in the world of ballet.

The Times obit quoted a 1975 review by Clive Barnes which praised Wayne because he “always moves with intent.” Perhaps the judges at the baby race noticed that too.

A scene from the 8th annual Diaper Service Derby at the Palisades Amusement Park in New Jersey, 1946.

Cornell Capa/LIFE Picture Collection/Shutterstock

Babies crawled toward a mobile row of stuffed rabbits during the 8th annual Diaper Service Derby at the Palisades Amusement Park, 1946.

Cornell Capa/LIFE Picture Collection/Shutterstock

The 8th annual Diaper Service Derby at the Palisades Amusement Park in New Jersey, 1946.

Cornell Capa/LIFE Picture Collection/Shutterstock

The 8th annual Diaper Service Derby at the Palisades Amusement Park in New Jersey, 1946.

Cornell Capa/LIFE Picture Collection/Shutterstock

The 8th annual Diaper Service Derby at the Palisades Amusement Park in New Jersey, 1946.

Cornell Capa/LIFE Picture Collection/Shutterstock

A baby crawled toward a mobile row of stuffed rabbits during the 8th annual Diaper Service Derby at the Palisades Amusement Park in New Jersey, 1946.

Cornell Capa/LIFE Picture Collection/Shutterstock

The 8th annual Diaper Service Derby at the Palisades Amusement Park in New Jersey, 1946.

Cornell Capa/LIFE Picture Collection/Shutterstock

The 8th annual Diaper Service Derby at the Palisades Amusement Park in New Jersey, 1946.

Cornell Capa/LIFE Picture Collection/Shutterstock

The 8th annual Diaper Service Derby at the Palisades Amusement Park in New Jersey, 1946.

Cornell Capa/LIFE Picture Collection/Shutterstock

A scene from the 8th annual Diaper Service Derby at the Palisades Amusement Park in New Jersey, 1946.

Cornell Capa/LIFE Picture Collection/Shutterstock

A scene from the 8th annual Diaper Service Derby at the Palisades Amusement Park in New Jersey, 1946.

Cornell Capa/LIFE Picture Collection/Shutterstock

Dennis Wendelken, the winner of the 8th annual Diaper Service Derby at the Palisades Amusement Park in New Jersey, 1946.

Cornell Capa/LIFE Picture Collection/Shutterstock

Dennis Wendelken, the winner of the 8th annual Diaper Service Derby at the Palisades Amusement Park in New Jersey, 1946.

Diaper Derby, Palisades Park

Dennis Wendelken, the winner of the 8th annual Diaper Service Derby at the Palisades Amusement Park in New Jersey, 1946.

Cornell Capa/LIFE Picture Collection/Shutterstock

Dennis Wendelken, the winner of the 8th annual Diaper Service Derby at the Palisades Amusement Park in New Jersey, 1946.

Cornell Capa/LIFE Picture Collection/Shutterstock

Billy Joel: Just The Way He Is

The following is excerpted from LIFE’s new special tribute issue Billy Joel: 50 Years of the Piano Man, available at newsstands and online:

For decades, the principal narrative of Billy Joel’s career has revolved around the fact that in the mid-1990s, at the height of one of the most fruitful and accomplished runs of songwriting in popular music history, he stopped recording new songs. Joel’s final contemporary album, 1993’s River of Dreams (its intentionally prophetic final track is titled “Famous Last Words”), reached No. 1 on the Billboard charts, received four Grammy nominations, and went quintuple platinum. Joel walked away at his peak. Jim Brown leaving the NFL. Steve Martin abandoning stand-up. Garbo renouncing the screen.

Music, though, has a particular virtue. You can’t retell the same jokes indefinitely, nor write the same book twice, nor reenact the very same roles. But you can play the same songs—and exactly the same is what most audiences want—over and over, and people will come to hear them. That’s especially true when the songs are as superb and sturdy as Billy Joel’s are. He performs 25 live shows a year, sometimes more. In 2022, Joel was recognized for having played his 80th consecutive monthly gig (with a pause for COVID, of course) at Madison Square Garden. The show sells out each month, with every decent seat gone within hours of on-sale, and at each show the crowd sings along with every word of every song. A banner with his name and the number 80 was raised to the Garden rafters to hang beside the retired jerseys of great Rangers and Knicks. Madison Square Garden refers to itself as the world’s most famous arena, and Billy Joel is the house band.

Perhaps because he is so beloved and because his old songs have so successfully stood the test of time, and because he is absurdly wealthy and getting wealthier, Joel has expressed no regrets about his career choice. His legion of fans, and his many admiring music industry collaborators, might look at Joel’s 12 albums—an extraordinarily deep 121-song catalog of ballads, bangers, meditations, and mood-enhancers that includes 33 hits and twice that many crowd pleasers—and feel there must still be music left to write. Not Joel. “I thought I’d had my say,” he told Stephen Colbert on The Late Show in 2017. “I just said, ‘Okay, shut up now.’” He still loves writing music, he says, and continues to compose, largely for himself, and mainly classical piano pieces (post–River of Dreams, in 2001, he released a collection of classical compositions, Fantasies & Delusions), but he has never considered a return to pop songwriting. “Elton John says you should put out more albums,” Colbert said during the Late Show sit-down. “Yes, well,” said Joel, “I told him he should put out less.”

Joel’s appeal isn’t complicated: He wrote exceptionally tasteful melodies and sings with an exceptionally resonant voice. He plays a robust and mellifluous piano. He tells stories. His writing leans toward the upbeat, but not incessantly. Joel’s love songs tend to be adoring paeans. They’re often self-deprecating and sometimes come with a dose of carpe diem (“Only the Good Die Young” could be renamed “To His Coy Catholic Mistress”). Conquests are rare. Listeners don’t hear about him laying a divorcée in New York City. 

Joel has been openly lovelorn, not only through his lyrics but also in his life. While reporting a piece on Joel for the New York Times in 2002, Chuck Klosterman discovered that his then-single subject was wholly preoccupied by an absence of meaningful romance. “I find myself in the peculiar position of trying to make Billy Joel feel better,” Klosterman wrote. Joel has been married four times (for a total of 30 years and counting) and has three daughters, including two with his current wife, Alexis Roderick. The girls are ages seven and five. Joel is 73. At his daughters’ school, “people think I’m my kids’ grandfather,” Joel has said, thus affording the sweet and marginally plausible suggestion that not everyone around the neighborhood knows who he is.

He is without movie-star looks, and also without pretension or obvious affect. Minimal shtick, maximum relatability. John, with whom Joel has performed dozens of sold-out stadium shows, rose to fame leaping about in fun-house sunglasses, white feathers, and nipple-baring sequined jumpsuits. Joel during his ascent came on stage in blue jeans or slacks, maybe a sport coat, sat down at the piano, and played some killer songs for you. That’s how he does it today. He has lived as a star without shedding his blue-collar, only-human vibe. Not too cool, not too slick. Joel’s nine-year marriage to Christie Brinkley had a revenge-of-the-nerds, Say Anything quality—look who landed an uptown girl!

Joel mines his life for material, which has stamped his storytelling with a clear sense of place. From his first album (Cold Spring Harbor) to his last, local touchstones, drawn from Joel’s New York matrix, bring forth the universal. You may or may not remember those nights hanging out at the Village Green, and you may have never ridden the Staten Island Ferry or cruised the Miracle Mile, but the ideas of them—grounding allusions during times of change—echo everywhere. There was a Brenda and Eddie in your high school class. You know just what it means to be a big man on Mulberry Street.

Still, New York. In addition to his residency at the Garden, Joel played the final concerts at Shea Stadium in 2008. He performed the last show at Long Island’s old Nassau Coliseum in 2015, and the first show when the new Coliseum opened in 2017. (There’s a banner with his name on it hanging from those rafters too.) Back in 1990, Joel was the first rock performer to play Yankee Stadium. He delivered a 23-song set, and the fact that he includes 17 of those songs in his tour repertoire today is not to say that the absence of newly written material determines the makeup of his current shows. Summer 2022 performances by the Rolling Stones and Paul McCartney, as examples, consisted almost entirely of songs written in the 1970s. The folks of many ages who packed stadiums to see Sir Paul were not, with all due respect, there to hear his 2018 ditty “Come On to Me.” They came for “Hey Jude.”  

Thousands of devoted fans have attended scores of Joel’s shows. (He’s generated more than $450 million in ticket sales since 2014.) The true faithful tend to be boomers and Gen Xers, though they often have millennial and Gen Z children by their side, and the kids know the words too. They all arrive at Madison Square Garden, with their mutual experience and their respective similarities, to sway and stomp in the aisles, to respond to the familiar cues and to follow the familiar tunes. And for two and half hours with Billy Joel, that’s all there is. He’s their home.

Here is a selection of photos from LIFE’s new special tribute issue Billy Joel: 50 Years of the Piano Man.

Kevin Mazur/WireImage/Getty

Billy Joel performed at Royal Albert Hall in London, 1979.

Gus Stewart/Redferns/Getty

Billy Joel in 1974, the year after he had released his first album for Columbia Records.

Photo by Michael Ochs Archives/Getty Images

Billy Joel in 1977 with longtime band members (left to right) Liberty DeVitto, Doug Stegmeyer and Billy Canata.

Michael Ochs Archives/Getty

High-energy live shows like this 1977 performance in New York City have long been an essential aspect of Billy Joel’s appeal.

Michael Putland/Hulton/Getty

In 1978 Billy Joel relaxed during a flight from Austin to Dallas while on tour with his album 52nd Street.

Wally McNamee/Corbis Historical/Getty Images

The gold records were starting to pile up when Billy Joel posed for this portrait at home in 1978.

Michael Putland/Hulton/Getty Images

Billy Joel and his first wife Elizabeth, who was also his manager, at their home in Oyster Bay, Long Island, 1978.

Dick Kraus/Newsday RM/Getty

In 1983 Billy Joel and second wife Christie Brinkley performed on the set of the music video for his song “Uptown Girl.”

Vinnie Zuffante/Michael Ochs Archives/Getty

Billy Joel performed in the music video for “A Matter of Trust,” off his record The Bridge, in 1986.

DMI/The LIFE Picture Collection/Shutterstock

Howard University: “Every Signal Told Students We Could Be Anything”

In 2018 Chadwick Boseman, the star of the Marvel movie Black Panther, delivered a commencement address at Howard University, which he said he had also heard called “Wakanda University,” a reference to the superhero’s African homeland. In his speech the Howard alum credited his education at the historically Black school with instilling in him the standards to steer clear of acting roles that perpetuated negative stereotypes. “I stand here today knowing that my Howard University education prepared me to play Jackie Robinson, James Brown, Thurgood Marshall and T’Challa,” the Class of 2000 member told a new generation of students.

Thurgood Marshall deserves special notice on that list of Boseman’s roles because the former U.S. Supreme Court justice was also a fellow Howard alum. He is among the many notable names on a list of graduates that includes Nobel Prize-winning author Toni Morrison, former U.N. Ambassador Andrew Young, journalist Ta-Nehisi Coates and also Kamala Harris, who has served as Vice President under Joe Biden and who is now campaigning to become President.

In her memoir The Truths We Hold: An American Journey, Harris said that going to Howard was so significant for her because “Every signal told students we could be anything.”

LIFE magazine’s photo essay on Howard University in 1946 captured the very thing Harris talked about—the sense that the students there could do anything. In its Nov. 18, 1946 issue, LIFE took its readers on a tour of of the Washington D.C. campus, which it hailed as “America’s center of Negro learning.”

Documenting the world of Howard was legendary LIFE staff photographer Alfred Eisenstaedt. His photos are wide-ranging, showing students in the classroom, in athletic competition and at leisure, sporting the latest fashions. Eisenstaedt paid special attention to the medical school, which the story touted as a jewel of the university and which remains a highly respected program today. He also showed a meeting of the Alpha Kappa Alpha sorority that Vice President Harris would pledge to in the 1980s, when she was a student.

Howard, founded in 1867, after the end of the Civil War, is named after Oliver O. Howard, a white Union general and proponent of Black education who served as the school’s’ first president.

LIFE concluded its story about Howard by saying that the school’s greatest assets were “its 12,400 alumni, who have installed themselves in positions of authority and respect throughout the nation.” If it was the case in 1946, it is even more true today, as Howard’s trailblazing graduates continue to change the world.

Howard University medical students observed a gall-bladder operation in the amphitheater of Freedman’s Hospital, 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Howard University medical students observed a gall-bladder operation in the amphitheater of Freedman’s Hospital, 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Charles Drew, head of the surgery department at Howard’s medical school, organized and directed the first blood bank for the American Red Cross.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Students filled prescriptions in the pharmacy school at Howard University, 1946

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Sophmores worked in a laboratory in the pharmacy school at Howard University, 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Drama students at Howard University, 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Students in the library reading room at Howard University, 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Instructor Gloria Hixon conducted a zoology class at Howard University, 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Alain Leroy Locke, a Harvard graduate and Rhodes scholar, taught philosophy at Howard University, 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Mordecai Wyatt Johnson, the first Black president of Howard, in his office in 1946, when he had been at the job for 20 years.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Sophmore Bill Tolea (center) and other members of the Howard University football team, 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

A scene from a football game between Howard University and Shaw College. 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

A scene from a parade during football game between Howard University and Shaw College, 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Fans at a Howard University football game, 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

A women’s golf practice at Howard University, 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Howard University students at a luncheonette off campus, 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Howard University students, 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Two female students, one in trousers and a coat and the other in pleated skirt and sweater, on the campus of Howard University, Washington DC, 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Howard University students, 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

A meeting of the Alpha Kappa Alpha sorority at Howard University in 1946; Vice President Kamala Harris pledged that sorority when she was a student at Howard in the 1980s.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Students on campus of Howard University, 1946.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Mother Teresa: The Portrait of Christian Charity

The following is from the introduction of LIFE’s new special tribute issue Mother Teresa: Her Life and Her Mission. It’s out on the 25th anniversary of her passing and is available at newsstands and online:

In living memory, she is a wizened, weathered figure draped in a simple white sari trimmed in blue, so stooped from long years of hard labor that she seemed smaller than her listed height of five feet. But this was no “little old lady,” no frail object of patronizing sympathy. Far from it. She was rugged, tough as nails, and to the end of her 87 profoundly consequential years on earth in 1997 bore an undimmed glow. That rutted olive-toned face, etched with the sorrows and cares of a suffering humanity, would illuminate in a mesmerizing smile, radiating a spirit, passion, and magnetism that moved nations and generations.

She was, of course, Mother Teresa—winner of the Nobel Prize for Peace, canonized Saint Teresa of Kolkata in 2016. A Roman Catholic nun, she founded the Missionaries of Charity, a religious order that has served the desperately impoverished, the sick, and the dying, among other marginalized groups, since 1950. Twenty-five years after Mother Teresa’s death, the order numbers nearly 5,000 missionary sisters spread over more than 600 locations in more than 130 countries, not to mention an army of priests and lay volunteers who pitch in around the world. “Thanks to her work with the ‘poorest of the poor,’ as she put it,” notes Father James Martin, S.C., a Jesuit priest who collaborated with the Missionaries of Charity in Jamaica, “Mother Teresa became a kind of shorthand for Christian charity in the 20th century.”

She was an unlikely international icon—an overused term, perhaps, but surely apt in her case. Born Agnes Bojaxhiu in 1910 to a bourgeois Albanian businessman and his wife in Skopje, now the capital of North Macedonia, she was bright and pious—like her mother, from whom she learned generosity to the less fortunate—but seemingly an otherwise unremarkable girl. Early on, though, Agnes did feel an unusually strong call to religious service, rooted in deep devotion to Jesus Christ, along with a fascination with missionary work in India that intensified in adolescence. At 18, after some anguished deliberation, she joined the Loreto order, Dublin-based nuns with a team of sisters working in Kolkata (the city then called Calcutta). Taking the name Teresa, she bravely left her beloved home and family for good.

For two decades Teresa taught school while bringing supplies and solace to Kolkata’s slums, working in total obscurity—indeed, you’d be hard-pressed to find a photograph of her taken in the 1930s or ’40s. The story might well have ended there. But in September 1946 she experienced a strange epiphany—a direct call from Jesus, she said—to start an entirely new religious order, one that would minister to society’s forgotten men, women, and children, the abject, the diseased, those living and dying in the streets while others looked away.

With relentless zeal, Mother Teresa pressed the church hierarchy—and finally won approval to launch her order, known as the Missionaries of Charity. She required of her sisters only what she demanded of herself, a vow “to devote themselves out of abnegation to the care of the needy who, crushed by want and destitution, live in conditions unworthy of human dignity.” The expressed purpose of the order was to serve the poor by living among them, sharing in their experience, treating each tortured soul with kindness—and, even in the direst circumstances, exuding good cheer. “Let every action of mine,” she often said, “be something beautiful for God.”

To a privileged Westerner who recoils at a dirty public restroom or a homeless person on the subway, Mother Teresa’s idea of beauty might be unimaginable. She and her sisters got right down in it, wiping up excrement, cleaning maggots out of indigents’ open sores, caressing broken bodies as they took their last breaths. In the early days, the sisters would roam the city begging for money and food, for themselves as well as their wretched clientele. “There were times during the first three or four months,” Navin Chawla, one of Mother Teresa’s biographers told Time, “when she’d be humiliated, and tears would be streaming down her cheeks.”

But the fervent girl from Skopje kept at it, attracting followers and patrons, growing her order exponentially. Mother Teresa started hospices so the terminally ill could die “a beautiful death”; with little, if any, regard for their own safety and health, she and her missionaries cared for the blind and disabled, orphaned children and abandoned aged, alcoholics, drug addicts, and  prostitutes looking to turn their lives around. Over the decades, she rushed to aid victims of epidemics, famines, and disasters, both natural and manmade, all over the world—including regions reduced to rubble by war.

What makes Mother Teresa’s accomplishments all the more remarkable is that, while harboring a fierce love of Jesus, she spent the latter half of her life wondering if those feelings were unrequited. Private writings—published after her death in Come Be My Light, a 2007 book by Father Brian Kolodiejchuk, who had been assigned to make the case for Mother Teresa’s sainthood—revealed a persistent sense that God had abandoned her. And yet she never wavered from her life’s work, which at times required the skills of a diplomat, general, or CEO. “Along with her faith, Mother Teresa brought a remarkable capacity for hard work, an ability to inspire people—not just her sisters, but Christians around the world—and a great talent for organization,” says Father Martin.  “She was also no fool when it came to fundraising and enlisting people’s support, all on behalf of the poor.  She was as ‘gentle as a dove and as wise as a serpent,’ again, for the poor and the sick whom she served. And if that sounds cagey, it shouldn’t: It’s what Jesus asked of his disciples in the Gospel of Matthew.”

She drew her share of criticism. She was a hard-line religious conservative, vehemently against abortion and contraception (hardly surprising for a Catholic nun), and held extremely traditional views on the role of women. At times, she accepted donations from questionable sources, and conditions in some of her facilities were found wanting. But these are minority opinions, and Mother Teresa’s reputation remains secure. In 1985, AIDS was still very much a disease with unknown implications. Many were dying, and the illness was highly stigmatized. That year, Mother Teresa opened a 14-bed hospice for terminally ill AIDS patients in Greenwich Village. She carried on her mission through some of modern history’s most tumultuous decades, roiled by political and social upheaval, stained by cataclysmic wars both hot and cold. She was one of the culture’s few constants, her persona as unvarying as her wardrobe. And though she was constantly showered with accolades, she never lost her essential humility and humanity. 

It’s tempting to imagine Mother Teresa in recent years, as the world grappled with a global health crisis, European cities were turned to rubble, and other calamities unfolded. No doubt the intrepid nun would be right in the thick of things. In an era upended by technology, would she post inspirational memes on Twitter? Earn the exalted title of influencer? 

This much is clear: In the quarter century since masses of mourners watched Mother Teresa’s body borne through the streets of Kolkata, no one has come close to filling her battered, famously ill-fitting sandals.

Here is a selection of images from LIFE’s new special tribute issue, 25 years later: Mother Teresa: Her Life and Her Mission.

Michael Collopy

Agnes Bojaxhiu, the future Mother Teresa, circa 1920, with her parents and brother on her day of confirmation.

Photo by Vittoriano Rastelli/Corbis via Getty Images

Famines had made life in Kolkata so dire in 1943 that corpse removal trucks like this one would travel the streets to remove the dead.

Bettmann/Getty Images

Mother Teresa, a Roman Catholic nun and founder of a religious order knows as the MIssionaries of Charity, at a hospice for the destitute and dying in Kolkata, 1969.

Terry Fincher/Hulton Archive/Getty Images

Mother Teresa in Belfast, Northern Ireland, where she had come to start a mission in 1971.

Peter Kemp/AP/Shutterstock

Mother Teresa in Beirut in 1982, with one of the 37 mentally handicapped children who were being moved from a hospital that had been bombed to a Missionaries of Charity school there.

Alexis Duclos/AP/Shutterstock

Mother Teresa at a pro-life rally in Canada, 1988.

Bernard Weil/Toronto Star via Gerry Images

Pope John Paul II visited the hospice founded by Mother Teresa in Kolkata, 1986.

Francois Lochon/Gamma-Rapho via Getty Images

In 1995 Mother Teresa celebrated in Kolkata after nuns completed their ten years of training to join her order.

Linda Schaefer/Moment Editorial/Getty Images

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