John Ashton, famous for playing Detective John Taggart in the “Beverly Hills Cop” movies, has sadly passed away at the age of 76. Now, his family has a special request.
Keep reading to learn more.
John Ashton died peacefully in Ft. Collins, Colorado, this past Thursday. His family and friends are heartbroken over his loss.
He passed away after bravely fighting cancer, according to his representative, Alan Somers. Somers shared that Ashton’s legacy is one of “love, dedication, and service,” and his family will continue to celebrate his life. He is survived by his wife, children, grandchildren, siblings, and more.
To honor the late actor’s life and legacy, the family is asking for donations to be made to Pathways Hospice Care in his memory.
Ashton was a well-known name in Hollywood for over 50 years, lighting up screens with more than 200 film, TV, and stage performances. While fans loved many of his roles, it was his portrayal of the straight-laced detective alongside Eddie Murphy’s wild cop character, Axel Foley, that made him a household name.
Ashton’s character, Detective Billy Rosewood, provided the perfect contrast to his co-star’s character, adding energy and humor to the films.
The film was a major success and established Ashton’s name in Hollywood. In July of this year, “Beverly Hills Cop: Axel F” premiered. In an interview, Ashton revealed that the film had taken 20 years to make before finally being released.
He mentioned there was a lot of uncertainty surrounding the film, to the point that he had given up on the idea and moved on to other projects. By the time he received a call about the film, he was already working on another project in Chicago.
After finishing his film, he went to L.A. to meet director Mark Molloy. Ashton knew that the film could only move forward if Murphy approved the script.
He said he knew he could fully commit to the project when Murphy greenlit the script and Jerry Bruckheimer joined as a producer.
In addition to his iconic role in “Beverly Hills Cop,” Ashton also had notable appearances in the show “M*A*S*H” and played Eric Stoltz’s father in the John Hughes comedy-drama “Some Kind of Wonderful.”
He started his career at a young age, with his first professional role in a production of “Othello” at the Hartford Stage Company. He later toured the world in various theater productions.
Ashton received great recognition for his acting, including an LA Method Fest award for Best Supporting Actor for his role in “Once Upon a River.”
He also appeared in several films, including “Death in Texas” (2020), “American Christmas” (2019), and “My Little Baby” (2019), among others.
Beyond his career, he was a devoted family man. He leaves behind his wife of 24 years, Robin Hoye, and his children, Michelle and Michael Thomas Ashton.
He is also survived by his stepchildren, Courtney Donovan, Lindsay Curcio, and Ashley Hoye, as well as his grandson Henry, his sisters Sharon Ann Ashton and Linda Jean Ashton, and his brother Edward Richard Ashton.
I Allowed a Homeless Woman to Stay in My Garage—One Day I Walked in Unannounced and Was Shocked by What I Saw
I tapped the steering wheel, trying to shake the weight on my chest, when I spotted a disheveled woman digging through a trash can. I slowed down, drawn in by her grim determination.
She looked fragile yet fierce, fighting for survival. Without thinking, I pulled over, rolled down my window, and asked, “Do you need help?”
Her response was sharp but tired: “You offering?”
“I just saw you there,” I admitted, stepping out. “It didn’t seem right.”
“What’s not right is life,” she scoffed, crossing her arms. “You don’t strike me as someone who knows much about that.”
“Maybe not,” I replied, then asked if she had a place to stay.
“No,” she said, and I felt compelled to offer my garage as a temporary home. To my surprise, she accepted, albeit reluctantly.
Over the next few days, we shared meals and conversations. Lexi’s sharp wit broke through my loneliness, but I could sense her hidden pain.
One afternoon, I barged into the garage and froze. There, sprawled across the floor, were grotesque paintings of me—chains, blood, a casket. Nausea hit me.
That night, I confronted her. “What are those paintings?”
Her face went pale. “I didn’t mean for you to see them. I was just… angry.”
“So you painted me as a monster?” I demanded.
She nodded, shame in her eyes. “I’m sorry.”
I struggled to forgive her. “I think it’s time for you to go.”
The next morning, I helped her pack and drove her to a shelter, giving her some money. Weeks passed, and I felt the loss of our connection.
Then, a package arrived—another painting. This one was serene, capturing a peace I hadn’t known. Inside was a note with Lexi’s name and number.
My heart raced as I called her. “I got your painting… it’s beautiful.”
“Thank you. I didn’t know if you’d like it,” she replied.
“You didn’t owe me anything,” I said, reflecting on my own unfairness.
“I’m sorry for what I painted,” she admitted. “You were just… there.”
“I forgave you the moment I saw that painting. Maybe we could start over.”
“I’d like that,” she said, a smile evident in her voice.
We made plans to meet again, and I felt a flicker of hope for what could be.
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