20 Portraits of Joey Ramone in the 1970s

Joey Ramone (born Jeffrey Ross Hyman, (May 19, 1951 – April 15, 2001) was the iconic lead singer of the Ramones, the pioneering American punk rock band that emerged in the mid-1970s New York scene.

In the early 1970s, before the Ramones, Joey played in a glam-influenced band called Sniper (1972–1974). He co-founded the Ramones in 1974 in Queens, New York, with Johnny Ramone (John Cummings) and Dee Dee Ramone (Douglas Colvin). They all adopted the “Ramone” surname (inspired by Paul McCartney’s brief “Paul Ramon” alias).

Joey started as the band’s drummer but soon switched to lead vocals (Dee Dee’s vocals couldn’t handle the intense live schedule). The Ramones debuted at CBGB in August 1974 and became regulars there, helping define the New York punk sound: fast, raw, short songs with a “1-2-3-4!” count-off, rebellious energy, and anti-corporate rock attitude.

Their self-titled debut album dropped in 1976, followed by Leave Home and Rocket to Russia in 1977. Classics like “Blitzkrieg Bop,” “Judy Is a Punk,” and others captured the era’s spirit. The band positioned itself against the dominant disco and overproduced rock of the time, emphasizing minimalism and energy instead.

Joey became an instant punk visual icon with his distinctive look. At about 6'6" (198 cm), he was strikingly thin with a gangly, awkward stage presence that added to his charm (often described as a “stretched cute shy... rock and roll creature”).

Joey Ramone was known as shy and somewhat introverted offstage (overcoming challenges like mental health issues and a difficult youth), but passionate about rock ‘n’ roll. He was a key figure in the CBGB scene, hanging out with figures like Debbie Harry. The Ramones toured relentlessly but saw limited mainstream commercial success at the time, though they profoundly influenced UK and US punk.

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40 Amazing Photographs of Grace Jones Performing on Stage as a Singer in the 1970s and 1980s

Grace Jones (born Grace Beverly Jones on May 19, 1948, in Spanish Town, Jamaica) is a Jamaican singer, songwriter, model, and actress known for her bold androgynous style, deep contralto voice, avant-garde persona, and influential blend of genres including disco, new wave, reggae, art pop, and dance. She transitioned from modeling (in New York and Paris, frequenting Studio 54) to music in the mid-1970s and has maintained a career spanning decades.

Guided by producer Tom Moulton, her early albums Portfolio, Fame, and Muse embraced high-energy, orchestral disco strings and show tunes. She scored major club hits like “I Need a Man” and a dramatic, reinvented cover of Edith Piaf’s “La Vie en Rose.”

Jones radically abandoned standard disco to find her true voice, dropping into a deep, flat, monotone speak-singing style resembling a Jamaican art-form known as “chatting.” Collaborating with the legendary reggae rhythm section Sly & Robbie at Compass Point Studios, she delivered a dark, hypnotic fusion of post-punk, dub, and funk. This era yielded her masterwork albums, Warm Leatherette (1980) and Nightclubbing (1981).

Jones treats singing as part of a total audio-visual experience. Partnering with graphic designer Jean-Paul Goude, her album covers and surreal stage acts featured aggressive geometry, sharp suits, and gender-bending presentations. She brought an untamable, imperious energy to live television and concerts, infamously performing “Slave to the Rhythm” at the Queen’s Diamond Jubilee in 2012 while hula-hooping continuously for several minutes without breaking vocal pace.

Her uncompromising stance as a Black, queer-coded, and fiercely individualistic artist directly shaped generations of future pop icons, including Madonna, Lady Gaga, Beyoncé, and Rihanna.

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Cindy Williams: The Beloved Sweetheart of Classic American Comedy

Cindy Williams (1947–2023) was an American actress best known for her iconic role as Shirley Feeney in the hugely popular 1970s sitcom Laverne & Shirley. With her bright smile, comedic timing, and girl-next-door charm, she became a beloved television star and a symbol of classic American comedy.

Williams first gained critical acclaim for her breakout performance as Laurie Henderson in George Lucas’s American Graffiti (1973), a role that showcased her natural talent and helped launch her successful career. Her chemistry with Penny Marshall on Laverne & Shirley made the show one of the most watched programs of its era.

Beyond television, Williams also appeared in films such as The Conversation (1974) and continued acting in theater and independent projects throughout her life. These warm and nostalgic photos capture the radiant smile, natural charm, and irresistible likability of Cindy Williams, a true television icon who brought laughter and joy to millions.

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Natalie Wood Accepting James Dean’s Award From Grace Kelly, 1956

On December 6, 1955, a famous moment in Hollywood history occurred when a 17-year-old Natalie Wood accepted the Audience Award for Best Actor on behalf of her late co-star James Dean, presented by Grace Kelly. The ceremony took place during an Audience Awards presentation and Directors Guild dinner at the Beverly Hilton Hotel.

James Dean had tragically died in a car crash just over two months prior on September 30, 1955, at the age of 24. The award was particularly meaningful because it was voted on entirely by moviegoers rather than an industry committee.

Grace Kelly presented the award at the peak of her Hollywood career. Only months later, in April 1956, she left the film industry permanently to marry Prince Rainier III and become Princess of Monaco. As Dean’s close friend and co-star in Rebel Without a Cause, Natalie Wood accepted the statuette with visible emotion. In her short speech, she stated: “I accept this award on behalf of all the people who were touched by Jimmy, who was touched by greatness.”

The event captured a major generational transition in classic American cinema. It brought together the traditional, polished elegance of Old Hollywood (represented by Kelly) and the raw, emotionally vulnerable method-acting movement of the younger generation (represented by Wood and Dean).

45 Captivating Black & White Photos of the 1939 New York World’s Fair

The 1939 New York World’s Fair was one of the most ambitious and visionary events of the 20th century. Held in Flushing Meadows, Queens, it promised “The World of Tomorrow” — a dazzling vision of the future filled with groundbreaking technology, modernist architecture, and optimism just before the outbreak of World War II.

These captivating black and white photographs offer a powerful and nostalgic journey through this extraordinary event, capturing the iconic Trylon and Perisphere, futuristic pavilions, sleek Art Deco design, and the wonder on the faces of visitors experiencing the fair’s wonders for the first time.

"Lady Godivas" wait for their entrance during the Cavalcade of Centaurs show at the 1939 New York World's Fair

"New York belles" wave good-bye to departing troops at the outbreak of the "War Between the States" scene at the 1939 New York World's Fair

"Satan," a 7-year-old Sumatra tiger, leaps through a flaming hoop at the 1939 New York World's Fair

1939 USSR Pavilion at the 1939 New York World's Fair

A "Typical American Family" enjoying the 1939 New York World's Fair, with the Trylon and Perisphere in the background

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Outtakes of the Beach Boys at the San Diego Zoo in February 1966 for the Cover of Their “Pet Sounds” Album

Pet Sounds is the eleventh studio album by the Beach Boys, released on May 16, 1966, by Capitol Records. It was produced, arranged, and primarily composed by Brian Wilson with guest lyricist Tony Asher. Recorded largely between January and April 1966, it furthered the orchestral sound introduced in The Beach Boys Today! (1965). Seeking to expand Phil Spector’s Wall of Sound technique and surpass the Beatles’ Rubber Soul (1965), Wilson’s orchestrations blended pop, jazz, exotica, classical, and avant-garde elements, combining rock instrumentation with layered vocal harmonies, found sounds, and instruments not normally associated with rock.

The album cover for Pet Sounds by the Beach Boys

The album cover photo shoot took place at the San Diego Zoo on February 15, 1966. Photographer George Jerman (a Capitol Records staff photographer) captured the images. The Beach Boys members Brian Wilson, Carl Wilson, Dennis Wilson, Mike Love, and Al Jardine posed in the Children’s Zoo petting paddock (also called the petting pen or enclosure), feeding goats and other animals. This playful setup tied directly into the album title Pet Sounds, with the goat-feeding photos as a literal pun.

This was part of promoting the groundbreaking album, known for its innovative production, harmonies, and emotional depth. The title Pet Sounds has multiple claimed origins (Brian Wilson’s “favorite sounds,” a Phil Spector tribute, etc.), but the zoo session made it visual. Contemporary reports described a fun, chaotic day with the band interacting with animals (giraffes, llamas, etc.). There was even rare CBS 8 video footage of the shoot that surfaced later. George Jerman recalled the group as energetic “cut-ups.”

In a humorous bit of rock lore, the San Diego Zoo later jokingly “banned” the Beach Boys, claiming they had mistreated the animals. In reality, the band was simply overwhelmed by the goats’ appetite for their costumes.

The final cover image shows the band with goats, and many outtakes exist (some including Bruce Johnston, who had recently joined for touring but wasn’t on the main cover for contractual reasons). These have appeared in anniversary releases, bootlegs, and articles.

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Rare Photo of Katharine Hepburn Taken by Howard Hughes, ca. 1937

Katharine Hepburn photographed by Howard Hughes. Some very personal and passionate love letters written by Kate as well as this framed photo are being sold from Howard’s personal belongings via Profiles in History.

“Certainly I felt that I was madly in love with him. And I think he felt the same way about me. But when it came right down to ‘What do we do now?’ I went East and he stayed West. We’d been together about three years. Ambition beat love, or was it like?” – Katharine Hepburn in Me: Stories of My Life.

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It is known that Howard asked Katharine many times to marry him and although she never agreed to it and the romance fizzled out by the time she met Spencer Tracy, it is extremely fascinating that in one of the handwritten letters she refers to herself as his fiancée!