The Last Photo of Christopher McCandless, Shortly Before Dying From Starvation, 1992

This haunting image is the final self-portrait taken by Christopher McCandless, shortly before dying from starvation. The note he is holding says “I HAVE HAD A HAPPY LIFE AND THANK THE LORD. GOODBYE AND MAY GOD BLESS ALL!”. It was found on an undeveloped roll of film inside his camera after his body was discovered in the Alaskan wilderness.

In May 1990, after graduating from Emory University, McCandless severed contact with his family, donated his remaining savings to charity, abandoned his car, and set off on a nomadic journey across North America. Driven by idealistic philosophy, transcendentalist literature, and a desire to escape modern society, he eventually hitched a ride to Alaska in April 1992.

After hiking along the Stampede Trail near Denali National Park, McCandless came across an abandoned 1946 International Harvester bus (known as Fairbanks Bus 142), which served as his shelter. He spent roughly 113 days surviving off local flora, small game, and a moose he managed to hunt.

When he attempted to return to civilization in July 1992, he found the Teklanika River swollen with glacial runoff and impassable. Trapped, he returned to the bus. Facing starvation and potentially weakened by toxic seeds (Hedysarum mackenzii or alkaloid poisoning from wild potato seeds), his condition deteriorated rapidly.

McCandless died in late August 1992 inside Bus 142 at the age of 24. Local hunters discovered his body on September 6, 1992, weighing only 67 pounds (30 kg).

His story was immortalized by Jon Krakauer in the 1996 bestselling book Into the Wild, which was later adapted into the acclaimed 2007 film directed by Sean Penn. His journey continues to spark debate between those who view him as a romantic, free-spirited idealist and those who regard his journey as unprepared and reckless.

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20 Fascinating Photos of Las Vegas in 1980

Taken by Walter Etten, these fascinating photographs capture Las Vegas as it appeared in April 1980, at the height of its classic neon era. The images show the glittering Strip, iconic casino signs, crowded sidewalks, and the vibrant nightlife that defined the city at the start of the decade.

From glowing marquees and busy hotel entrances to everyday scenes of visitors and locals, the photos preserve the distinctive look and energy of Las Vegas before later waves of mega-resort development. They offer a vivid snapshot of the city’s atmosphere more than four decades ago.

Royal Casino, Las Vegas, April 1980

Royal Casino, Las Vegas, April 1980

Alladin Casino, Las Vegas, April 1980

Billboards, Las Vegas, April 1980

Caeser's Palace, Las Vegas, April 1980

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Kissing the Shuttle

In 19th-century textile mills, workers (especially women) commonly used a risky technique called “kissing the shuttle” to thread the narrow eyelet of the shuttle, a wooden device that carried the bobbin across the loom. This process involved placing the yarn end in their mouths and sucking it through the shuttle’s eyelet, a precise task repeated countless times throughout the day to keep the machinery running smoothly.

Though practical, the practice posed serious health hazards. Since shuttles were shared among many workers and seldom cleaned, they became breeding grounds for contagious diseases, particularly tuberculosis, which was widespread and deadly at the time. In the crowded, poorly ventilated mills, this simple act of threading became an unseen contributor to the rapid spread of respiratory infections among workers.

With advances in industrial technology and growing awareness of occupational health, the dangers of “kissing the shuttle” were eventually recognized. By the mid-20th century, automated threading systems replaced the manual method, eliminating the need for workers to use their mouths. This innovation marked an important step forward in improving safety and reducing health risks within the textile industry.

Johann Gottfried Steffan: Master of 19th-Century Swiss Landscape

Johann Gottfried Steffan (1815–1905) was a Swiss landscape painter regarded as one of the most important Swiss landscapists of the 19th century. Born in Wädenswil, he trained first as a lithographer before moving to Munich in 1833 to study at the Academy of Fine Arts.

Under the influence of Carl Rottmann, Steffan turned to realistic landscape painting and became a central figure among Swiss artists working in Munich. He specialized in idealized mountain and Alpine scenes, drawing motifs from the Swiss Alps, the Canton of Glarus, Lake Walen, and later from Berchtesgaden and Ramsau.

His carefully observed yet often romanticized landscapes remain valued examples of the Munich School’s approach to nature. These evocative works showcase the refined observation and romantic spirit of Johann Gottfried Steffan, a leading Swiss landscape painter of the 19th century.

Eiger, Mönch, and Jungfrau as Seen from Sulwald

A Little Stream near Lake Starnberg

A Stream in the Swiss Alps

A Waterfall in the Bavarian Alps

Alpine Glacier

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Some Candid Snaps of Brigitte Bardot Celebrating Her 40th Birthday at Her Home in Saint-Tropez, 1974

Brigitte Bardot celebrated her 40th birthday on September 28, 1974, by stepping away from the Hollywood glamour and embracing a quiet, personal transition. Having announced her retirement from acting the previous year to "get out elegantly," her 40th milestone marked a definitive shift from international sex symbol to dedicated animal rights activist.

Instead of a star-studded gala, Bardot spent the days leading up to her birthday sunbathing, dancing, and relaxing at her famous 10-room estate, La Madrague, in Saint-Tropez. She celebrated intimately with her mother, Anne-Marie, her boyfriend Laurent Vergez, and close friends.

In October 1974, she appeared in a Paris television studio to film a program titled “Pour vous, Madame” (“For You, Madam”), focusing on the experiences of women turning forty. In interviews, she spoke candidly about accepting the passage of time, noting that while aging used to terrify her in her late twenties, she had learned to love her wrinkles as reflections of her life story.

This birthday solidified her transition away from the film industry, freeing her to fully dedicate her life and global profile to animal welfare.

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Seymour Jacobson: Elegant American Dress Designer of Mid-Century Fashion

Seymour Jacobson (1909–2010) was an American dress designer and manufacturer known for his elegant cocktail and party dresses.

Beginning his career on New York’s Seventh Avenue in the mid-1930s, Jacobson produced refined ready-to-wear under labels including Seymour Jacobson, Ltd., Donna Paula, and Luciana Moda. His designs were worn by notable women of the era, among them Grace Kelly, Rita Hayworth, and Eleanor Roosevelt.

Jacobson specialized in sophisticated silhouettes and quality fabrics that reflected the polished style of mid-century American fashion. Later in his career, he expanded into Italian knits and operated a shop in Rome, continuing to create tailored, wearable elegance for an international clientele.

These stylish designs showcase the refined craftsmanship and timeless elegance of Seymour Jacobson, a distinctive voice in mid-century American fashion.

Alice Bruno in two-toned pure silk taffeta dress for evening, comes with its own tri-angular cut jacket with contrasting lining by Seymour Jacobson, Harper's Bazaar, November 1951

Dovima in black Chantilly lace and pure silk taffeta dress by Seymour Jacobson, Vogue, November 1, 1952

Dovima in black silk taffeta dress criss-crossed with velvet ribbon by Seymour Jacobson, 1952

Dovima in coat-dress of pure silk peau-de-soie with detachable linen over-collar piqué accented by Seymour Jacobson, Vogue, February 1, 1952

Dovima in dress of Chantilly lace over pleated nylon tulle skirt and nude taffeta sheath by Seymour Jacobson, Harper's Bazaar, December 1952

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34 Romantic Photos of Richard Gere and Jodie Foster on the Set of “Sommersby” (1993)

Directed by Jon Amiel, Sommersby (1993) paired Richard Gere and Jodie Foster in a romantic period drama adapted from the 1982 French film Le Retour de Martin Guerre. Set during the Reconstruction era following the American Civil War, the story follows Laurel Sommersby (Foster), who doubts whether the kinder, transformed man returning home as her long-lost husband, Jack Sommersby (Gere), is truly who he claims to be.

The production was filmed primarily on location in Bath County and Charlotte County, Virginia. The filmmakers constructed a period-accurate, 19th-century rural town set, complete with tobacco fields, timber structures, and period farm equipment, to recreate post-war rural South dynamics. Legendary French cinematographer Philippe Rousselot (A River Runs Through It, Dangerous Liaisons) captured the film’s warm, naturalistic palette, relying heavily on soft daylight and candlelight to match the 1870s setting.

Coming off Pretty Woman (1990) for Gere and back-to-back Oscar wins for Foster (The Accused, The Silence of the Lambs), the film marked a major star pairing for Warner Bros. On set, both actors were noted for balancing intense dramatic prep with a relaxed collaborative rapport between takes.

Sommersby was released in the United States on February 5, 1993, by Warner Bros. The film received generally positive reviews from critics, who praised the performances and chemistry of its lead actors, as well as Danny Elfman’s musical score, and was a box office success, grossing over $140 million worldwide on a budget of $30 million.

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