30 Portraits of a Young Roger Taylor of Queen in the 1970s

Roger Taylor (born July 26, 1949) was Queen’s blond, baby-faced drummer, high-harmony vocalist, multi-instrumentalist, and regular songwriter during the band’s rise in the 1970s. He was often described (including by himself) as “the pretty one” of the group, something he later called a mixed blessing because it risked them being taken less seriously as musicians.

Taylor had already played with Brian May in the late-1960s band Smile. In 1970, after Smile’s singer left, Freddie Mercury (then Farrokh Bulsara) joined, the group became Queen, and John Deacon completed the classic lineup in 1971. Taylor and Mercury had shared a flat and worked a Kensington Market stall together around that time. The band’s self-titled debut album came out in 1973 while Taylor was finishing biology studies; they followed with Queen II (1974), Sheer Heart Attack (1974), A Night at the Opera (1975), A Day at the Races (1976), News of the World (1977), and Jazz (1978).

He had natural blond (sometimes bleached) hair that was medium-to-long, a youthful face, and a relatively straightforward rock look compared with Mercury’s theatrical costumes. On stage he focused on powerful, physical drumming rather than elaborate outfits; he once tried a hot Zandra Rhodes costume and quickly abandoned it as impractical for a drummer.

Taylor favored large, tuneful Ludwig kits (big bass drums, deep toms) played with a natural room sound and strong presence that matched Queen’s big production. He contributed at least one song per album in this era and usually sang lead on his own tracks. His piercing falsetto/high range was essential to Queen’s stacked harmonies (including the famous “Galileo” lines in “Bohemian Rhapsody”). He also handled some of the more aggressive screams and higher parts.

The 1970s rock scene was hedonistic, and Taylor has said it was “part of the job to have an outrageously decadent good time.” Early on the band was resourceful and often short of money due to contracts despite growing success; by the later 1970s fame and touring were intense. He met Dominique Beyrand (Richard Branson’s PA) in 1976 around the Hyde Park free concert planning; they later had two children together. He released his first solo single, “(I Wanna) Testify,” in 1977 during News of the World sessions.

See more»

45 Vintage Portraits Capturing 1950s Band and Cheerleader Spirit

These charming vintage portraits, from LLF archives2, beautifully capture the lively spirit of high school bands and cheerleaders in the 1950s. From proud marching band members in crisp uniforms to energetic cheerleaders with bright smiles and pom-poms, the images reflect the optimism, teamwork, and classic school spirit of postwar America.

Shot in black-and-white, these photos offer a nostalgic glimpse into a time when music, sports, and youthful enthusiasm defined the heart of American high school life.

See more»

Mick Jagger With His Aston Martin DB6 in London, 1966

In the early summer of 1966, Mick Jagger celebrated his new wealth by splashing out an estimated £5,000 on a brand new Aston Martin DB6, at that time the marque’s latest, state-of-the-art tourer. (It had been launched the previous autumn.) He was the lead singer of The Rolling Stones, who at that point were second only to The Beatles in terms of fame and international success. In outrage and rebelliousness, they were without peer.

The Rolling Stones had begun by covering American R&B and blues songs, but that had a limited shelf life. Pushed by manager Andrew Loog Oldham, they began to write their own material and there then ensued an extraordinary sequence of self-penned hits. Between spring 1965 and early summer 1966, the Stones had four number one hits and a number two in the UK. In the US they had six top tens and three number ones. All were written by Mick Jagger and Keith Richards.

By spring 1966, the money was beginning to flow in. Still only 22, Mick Jagger was becoming very rich. Behind the rebellious image, he was also, at the same time, becoming a key member of the new pop aristocracy.

These shots were taken in by Gered Mankowitz in June 1966 in a London mews, just off Baker Street: Jagger had recently moved into a flat in Harley House, near the top end of Harley Street, between Marylebone Road and Regent’s Park. The idea was to show The Rolling Stones “at home,” a then standard fan magazine trope. Still only a teenager himself at the time, Gered was the closest photographer to the group. He remembers that “Mick was in an excellent mood all day. We hung out and took a load of silly images of him generally taking the mickey out of the ‘at home’ format.”

See more»

A Stagecoach Drawn by Four Horses on the Virginia Canyon Road in Yellowstone National Park, 1905

This historic photograph captures a four-horse yellow-painted tourist stagecoach kicking up dust as it navigates the treacherous terrain of Virginia Canyon Road in Yellowstone National Park in the summer of 1905. In the background, the rushing waters of the Virginia Cascades slice through the canyon.

While Yellowstone was established as America's first national park in 1872, horse-drawn stagecoaches reigned supreme as the primary mode of internal transportation from 1886 until the mid-1910s. Wealthy tourists would arrive at the park’s boundaries via steam trains. From there, they boarded large passenger coaches operated by licensed transportation companies for grueling 3-to-5-day loop tours of the park’s geysers, lakes, and canyons.

The route shown here along Virginia Canyon Road was notoriously narrow, steep, and unpaved. Drivers, often called “whips,” had to possess immense skill to handle a team of four to six horses along sharp cliffside drop-offs with a vehicle fully loaded with passengers and heavy luggage.

This 1905 photograph documents the final peak of the stagecoach era. Just a few years later, the rapid invention and adoption of the automobile changed everything. Following intense public pressure, motorized vehicles were officially permitted into Yellowstone in 1915. By 1917, horse-drawn commercial stagecoaches were completely banned from the park's main roads, closing a romantic but rugged chapter of Western American travel.

35 Bold Photos Capturing 1980s Young Fashion

These bold vintage photos, from Steven Martin, perfectly capture the vibrant and rebellious spirit of young fashion in the 1980s. From oversized blazers, neon colors, and shoulder pads to acid-wash jeans, leather jackets, and statement accessories, the images showcase the bold individuality and high-energy style that defined the decade.

Whether on city streets, at parties, or hanging out with friends, these snaps reflect the confidence, creativity, and carefree attitude of 1980s youth culture, a time when fashion was loud, expressive, and unapologetically fun.

See more»

Carmen Miranda: The Brazilian Bombshell of Hollywood

Carmen Miranda (1909–1955) was a Brazilian singer, dancer, and actress who became one of the most iconic and energetic stars of Hollywood’s Golden Age.

Famous for her colorful fruit-adorned hats, vibrant costumes, and lively Latin rhythms, Miranda brought Brazilian samba and samba-inspired music to American audiences in the 1940s. With her infectious smile, dynamic performances, and flamboyant style, she starred in numerous musical films and became a cultural symbol of Latin glamour and joy during World War II.

These vibrant vintage photos perfectly capture the joyful spirit and unforgettable style of Carmen Miranda, the Brazilian Bombshell who lit up Hollywood with her charisma and rhythm.

See more»

40 Historical Photographs of “Night Witches,” the Soviet Pilots Who Bombed the Nazis During World War II

The “Night Witches” (German: Nachthexen; Russian: Nochnye Vedmy) were the all-female Soviet 588th Night Bomber Regiment (later the 46th “Taman” Guards Night Bomber Aviation Regiment) of the Soviet Air Forces during World War II. They flew harassment and tactical bombing missions on the Eastern Front from 1942 to 1945.

In October 1941, after the German invasion (Operation Barbarossa), celebrated Soviet aviator Marina Raskova (often called the “Soviet Amelia Earhart”) used her influence with Stalin to secure approval for three women’s aviation regiments. These were the 586th Fighter Aviation Regiment, the 587th Bomber Aviation Regiment, and the 588th Night Bomber Regiment. The 588th was the only one that remained entirely female throughout the war.

Most members were young volunteers in their late teens or early twenties, many with pre-war flying experience from civilian aviation clubs. The regiment was commanded by Major Yevdokiya Bershanskaya. Training was intense and compressed at the Engels Military Aviation School. The unit reached the front in mid-1942 as part of the 4th Air Army.

They flew obsolete Polikarpov Po-2 (also called U-2) biplanes—slow, open-cockpit wooden-and-canvas aircraft originally designed for training and crop-dusting. Fully loaded, they could carry only about 350 kg (770 lb) of bombs (typically two), had a top speed around 60–90 mph depending on load, and lacked radios, radar, or modern instruments in early use. Crews (pilot + navigator) often flew without parachutes until later in the war because of weight and low altitude.

Their signature tactic was to idle the engine near the target and glide in, releasing bombs with only the soft whooshing of the airframe (likened by Germans to a witch’s broomstick). This reduced detection by radar or sound. Planes operated in groups: some drew searchlights and flak while others approached silently. Crews typically flew 8–18 short sorties per night (each 30–50 minutes), returning to rearm and refuel. The planes’ low speed and high maneuverability made them hard for faster German fighters to engage effectively.

From June 1942 until the end of the war, the regiment flew roughly 23,000–24,000 combat sorties, logged nearly 29,000 flight hours, and dropped more than 3,000 tons of bombs plus tens of thousands of incendiary shells. They damaged or destroyed railways, bridges, fuel depots, warehouses, armored vehicles, and troop concentrations while also performing supply drops. They supported major operations including the Battle of the Caucasus, the Kuban/ Taman/ Novorossiysk fighting, the Crimean Offensive, operations in Belarus and Poland, and advances into East Prussia and toward Berlin.

In February 1943 the unit received the elite “Guards” designation and was later titled the 46th “Taman” Guards Night Bomber Aviation Regiment for its role in the Taman Peninsula battles. It earned the Order of the Red Banner and the Order of Suvorov.

About 32 members died during the war (combat, crashes, or other causes). Twenty-three received the Hero of the Soviet Union (the highest Soviet military honor), more than any other women’s unit. Notable high-sortie pilots included Irina Sebrova (over 1,000 sorties). Marina Raskova herself died in a non-combat crash in January 1943 while leading another regiment and received a state funeral.

The women faced outdated equipment, harsh weather, frostbite, sexual harassment and skepticism from some male personnel, and the constant risk of flak and night fighters. After the war the regiment was disbanded (October 1945). Many members returned to civilian life; postwar Soviet society largely pushed women back toward traditional roles, and the unit’s achievements received less public emphasis for a time. Their story later gained wider recognition through books, documentaries, and popular culture (including the Sabaton song “Night Witches”). They remain one of the best-known examples of women in direct combat roles in World War II and a striking case of effective use of limited resources through skill, endurance, and unconventional tactics.

See more»