Fidel Castro and Che Guevara in a Prison Cell in Mexico City, 1956 — Their First Photo Together

A young Cuban Marxist revolutionary, Fidel Castro (left), and Argentine Marxist revolutionary, Che Guevara (right), in Miguel Schultz Jail in Mexico City in June-July 1956. This photograph may be the first one showing Castro and Guevara together.

After Fidel Castro’s failed attack on the Moncada Barracks in Cuba in 1953, he was imprisoned and later released under amnesty in 1955. Castro then fled to Mexico, which had become a haven for Latin American revolutionaries. There, he began organizing a new expedition to overthrow Fulgencio Batista, the U.S.-backed dictator of Cuba.

It was in Mexico City in 1955 that Castro met Ernesto “Che” Guevara, an Argentine doctor and Marxist who had been traveling across Latin America. The two men quickly bonded over their shared anti-imperialist ideals and revolutionary goals. Guevara soon joined Castro’s group — the 26th of July Movement — as its physician and one of its most passionate fighters.

In June 1956, Mexican authorities raided a farmhouse in the town of Santa Rosa, near Mexico City, where Castro’s group was training and stockpiling weapons for their planned invasion of Cuba. The authorities arrested Fidel and Raúl Castro, Che Guevara, and several other Cuban exiles.

The group was charged with violating Mexico’s neutrality laws and possessing illegal weapons. They were held for several weeks in Miguel Schultz Prison (also called Palacio de Lecumberri in Mexico City). During their imprisonment, Che and Fidel shared a cell — this is the period captured in a few surviving photographs and accounts that describe their camaraderie and determination.

Thanks to lobbying and financial help from sympathetic contacts, notably Mexican politician Carlos Prío Socarrás (a former Cuban president in exile), the men were released after about a month in prison.

Once freed, they resumed preparations for their invasion. By late November 1956, they secretly boarded the yacht Granma with 82 fighters and sailed from Tuxpan, Mexico, to Cuba. Although the landing was disastrous, only a dozen men survived the initial ambush, it marked the beginning of the Cuban Revolution, which would triumph in 1959.

1961 Ford Anglia Deluxe: The Little Car That Defined an Era

The 1961 Ford Anglia Deluxe stands as one of the most distinctive small cars of early-1960s Britain—a charming blend of quirky styling, practicality, and postwar optimism. Produced by Ford of Britain at the Dagenham plant, the Anglia 105E series introduced in 1959 featured the now-iconic “reverse-rake” rear window, sharply angled tailfins, and a crisp, transatlantic look inspired by American design trends of the late 1950s. By 1961, the Anglia Deluxe represented the more refined trim level, offering chrome accents, improved interior fittings, and optional two-tone paintwork that gave the compact sedan an unexpectedly upscale feel.

Under the hood, it was powered by a 997 cc overhead-valve inline-four engine producing around 39 horsepower, paired with a four-speed manual gearbox—light, efficient, and surprisingly lively for its size. Its unpretentious engineering and excellent fuel economy made it a favorite among young British drivers and families seeking affordable motoring. The Anglia Deluxe also enjoyed export success, finding enthusiastic buyers across Europe and the Commonwealth, and even in the United States as a niche import.

Today, the 1961 Ford Anglia Deluxe is remembered not only as a symbol of 1960s British motoring but also as a cultural icon—famously revived in popular memory by its whimsical appearance in Harry Potter and the Chamber of Secrets. Its crisp lines, pastel colors, and unmistakable rear window remain instantly recognizable reminders of a bygone era when small cars carried big character.

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25 Fascinating Portraits of a Young Joni Mitchell in the 1970s

Joni Mitchell (born November 7, 1943) is a Canadian and American singer-songwriter, multi-instrumentalist, and painter. As one of the most influential singer-songwriters to emerge from the 1960s folk music circuit, Mitchell became known for her personal lyrics and unconventional compositions, which grew to incorporate elements of pop, jazz, rock, and other genres.

In the 1970s, Mitchell transitioned from folk and singer-songwriter success to a more experimental sound, marked by the release of acclaimed albums like Ladies of the Canyon (1970) and Blue (1971). Beginning with Court and Spark (1974), which became her biggest commercial success, she began to embrace pop, rock, and jazz. Mitchell started working with the jazz-fusion band L.A. Express, incorporating complex arrangements, horns, and a tighter, groovier feel. This experimentation continued with The Hissing of Summer Lawns (1975), which incorporated world music elements and complex social commentary.

Her albums Hejira (1976) and Don Juan’s Reckless Daughter (1977) continued to push boundaries, featuring collaborations with jazz greats like Jaco Pastorius. She moved further away from commercial considerations, embracing improvisational structures and deeply poetic, observational lyrics. She capped the decade by collaborating directly with legendary jazz bassist Charles Mingus on the album Mingus (1979).

Mitchell was fiercely independent, writing and often self-producing her own work. She famously shifted away from the commercial folk sound even when she was at her peak, following her artistic curiosity into jazz, despite it confusing some of her audience. Her unique, self-taught guitar technique, featuring many unusual open tunings (partially developed due to the effects of childhood polio), gave her music its distinctive, non-traditional harmonic richness.

Beyond music, Mitchell was also an accomplished painter, often designing her own album covers. Her visual sensibility mirrored her musical one — introspective, abstract, and full of emotion. Her fashion and image were bohemian yet elegant — flowing dresses, long blonde hair, and a serene, thoughtful presence.

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Nirvana Singing “We Wish You a Merry Christmas” for RuPaul, 1993

Nirvana singing “We Wish You a Merry Christmas” for Rupaul’s talk show backstage at their 1993 Saturday Night Live performance on September 25, 1993 in NBC Studios New York. The performance was a short segment recorded for The RuPaul Christmas Ball Special, a variety show that aired on VH1 in December 1993.

At the time, the band — Kurt Cobain, Krist Novoselic, and Dave Grohl — was already one of the biggest acts in the world following the success of Nevermind and In Utero. In the humorous clip, they hold up cardboard cutouts of RuPaul while she encourages them to sing the Christmas carol. It’s a sweet and surreal intersection of grunge and drag culture that highlights Kurt Cobain’s genuine respect for RuPaul’s artistry and queer culture.

40 Wonderful Publicity Photos of Dana Plato as Kimberly Drummond for “Diff’rent Strokes” in the Early 1980s

Dana Michelle Plato (November 7, 1964 – May 8, 1999) was an American actress. She rose to fame for playing Kimberly Drummond on the sitcom Diff’rent Strokes (1978–1986), which established her as a teen idol of the late 1970s and early 1980s.

Kimberly was portrayed as warm, caring, and a bit of a “big sister” figure to Arnold and Willis. The show often used her character to explore issues faced by teen girls in the 1980s—body image, dating, and peer pressure. Plato’s natural charm and expressive face made her one of the show’s most relatable characters.

During the early 1980s, Dana became a teen idol, appearing in teen magazines and talk shows. She had a wholesome, all-American look: long blonde hair, soft makeup, and stylish 1980s outfits like sweaters, skirts, and jeans that matched the decade’s preppy trends. Her gentle voice and shy smile became part of her signature screen presence.

Off-screen, life was more difficult. Plato faced personal challenges as she transitioned from child stardom to adulthood. She left Diff’rent Strokes in 1984 after becoming pregnant, though she returned for a few guest appearances later in the series. After leaving the show, her acting opportunities became more limited, and she struggled with finances and substance issues, a sadly common story among former child stars.

Despite her struggles, Dana Plato remains remembered fondly for her role as Kimberly, a symbol of 1980s sitcom warmth and innocence.

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Shirley Worthington: The Grace of 1950s British Fashion

Shirley Worthington was a notable British model and actress in the 1950s, a period when British fashion and photography were gaining international prominence. Her career included work for major publications, such as appearing on the cover of British Vogue. She was frequently photographed by prominent fashion photographers of the era.

Worthington’s public profile was further elevated when she married Anthony Royle in 1957, who later became a Member of Parliament (MP) and was created Baron Fanshawe of Richmond, giving her the title Lady Anthony Royle (or Lady Alan Royle, based on available records). This connection placed her within both the fashionable and political circles of London.

Worthington was known to have worked with designers like John Cavanagh, and her modeling career coincided with a dynamic time in post-war British style. She remains a graceful emblem of 1950s British style and the quiet allure of its fashion icons.

Shirley Worthington in afternoon dress, complete with hat and gloves, photo by John Deakin, 1951

Shirley Worthington in black grosgrain dress that ripples as you walk, it has a wrap-over bodice and skirt by Harry B. Popper, hat at Harvey Nichols, photo by Richard Dormer, Harper's Bazaar UK, December 1951

Shirley Worthington in beautiful gown of white Chantilly lace embroidered with pink sequins and full skirt of palest pink and white net at Harvey Nichols, Harper's Bazaar UK, November 1952

Shirley Worthington in black strapless gown from Lady in Black, Harper's Bazaar UK, September 1952

Shirley Worthington in romantic white organdie evening gown from Harvey Nichols, Harper's Bazaar UK, June 1952

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Before Commercial Airplanes Were Pressurized, Passengers Required Oxygen Masks at High Altitudes

Before pressurized cabins changed aviation forever, flying high was a serious and risky business. In the 1930s, commercial aircraft reaching altitudes of 10,000–12,000 feet (about 3,000–3,600 meters) didn’t have the technology to maintain breathable air pressure inside the cabin. So how did passengers survive the thin air? They wore bulky oxygen masks for the entire flight, and yes, it looked as dramatic as it sounds.

In the 1930s and early 1940s, cabins were not sealed or pressurized, so flying above 10,000–12,000 feet meant passengers and crew were exposed to dangerously thin air and low oxygen levels (hypoxia). Photos at the time show passengers wearing prominent, often bulky, face masks made of rubber or fabric. They resembled early military aviation masks more than the small, modern emergency masks. These were connected via a tube to an onboard, manual oxygen supply system. Oxygen usually flowed continuously, which could be inefficient and contribute to frost accumulation in cold cabins.

A major innovation in the late 1930s was the Boothby-Lovelace-Bulbulian (BLB) mask, developed at the Mayo Clinic in 1938. This was a more effective oronasal (covering both nose and mouth) mask design that reduced oxygen waste and was quickly adopted by the military and airlines. It was more comfortable and reliable than earlier “pipe-stem” devices or ill-fitting masks.

Oxygen mask technology improved significantly during World War II, with advancements like the A-14 mask (an enhancement of the BLB mask) that incorporated automatic diluter-demand systems for more efficient oxygen use, primarily for military pilots.

The early 1940s marked a pivotal transition with the introduction of the first commercial airliners featuring pressurized cabins, such as the Boeing 307 Stratoliner in 1940. This technological leap allowed aircraft to maintain a comfortable, near-sea-level cabin environment at high altitudes, making routine oxygen mask use obsolete for passengers.

The need for passengers to routinely wear oxygen masks disappeared as pressurized airliners became more common. Oxygen masks transitioned from standard equipment to the emergency backup systems we know today, used only in the event of a sudden loss of cabin pressure.

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