Angus Barbieri, the Man Who Fasted for 382 Days and Lost 276 Pounds (125 Kg) in the 1960s

Angus Barbieri was a Scottish man who fasted for 382 days, from June 14, 1965 to June 30, 1966. He subsisted on tea, coffee, sparkling water, vitamins and yeast extract while living at home in Tayport, Scotland, frequently visiting Maryfield Hospital for medical evaluation. Barbieri went from 456 pounds (207 kg) to 180 pounds (82 kg), losing 276 pounds (125 kg) and setting a record for the length of a fast.

Agostino “Angus” Barbieri was born in Tayport, Scotland to Italian parents who ran a fish and chip shop. Due to his weight, he often required assistance with ordinary tasks.

In 1965, at the age of 27, Barbieri checked into the Maryfield Hospital in Dundee. Initially only a short fast was planned, as the doctors believed short fasts were preferable to longer ones. Barbieri insisted on continuing because “he adapted so well and was eager to reach his ’ideal’ weight.” To avoid temptation, he quit working at his father’s fish and chips shop, which closed down during the fast. As the fast progressed, he lost all desire for food. For 382 days, from June 14, 1965 through June 30, 1966, he consumed only vitamins, electrolytes, an unspecified amount of yeast (a source of all essential amino acids) and zero-calorie beverages such as tea, coffee, and sparkling water, although he occasionally added milk and/or sugar to the beverages, especially during the final weeks of the fast.

Barbieri began his treatment in the hospital but for most of the 382 days lived at home, visiting the hospital for outpatient checkups, including blood and urine samples. Stool samples were not taken but he reportedly went up to 48 days between stools. His starting weight was recorded at 456 pounds (207 kg) and the fast officially stopped on July 1, 1966 when Barbieri had reached his goal weight of 180 pounds (82 kg). For the next ten days, the doctors placed him on a diet of salt and then sugar in preparation for solid food. Thus, some sources record the fast as being 392 days instead of 382.

After 1 year and 26 days without food, Angus Barbieri ate his first solid meal at 10 AM on July 11, 1966: a boiled egg and a slice of buttered bread. He said to the gathered newspaper reporters and photographers, “I have forgotten what food tasted like ... It went down OK. I feel a bit full but I thoroughly enjoyed it.”

In the 1971 edition of The Guinness Book of Records, Barbieri’s 382-day fast was recognized as the longest recorded. As of 2026, Barbieri retains the record for the longest fast without solid food. Guinness does not actively encourage records relating to fasting for fear of encouraging unsafe behavior.

Doctors were amazed by Barbieri’s ability to resist the temptation to eat without having to stay in the hospital. He celebrated his achievement by going on a vacation in Spain for three weeks, and a 1973 study found that Barbieri maintained a healthy weight of 196 pounds (89 kg),  concluding that “prolonged fasting in this patient had no ill-effects.” He moved to Warwick, married a woman named Mary, and had two sons. Barbieri died in September 1990 after a short illness.

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Claudia Mori: The Icon of Modern Femininity in Postwar Italy

Claudia Mori is a prominent Italian actress, singer, and formidable producer who has left an indelible mark on Italy’s entertainment industry. Rising to fame in the 1960s, she became one of the country’s most beloved figures, often recognized for her long-standing personal and professional partnership with her husband, the legendary Adriano Celentano.

Beyond her striking beauty and cinematic roles, Mori achieved massive success in the music world, most notably with the 1970 hit “Chi non lavora non fa l’amore,” which won the Sanremo Music Festival. As her career evolved, she transitioned from the spotlight to the boardroom, becoming the CEO of Clan Celentano, where she demonstrated a sharp business acumen in music production and television.

Known for her strong personality and fierce protection of her family’s artistic legacy, Claudia Mori remains a respected “Lady of Italian Showbiz,” embodying a rare blend of creative talent and executive leadership.

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Amazing Behind the Scenes Photographs From the Final Fight of the 1976 Film “Rocky”

Rocky is a 1976 American independent sports drama film directed by John G. Avildsen, written by and starring Sylvester Stallone. It is the first installment in the Rocky franchise and also stars Talia Shire, Burt Young, Carl Weathers, and Burgess Meredith. In the film, Rocky Balboa (Stallone), a poor small-time club fighter and loanshark debt collector from Philadelphia, gets an unlikely once in a lifetime shot at the world heavyweight championship held by Apollo Creed (Weathers).

The final fight between Rocky Balboa and Apollo Creed is legendary not just for its emotional payoff, but for the scrappy, low-budget ingenuity that brought it to life. Shot on a budget of just over $1 million, the production had to rely on clever tricks and grueling rehearsals to make the boxing look authentic.

Initially, the rehearsal for the fight was a disaster. Director Avildsen watched Stallone and Carl Weathers (Apollo Creed) ad-libbing moves in a gym and realized it looked messy and unrealistic. Avildsen told Stallone to go home and write down every single punch. Stallone returned with over 12 pages of specific instructions (e.g., “Left hook, right cross, Rocky goes down”).

The two actors spent weeks practicing the fight as if it were a choreographed dance. They even filmed their rehearsals on 8mm film to review their “performance” and fix mistakes before the real cameras rolled.

The arena looks packed in the film, but the production couldn’t afford enough extras to fill the seats. To hide the empty seats, the crew kept the arena in near-darkness, focusing the lights only on the ring. They used stock footage of large crowds from other sporting events and interspersed it with shots of their few extras, mostly crew members and friends, who were moved from section to section to make the venue look fuller.

The original ending was much more somber. It featured Rocky and Adrian walking out of the empty stadium together after the fight, hand-in-hand. With almost no money or film stock left, the crew reshot the chaotic, emotional “Adrian!” ending we know today. Because they didn’t have enough extras, the “chaos” in the ring was created by the crew members themselves running around to simulate a post-fight frenzy.

While the punches were choreographed, the physical toll was real. Stallone and Weathers occasionally hit each other for real to sell the impact. Stallone suffered bruised ribs, and Weathers suffered a bruised nose during the shoot. To show Rocky’s eyes swelling shut, makeup artists used a technique involving "collodion," a liquid that shrinks skin as it dries to create realistic-looking cuts and welts. The man you see ringing the bell during the fight is actually Frank Stallone Sr., Sylvester’s father.

Rocky was one of the very first films to use the Steadicam (invented by Garrett Brown). This allowed the camera to move fluidly around the ring and follow the fighters closely without the “shaky cam” effect of a handheld or the bulky tracks of a dolly. This gave the fight a visceral, “you are there” feeling that had never been seen in boxing movies before.

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New York City in the 1970s: A Decade of Gritty Vibrancy

The 1970s in New York City was a decade defined by a stark contrast between urban decay and explosive cultural creativity. Often described as “Fear City,” the metropolis faced a severe fiscal crisis, resulting in crumbling infrastructure, darkened subways, and streets layered with graffiti. Yet, amidst this harsh environment, the city became a boiling pot for artistic revolution.

The street scenes of this era were unmistakable: steam rising from manholes, towering piles of uncollected trash, and the neon-lit decadence of Times Square before its later “Disneyfication.” It was on these very streets that Hip-Hop was born in the Bronx, Punk Rock took root at CBGB, and the underground disco scene flourished. Photographers of the time captured a raw, unpolished energy: children playing in the spray of open fire hydrants against a backdrop of abandoned tenements.

While the 1970s were undeniably dangerous, they remain etched in history as the city’s most authentic and defiant era, where a unique street culture thrived in the face of chaos. These fascinating photos, taken by Diane Worland, showcase New York City’s street scenes in 1977.

5th Avenue, New York City, 1977

Yellow cab, New York City, 1977

Around the streets, New York City, 1977

Around the streets, New York City, 1977

Around the streets, New York City, 1977

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Photographs From the Grateful Dead’s First Show in Menlo Park, California on May 5, 1965

The Grateful Dead played their first show at Magoo’s Pizza in Menlo Park, California on May 5, 1965 under the name The Warlocks. After finding out that the name was being used by another band who were already signed to a record contract, they changed their name, first performing as The Grateful Dead later in December of that year. The band’s original lineup of Jerry Garcia, Bob Weir, Ron “Pigpen” McKernan, Phil Lesh and Bill Kreutzmann are shown in these photos from 1965.

Known for their eclectic style that fused elements of rock, blues, jazz, folk, country, bluegrass, rock and roll, gospel, reggae, and world music with psychedelia, the band is famous for improvisation during their live performances, and for their devoted fan base, known as “Deadheads.” According to the musician and writer Lenny Kaye, the music of the Grateful Dead “touches on ground that most other groups don’t even know exists.” For the range of their influences and the structure of their live performances, the Grateful Dead are considered “the pioneering godfathers of the jam band world.”

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Glenda Jackson: A Fearless Force in Art and Politics

Glenda Jackson (1936–2023) was a rare and towering figure who achieved elite status in two completely different fields: acting and public service.

Renowned for her “tense portrayals of complex women,” Jackson became a global star in the 1970s, winning two Academy Awards for Best Actress for her roles in Women in Love and A Touch of Class. She is a recipient of the “Triple Crown of Acting,” having also earned three Emmy Awards, notably for her definitive portrayal of Queen Elizabeth I in Elizabeth R, and a Tony Award for Three Tall Women.

In 1992, at the height of her fame, Jackson made a “decisive break” from acting to enter politics, serving as a Member of Parliament for the Labour Party for 23 years. After retiring from the House of Commons in 2015, she made a triumphant return to the stage, famously playing the title role in King Lear.

Known for her fierce intellect and unwavering work ethic, Jackson remains a symbol of integrity and raw talent on both the world stage and the political floor.

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Cameron Diaz’s First-Ever Audition for “The Mask”, 1993

In 1993, Cameron Diaz was a 21-year-old model with zero professional acting experience when she walked into the audition for The Mask. Her casting is widely considered one of the greatest “happy accidents” in Hollywood history, as she was originally only looking for a minor background role.

The production team had been searching for months to find the perfect “Tina Carlyle.” Director Chuck Russell had initially considered several established names and even met with Anna Nicole Smith, but he felt something was missing.

According to Russell, he saw Diaz’s 8x10 headshot in a pile on the casting director’s desk. Despite being told she was just a model with no credits, he insisted on bringing her in. He later remarked that she was the only person who had the right “instant likeability” and “intelligence” for the role.

Because she was an unknown, the studio (New Line Cinema) was extremely hesitant to cast her. Diaz had to go through a grueling process. She was called back roughly a dozen times over several weeks to prove she could handle the role. She was eventually paired with Jim Carrey for a screen test. Russell noted that Carrey actually performed better during his scenes with Diaz, confirming their immediate chemistry. Diaz later admitted that the stress of the process was overwhelming. She told Entertainment Weekly that she was so nervous she couldn’t eat or sleep and actually developed an ulcer during the audition period.

Director Chuck Russell was so convinced that Diaz was the only one for the part that he reportedly threatened to quit the film if the studio didn’t hire her. The studio finally relented just seven days before filming began.