30 Photos of John Travolta on the Set of “Blow Out” (1981)

John Travolta’s performance in Blow Out (1981) is widely regarded by critics and filmmakers, including Quentin Tarantino, as one of the finest of his career. On the set, he worked closely with director Brian De Palma, with whom he had previously collaborated on Carrie (1976).

Unlike his high-energy roles in Saturday Night Fever or Grease, Travolta played Jack Terry, a weary, professional sound effects technician. To ground the performance, he leaned into the technical “gear porn” of the era. He spent a significant amount of time in the editing room sets, meticulously working with reel-to-reel tapes and magnetic audio equipment to ensure his movements as a technician looked authentic.

Many film historians note that Travolta’s character was De Palma’s most personal creation. Travolta captured a sense of “tragic apathy” and vulnerability that mirrored De Palma's own meticulous, often obsessive approach to filmmaking. Travolta specifically lobbied De Palma to cast Nancy Allen (who was married to De Palma at the time) as the female lead, Sally. The three had a shorthand from their time on Carrie, which helped foster the chemistry needed for the film’s central, doomed romance.

The production was shot primarily at night in Philadelphia on a substantial $18 million budget. Travolta had to navigate complex technical shots, including the famous split-diopter sequences (where both the foreground and background are in sharp focus) and a 360-degree panning shot in his studio that required him to move in perfect sync with the camera. During the editing process, two reels of footage from the climactic Liberty Day parade sequence were stolen and never recovered. The production had to spend $750,000 of insurance money to reshoot these scenes.

The film’s bleak, nihilistic ending, where Travolta’s character uses a real-life recording of a scream for a slasher movie, was reportedly devastating to film. While the ending is now considered a masterpiece of irony, it was so dark that it contributed to the film’s initial failure at the box office. Blow Out made $13,747,234 at the box office. It was considered a disappointment, as Filmways had publicly claimed the film would make $60–80 million. Rentals generated $8 million.

Years later, Quentin Tarantino cited Travolta’s performance in Blow Out as the primary reason he wanted to cast him as Vincent Vega in Pulp Fiction, effectively reviving Travolta’s career.

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The Only Known Photograph of a Black Union Soldier With His Family, ca. 1864

This iconic image, dating from 1863–1865 (often cited as 1864), is a quarter-plate ambrotype featuring an African American Union soldier, his wife, and their two daughters. It is widely recognized as the only known photograph of a Black Union soldier posed with his family.

 Long considered unidentified, research now suggests the soldier may be Sergeant Samuel Smith of the 119th U.S. Colored Infantry, pictured with his wife Mollie and daughters Mary and Maggie. However, some archives still list the subjects as officially unidentified.

The photograph was discovered in Cecil County, Maryland. Because of this, it is highly likely the soldier served in one of the seven United States Colored Troops (USCT) regiments raised in that state. The original image is held at the Library of Congress as part of the Liljenquist Family Collection of Civil War Photographs.

Patsy Kelly: The Unstoppable Wit of Hollywood’s Golden Age

Patsy Kelly was a dynamic force of American comedy, best known for her razor-sharp wit and boisterous “tough girl” persona during the 1930s and ’40s.

A veteran of vaudeville, Kelly transitioned seamlessly to the silver screen, often playing the wise-cracking sidekick who could steal a scene with a single deadpan look or a perfectly timed Brooklyn-accented quip. Her career saw a remarkable resurgence later in life, culminating in a Tony Award for her performance in the 1971 Broadway revival of No, No, Nanette.

Beyond her comedic brilliance, Kelly is remembered as a trailblazer who lived with a rare, quiet authenticity during Hollywood’s more restrictive eras, remaining a beloved figure for her unapologetic energy and infectious comedic timing.

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20 Stunning Portraits of Yoko Ono in the 1970s

Yoko Ono (born February 18, 1933) is a Japanese artist, musician, activist, and filmmaker. Her work also encompasses performance art and filmmaking. In the 1970s, Ono was a pioneering, often misunderstood, avant-garde artist and musician who transformed her public image from a vilified figure into a powerful creative force.

Alongside John Lennon, she championed anti-war activism, produced avant-garde music via the Plastic Ono Band, and embraced conceptual art, defying immense media prejudice. Following their 1969 marriage, the couple relocated to New York in 1971, diving into political activism, including the Bed-In for Peace.

Ono continued her groundbreaking conceptual work, including an unauthorized 1971 “Museum of Modern [F]art” exhibition at MoMA, which featured a “show” of imaginary artwork, such as releasing flies on the museum grounds. She released several avant-garde albums, such as Yoko Ono/Plastic Ono Band (1970) and Fly (1971), pioneering feminist-leaning, experimental music that blended art, rock, and personal expression.

Her work in the 1970s included performance art that challenged societal norms and emphasized participation, such as “Hammer in a Nail.” Despite being often unfairly criticized in the media during this time, she was a central figure in the avant-garde movement, with her later work being recognized as a major contribution to 20th-century art. 

Her 1970s work, characterized by its unapologetic, experimental, and feminist nature, laid the foundation for her later commercial success, such as with 1980’s Double Fantasy.

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20 Amazing Photos of Robert Duvall on Screen During the 1970s

It is a heavy loss for the film world. Robert Duvall passed away this past Sunday, February 15, 2026, at his home in Middleburg, Virginia. His wife, Luciana, shared that he died peacefully surrounded by family. While no specific cause was given, reports indicate he had been experiencing the natural frailty of his 95 years but remained active until recently, even seen lifting weights just a few months ago.

Tributes have poured in from former co-stars like Al Pacino, Robert De Niro, and John Travolta, as well as other Hollywood peers who remembered him as a “giant” and a “born actor.”

In the 1970s, Duvall solidified his reputation as one of Hollywood’s most respected performers, often described as the “No. 1 No. 2 lead” due to his unparalleled ability to steal scenes in supporting roles. This decade was his artistic peak, where his gritty, realistic acting style perfectly aligned with the New Hollywood movement.

As Tom Hagen in The Godfather (1972) and The Godfather Part II (1974), the Corleone family’s “Consigliere,” he was the calm, methodical voice of reason. His performance earned him his first Academy Award nomination for Best Supporting Actor. He had a brief but pivotal uncredited role as “The Director” in The Conversation (1974), adding to the film’s atmosphere of corporate paranoia. He closed the decade with his most iconic role as Lt. Col. Bill Kilgore in Apocalypse Now (1979). His portrayal of the surf-obsessed, napalm-loving commander earned him another Oscar nomination and a Golden Globe win.

Outside of the Coppola epics, Duvall established himself as a master of playing “memorable jerks” and authority figures. In M*A*S*H (1970), he played the supercilious and incompetent Major Frank Burns, a role that became a blueprint for “the man you love to hate.” In George Lucas’s directorial debut THX 1138 (1971), Duvall played the title role, proving he could carry a cerebral, avant-garde sci-fi film as a lead. As Frank Hackett in Network (1976), the ruthless television executive, he was a “ferocious hatchet man” who personified the cold corporate takeover of news. Playing Bull Meechum in The Great Santini (1979), a domineering Marine pilot, he earned his first Best Actor nomination, delivering a harrowing performance as a father who treats his family like a military unit.

Duvall’s 1970s work is often studied by actors today for how he balanced technical precision with deep, lived-in humanity. Here are 20 amazing photos of Robert Duvall on screen during the 1970s:

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New York City in the Late 1950s Through Nick DeWolf’s Lens

New York City in the late 1950s was a cinematic landscape of vibrant contrasts and mid-century modernism.

The streets were a symphony of chrome-bumpered Cadillacs, yellow Checker Cabs, and men in sharp fedoras hurrying past neon-lit diners. This era captured the city at a cultural crossroads: the grit of the Bowery coexisted with the soaring optimism of new glass skyscrapers like the Seagram Building.

It was a decade that felt both bustling and intimate, defined by a gritty, jazz-fueled energy that cemented New York as the undisputed capital of the world. These vintage photos, taken by American photographer Nick DeWolf, capture street scenes in New York City in the late 1950s.

Corner of 5th Avenue and east 42nd Street, Midtown Manhattan, New York City, 1957

Corner of 6th Avenue and west 42nd Street, New York City, 1957

LaGuardia Airport, New York City, 1957

Passenger holding area, New York City, 1957

East 42nd Street, New York City, 1957

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Portraits of Rene Russo on Vogue Covers Throughout the 1970s

Before her Hollywood breakout, Rene Russo was one of the most successful supermodels of the 1970s. Discovered at a Rolling Stones concert at age 17, she quickly became a favorite of legendary photographers like Francesco Scavullo and Richard Avedon.

In the mid-1970s, Russo was nearly ubiquitous on newsstands, often alternating covers with other icons of the era like Patti Hansen and Rosie Vela. Russo was a muse for Francesco Scavullo, who captured her most famous high-glamour looks, often featuring decadent furs, bold 1970s makeup, and “big hair.”

Vogue editors frequently praised her for being able to pivot from “accessible and aspirational” beach shoots to high-power editorial looks that demanded a certain “tenacity.”

By the late 1970s and early 1980s, as the “supermodel” era shifted, Russo began transitioning into acting, eventually retiring from modeling entirely to pursue the film career she is known for today. Below are some portraits of Rene Russo on Vogue covers throughout the 1970s:

Vogue US April 1974, by Richard Avedon.

Vogue US July 1974, by Francesco Scavullo.

Vogue Italia September 1974, by Francesco Scavullo.

Vogue Italia September 1974, by Francesco Scavullo.

Vogue US October 1974, by Francesco Scavullo.

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