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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Vintage Photos Capture Sean Connery and Daniela Bianchi on the Set of ‘From Russia with Love’ (1963)

Released in 1963, From Russia with Love is the second film in the legendary James Bond series, once again starring Sean Connery as the suave British secret agent, 007. Directed by Terence Young, the film builds on the spy intrigue and exotic settings that defined early Bond adventures.

The story follows Bond as he becomes entangled in a deadly plot involving the criminal organization SPECTRE, a stolen decoding device, and the beautiful Soviet cipher clerk Tatiana Romanova (played by Daniela Bianchi). From the bustling streets of Istanbul to the thrilling train sequence aboard the Orient Express, the film combines Cold War tension with sleek espionage style.

From Russia with Love is often regarded as one of the finest entries in the Bond canon — blending elegance, action, and romance into a perfect cocktail of 1960s cinematic sophistication. These vintage photos capture Sean Connery and Daniela Bianchi during the filming of From Russia with Love in 1963.

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Coal Miner’s Bath, Chester-Le-Street, Durham, 1937

In 1930s England, miners typically bathed at home in a basin of hot water, often with a woman (wife or daughter) washing their coal-covered body as shown in Bill Brandt’s famous 1937 photograph, reflecting harsh conditions and community support. Some larger collieries also began building pithead baths with facilities like showers, but these were not widespread until the post-1947 National Coal Board era.

Bill Brandt’s 1937 photograph provides a striking and intimate glimpse into the life of a coal miner’s family in Chester-Le-Street, Durham. The image captures the miner, his skin darkened by coal dust and long hours underground, being carefully bathed by a young woman in a simple apron. The tender act of washing stands in stark contrast to the harshness of his daily labor, highlighting both the physical demands of mining and the emotional care necessary to sustain individuals in such a grueling occupation.

The home setting emphasizes the modest living conditions common among mining families at the time. With bare essentials, a small stove, and simple furnishings, the photograph reflects the economic hardships endured by working-class households. Beyond hygiene, the act of bathing conveyed care, comfort, and dignity, providing relief after long, exhausting days in the mine. The image underscores how small rituals of domestic care were vital in maintaining well-being and family cohesion despite challenging circumstances.

Brandt’s work also communicates traditional gender roles of the era, portraying the woman as a quiet yet essential caregiver, attending to her husband’s needs with patience and strength. Through his empathetic lens, Brandt captures vulnerability, resilience, and human connection, revealing the deep bonds that allowed families to endure hardship.

Adorable Childhood Photos of Rebecca Schaeffer in the 1960s and 1970s

Rebecca Lucile Schaeffer (November 6, 1967 – July 18, 1989) was an American actress and model. She grew up as the only child of Dana Schaeffer, a writer and instructor, and Benson Schaeffer, a child psychologist. Her upbringing was described as intellectual, supportive, and nurturing, with her parents encouraging her curiosity and creative interests from an early age.

She attended North Eugene High School and later Northwest Academy, a private school that emphasized the arts. From childhood, Rebecca showed an interest in performing and modeling, often participating in school plays and local theater. Her teachers and classmates remembered her as bright, kind, and quietly ambitious, with a deep interest in literature and culture.

In her early teens, she began modeling locally and dreamed of becoming either a rabbi or an actress—reflecting both her artistic side and her spiritual upbringing (she was raised in a Jewish household). Around age 16, she decided to pursue modeling professionally and moved to New York City with her parents’ cautious support to chase her dreams.

Her childhood and early adolescence were marked by a strong sense of independence, a warm family life, and an early awareness of the challenges of fame—ironically foreshadowing the tragic circumstances that would later surround her life.

Here are some adorable photos of Rebecca Schaeffer as a kid in the 1960s and 1970s:

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