35 Glamorous Portrait Photos of Pin-Up Girls of the Yank, the Army Weekly

Yank, the Army Weekly was a weekly magazine published from 1942 through 1945 and distributed to members of the American military during World War II. Yank included war news, photography, and other features. It had a circulation of more than 2.6 million. One of its most popular features, intended to boost the morale of military personnel serving overseas, was the weekly publication of a pin-up photograph.

Pin-up girls of the Yank, the Army Weekly

A feature story in Parade published in 1945 noted: “Excellent war reporting and photography, serious discussions of postwar problems and the now famous Sad Sack cartoons have made Yank welcome on far-flung battle lines. But the page most often torn out and tacked up for future reference on barrack walls and foot lockers is the one bearing the official insigne, ‘Yank Pin-Up Girl.’”

Yank pin-ups were distributed to locations worldwide where American soldiers, sailors, and Marines were serving. In 1944, the Associated Press published a report that pin-up pictures from Yank were discovered on display on the wall of the chief’s hut in a remote jungle village in Burma.

Here below is a set of glamorous photos that shows portraits of pin-up girls of the Yank, the Army Weekly.

Ann Miller, Yank, the Army Weekly, December 19, 1943

Dolores Moran, Yank, the Army Weekly, August 8, 1943

Doris Merrick, Yank, the Army Weekly, May 2, 1943

Eleanor Parker, Yank, the Army Weekly, August 1, 1943

Hedy Lamarr, Yank, the Army Weekly, November 14, 1943

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Fascinating Photos of a Young Sandra Bullock in the 1980s

Sandra Bullock has come a long way from her quiet childhood in Arlington, Virginia. She went on to become an Academy Award-winning actress as well as one of the most powerful women in Hollywood. The woman who’s led hit movies like Speed, Miss Congeniality, The Proposal, The Blind Side, Gravity and Bird Box has also been the world’s highest paid actress at multiple points in her career.

While she’s remained busy at work since first hitting the scene in the late 1980s, Sandra’s also found time to devote to her own production company as well as to her two children. But it all started in the Washington, D.C., suburb where she was born to an opera singer mother and an Army employee father.

For much of her childhood, Sandra Bullock and her family, which includes younger sister Gesine Bullock-Prado, also lived in Nuremberg, Germany, as well as Vienna and Salzburg, Austria, before the family returned to Arlington, Virginia, where Sandra attended high school. She studied ballet and vocal arts as a child before taking part in numerous theater productions as a teenager. Upon graduating from East Carolina University with a drama degree, Sandra headed to the Big Apple to pursue her dream of acting full time. She supported herself as a bartender, cocktail waitress and coat checker while auditioning and eventually landed a role in the off-Broadway play No Time Flat, which got her seen by a director who offered her a supporting role in the 1989 made-for-television film Bionic Showdown: The Six Million Dollar Man and the Bionic Woman.

Sandra Bullock closed out the 1980s by snagging small roles in a few independent films before landing her first on-screen lead role on the 1990 sitcom Working Girl. The NBC series was loosely based on the hit 1988 film of the same name starring Melanie Griffith, with Sandra taking over the part for the television adaptation. The midseason series follows a spunky, independent secretary who’s suddenly become a junior executive after charming the company’s owner. Unfortunately, the show drew low ratings and was short-lived: It was canceled after eight of the 12 episodes produced aired.

Here, below are some amazing photographs of a very young Sandra Bullock back in the late 1980s:

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Amazing Backstage Photographs Show Mick Jagger’s Outfits During the Rolling Stones’ 1975 Tour of the Americas

The Mick Jagger look—the sartorial embodiment of rock star swagger for the past 50 years—is unmistakable, and iconic. The hair, the lips, the unforgettable outfits, it’s all pure Mick. Though Jagger’s style is instantly recognizable, it has never been stagnant; the star evolves his look to suit each era, continuously finding himself at the forefront of trends. Whether he was embracing crushed velvet and dandy signatures in the early 1960s, morphing into a glam-rock androgyne in the 1970s, or shimmying across the stage in a spandex jumpsuit in the 1980s, Jagger helped redefine menswear mores. If he could dance in it, he wore it—even if it wasn’t exactly menswear, but instead borrowed from his latest paramour.

After the departure of Mick Taylor, this was the Rolling Stones’ first tour with new guitarist Ronnie Wood. Announced on April 14 as merely playing with the band on the tour, it would not be until December 19 that he would be officially named a Rolling Stone. 

The Tour of the Americas ’75 was not tied to support of any newly released material, as it began more than seven months after the release of their last studio album at the time, It’s Only Rock’n Roll. Instead, the compilation album Made in the Shade was released to capitalize on the tour's publicity.

The tour officially began on June 3, 1975 at the Convention Center in San Antonio, Texas; however first the group played two warmup shows on June 1 at Louisiana State University in Baton Rouge, Louisiana. The tour continued, playing mostly arenas in the United States and Canada, including six consecutive nights at Madison Square Garden in New York and five nights at The Forum in Los Angeles. However, a planned Latin American leg in Mexico, Brazil, and Venezuela for the balance of August was cancelled due to a combination of currency fluctuations and security concerns. Four additional US dates were then added, culminating in a final performance on August 8 at Rich Stadium near Buffalo, New York.

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30 Glamorous Photos of Raquel Welch as a Model in the 1960s and ’70s

American actress Raquel Welch developed a unique film persona that made her an icon of the 1960s and 1970s. Her rise to stardom in the mid-1960s was partly credited with ending Hollywood’s vigorous promotion of the blonde bombshell.

Raquel Welch as a model in the 1960s and ’70s

Welch won a Golden Globe Award for Best Motion Picture Actress in a Musical or Comedy in 1974 for her performance as Constance Bonacieux in The Three Musketeers and reprised the role in its sequel the following year. She was also nominated for a Golden Globe Award for Best Actress in Television Film for her performance in Right to Die (1987). Her final film was How to Be a Latin Lover (2017).

In 1995, Welch was chosen by Empire magazine as one of the “100 Sexiest Stars in Film History”. Playboy ranked Welch No. 3 on their “100 Sexiest Stars of the Twentieth Century” list.

Take a look at these glamorous photos to see portraits of a young Raquel Welch as a model in the 1960s and 1970s.

Raquel Welch photographed by Don Ornitz, 1965

Raquel Welch, photo by Angelo Frontoni, Italy, 1966

Raquel Welch, photo by Angelo Frontoni, Italy, 1966

Raquel Welch, photo by JP Laffont, 1966

Raquel Welch, photo by Pierluigi Praturlon, 1966

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L’Obéissante, the First Steam-Powered Road Vehicle, Built in 1873 by Amédée Bollée

In 1873 Amédée Bollée, a bell founder by trade, built the first steam-powered mechanically propelled vehicle capable of transporting twelve passengers, a conductor and a driver. Baptised L’Obéissante (The Obedient) due to its very smooth steering, it was subsequently presented as the first high-speed automobile. With its tubular boiler, chain drive and two two-cylinder V-engines, it could maintain a speed of 30 km/h, reach 40 km/h and mount 12% gradients.

On October 9, 1875, at the wheel of his creation, Amédée Bollée covered the 230 kilometers from Le Mans to Paris in 18 hours, including stops for water and meals. When he arrived in the capital, despite his triumphal welcome, the Paris constabulary booked Bollée some seventy-five times, but he was never prosecuted.

With this first success, Léon created his own company in Le Mans and named it after himself. After Léon Bollée's death in 1913, his widow Carlotta Bollée (née Messinisi) continued the production of automobiles and weapons.

The brand was finally bought out in 1922 by the English firm Morris. It became “Morris-Léon Bollée”, based in Le Mans. Production began in 1925 with vehicles equipped with Hotchkiss engines. The factory closed permanently in 1931.

30 Vintage Photos of Exterior and Interior of a House in Surrey, England in the Early 1970s

In the early 1970s, house interiors often featured bold colors and patterns. Think of bright oranges, greens, and yellows, along with lots of floral and geometric prints. Shag carpeting, wood paneling, and avocado green appliances were also quite popular. There was a mix of natural materials like wood and stone, along with modern elements like plastic and metal.

Here below is a collection of wonderful photos from Handydad that shows exterior and interior of a house named Bears House in Virginia Water, Surrey, England in 1972 and 1973.

Bears House, December 1973

Bears House Entryway, Jun 1972

Bears House, Back Staircase, Jun 1972

Bears House, Dining Room, Jun 1972

Bears House, Etryway & Stairs, Jun 1972

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50 Amazing Behind the Scenes Photographs From the Making of the Film “RoboCop” (1987)

RoboCop is a 1987 American science fiction action film directed by Paul Verhoeven and written by Edward Neumeier and Michael Miner. The film stars Peter Weller, Nancy Allen, Daniel O’Herlihy, Ronny Cox, Kurtwood Smith, and Miguel Ferrer. Set in a crime-ridden Detroit in the near future, RoboCop centers on police officer Alex Murphy (Weller) who is murdered by a gang of criminals but revived by the megacorporation Omni Consumer Products as the cyborg law enforcer RoboCop. Unaware of his former life, RoboCop executes a campaign against crime while coming to terms with the lingering fragments of his humanity.

Principal photography began on August 6, 1986, on an $11 million budget. Jost Vacano was the cinematographer, after working with Verhoeven on Soldier of Orange. Verhoeven wanted Blade Runner production designer Lawrence G. Paull, but Davison said he could afford either a great production designer or a great RoboCop costume – not both. William Sandell was hired. Monte Hellman directed several of the action scenes.

RoboCop was filmed primarily on location in Dallas, with additional filming in Las Colinas and Pittsburgh. Verhoeven wanted a filming location which suggested the near future. Detroit was dismissed because it had many low buildings, many brownstones and Victorian-style buildings. Neumeier said that it was also a union city, making it more expensive to film there. Detroit made a brief appearance in nighttime, stock aerial footage at the beginning of the film. Chicago was dismissed for aesthetic reasons, New York City for high costs, and California because according to Davison, Orion wanted to distance itself from the project. Dallas was chosen over Houston because it has modern buildings and older, less-maintained areas where explosives could be used. The filming schedule in Dallas was nine weeks, but it soon became clear that it would take longer. Based on filmed footage, Orion approved the schedule extension and a budget increase to $13.1 million. The weather fluctuated during filming; Dallas in summer was often 90 to 115 °F (32 to 46 °C), and the weather in Pittsburgh was frigid.

RoboCop’s costume was not finished until some time into filming. This did not impact the shooting schedule, but it denied Weller the month of costume rehearsal he had expected. Weller was frustrated with the costume; it was too cumbersome for him to move as he had practiced, and he spent hours trying to adapt. He struggled to see through the thin helmet visor and interact with (or grab) objects while wearing the gloves. Weller fell out with Verhoeven and was fired, with Lance Henriksen considered as a replacement; because the costume was designed for Weller, however, he was encouraged to mend fences. Mime Moni Yakim helped Weller to develop a slower, more deliberate way of moving. Weller’s experience in the costume was worsened by the warm weather, which made him sweat off up to 3 lb (1.4 kg) per day. Verhoeven began taking prescription medication to cope with stress-induced insomnia, and he filmed scenes under the influence.

He often choreographed scenes with the actors before filming. Improvisation was also encouraged, because Verhoeven believed that it could produce interesting results. Smith improvised some of his character’s quirks, such as sticking chewing gum to a secretary’s desk and spitting blood onto the police-station counter: “‘What if I spat blood on the desk?’ ... [Verhoeven] got this little smile on his face, and we did it.” Neumeier was on set throughout filming and occasionally wrote additional scenes, including a New Year’s Eve party after seeing some party-hat props and a news story about the Strategic Defense Initiative platform misfiring. Verhoeven found Neumeier’s presence invaluable, because they could discuss how to adapt the script or location to make a scene work.

Verhoeven gained a reputation for verbal aggression and unsociable behavior on set; Smith said that he never yelled at the actors, however, but was too engrossed in filming to be sociable. Cox and Allen spoke warmly of Verhoeven. Weller spent his time between filming with the actors who played his enemies (including Smith, Ray Wise and Calvin Jung), who maintained healthy lifestyles that supported Weller in his training for the New York City Marathon.

A number of locations in and around Dallas were used in production. An office in Renaissance Tower was used for the OCP interior of; the company’s exterior is Dallas City Hall, modified with matte paintings to appear taller. The OCP elevator was that of the Plaza of the Americas. The Detroit police station’s exterior is Crozier Tech High School; its interior is the Sons of Hermann hall, and city hall is the Dallas Municipal Building. Scenes of Boddicker’s gang blowing up storefronts were filmed in the Deep Ellum neighborhood. One explosion was larger than anticipated; actors can be seen moving out of the way, Smith had to remove his coat because it was on fire, and the actors involved received an additional $400 in stunt pay. The Shell gas station that explodes was in the Arts District, where local residents unaware of the filming called the fire department. The scene was scripted for flames to modify the sign to read “hell”; Davison approved it, but it does not appear in the film. Miner called it a disappointing omission.

The nightclub was the former Starck Club. Verhoeven was filmed demonstrating how the clubbers should dance, and used the footage in the film. Other Dallas locations included César Chávez Boulevard, the Reunion Arena and the parking lot of the Crescent. The final battle between RoboCop and Boddicker’s gang was filmed at a steel mill in Monessen, outside Pittsburgh. Filming ended in late October 1986.

Verhoeven emphasized violence throughout the film, making it so outlandish that it became comical. Censorship boards believed that it was too extreme and several scenes were shortened or modified to receive an acceptable theatrical rating. RoboCop was a financial success upon its release in July 1987, earning $53.4 million. Reviewers praised it as a clever action film with deeper philosophical messages and satire, but were conflicted about its extreme violence. The film was nominated for several awards, and won an Academy Award and a number of Saturn Awards.

RoboCop has been critically reevaluated since its release, and it has been hailed as one of the best films of the 1980s and one of the greatest science fiction and action films ever made. The film has been praised for its depiction of a robot affected by the loss of humanity, in contrast to the stoic and emotionless robotic characters of that era. RoboCop has continued to be analyzed for its themes such as the nature of humanity, personal identity, corporate greed and corruption, and is seen as a rebuke of the era’s Reaganomics policies. Its success created a franchise: the sequels RoboCop 2 (1990) and RoboCop 3 (1993), children’s animated series, live-action television shows, video games, comic books, toys, clothing and other merchandise. A remake was released in 2014.

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