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June 18, 2024

1953 Humes High School Yearbook Pages Signed by Elvis Presley

Elvis’ portrait, from his 1953 Humes High School yearbook, shows him to have a split curl in the middle of his forehead, later to become his trademark. He was the first member of his family to graduate high school. Here are examples of yearbook pages that were signed by Elvis:

“Best of luck to a very cute girl. Elvis”

“Best of everything to a swell girl. Elvis”

“Best wishes to a swell girl. Elvis”

“Best of luck to a very pretty girl. Remember me. Elvis Presley”

Elvis Presley’s high school years were spent in Memphis, Tennessee, where he attended L.C. Humes High School. His time there was notably marked by his interest in music. Elvis was an average student academically, but his passion for music was evident even then. He was involved in various musical activities at school, including singing in the school’s talent shows and performing in the annual Humes High Minstrel Show.

It’s said that he received mixed reactions from his peers; some were impressed by his talent while others were not as enthusiastic. However, his passion for music continued to grow during these formative years, setting the stage for his iconic career as the King of Rock ‘n’ Roll.

Paul McCartney Making Some Funny Faces to Cheer You Up!

The Beatles were known as being humorous and having good senses of humor. They did have a bit of a “British” sense of humor, and it was that sense of humor combined with their distinctly working class sense of cheeky playfulness that helped contribute to their popularity. It wasn’t just their music that made them superstars, it was also their personalities both as individuals and as a group.

Paul was the least funny of the four, although he had a gift for sarcasm. He was smart as a whip and noticed everything around him but he sometimes seemed ill at ease when putting on a comic front. He came off much better when he let himself be “cheeky” with the press.

Get ready to laugh out loud with these funny pictures of Paul McCartney. Explore the lighter side of this legendary musician and share a chuckle with your friends.






Photos of the Grand Prix at Bathurst, New South Wales in 1946

In October 1946, the New South Wales 100-mile Grand Prix motor race was run at Bathurst, attracting a field of 32 cars, including five from Victoria and two from Queensland. On the day, around 30,000 people turned out for the race which was won by AS Najar of Sydney, with JP Hind in second place and AV Johnson third. This was a spectacular win for the first-time entrant, who drove a modified standard touring model MG, with a specially built monoposto (single-seater) body, shaped to fit the driver.

The over-1500cc handicap was won by F Kleinig, driving a Hudson Special. WB Murray, also driving a Hudson Special, crossed the line in second place. The track took its toll on the cars, with five of the 15 starters retiring with engine trouble.

Apparently the race also marked the first time a female driver, Joan Richmond, competed in the event. She was behind the wheel of a Q-Type MG fitted with a super-charged engine. Unfortunately, there are no recorded photographs in this collection from State Library of New South Wales.

John Crouch in a Delahaye 135 followed by Alby Johnson in a an MG TC, Grand Prix, Bathurst, October 1946

Alf Najar in an MG TB racing car, Grand Prix, Bathurst, October 1946

Alf Najar, Grand Prix winner at Bathurst, October 1946

Belf Jones in a Buick Special in front of Bill MacLachlan in a modified MG TA, Grand Prix, Bathurst, October 1946

Bill Conoulty and his Austin 7 Comet, Grand Prix, Bathurst, October 1946

Thousands of Unsold Ford Mavericks Being Stored in the SubTropolis Caves in the 1970s

In the early 1970s, Ford Motor Company produced the Maverick, a compact car marketed as an affordable and efficient vehicle. However, demand for the Maverick was not as high as Ford had anticipated, and they ended up with a surplus of unsold cars. To deal with this surplus, Ford decided to store thousands of unsold Mavericks in the SubTropolis caves located in Kansas City, Missouri.


Owned by real estate firm Hunt Midwest, SubTropolis is a man-made underground complex of limestone mines, covering over 55 million square feet, and home to many companies that use the caves for storage and other purposes.

Ford leased about 25 acres of the cave complex, which was ideal for storing cars because the caves are naturally air-conditioned with temperatures between 68 and 72 degrees Fahrenheit year-round. The cars were kept in the caves until they could be sold, which would have taken several years.

“Ford at one time used to store its Mavericks here,” said Ora Reynolds, president and CEO of Hunt Midwest. “The constant temperature and humidity [it’s 68 to 72 degrees year-round] are ideal for storing stamps and other products.”


The storage of Mavericks in the caves of SubTropolis has become something of a legend in the automotive world, with many car enthusiasts and historians fascinated by the thought of thousands of cars lying unsold underground for years.

Today, the SubTropolis complex is still in use, and although the Mavericks are no longer stored there, the story of their time underground remains a unique piece of automotive history.

(via COCKPIT)

Stunning Fashion Photography by David Montgomery in the 1960s

Born 1937 in Brooklyn, New York, American photographer David Montgomery is known for his portraits of the rich and famous. He studied music at the Juilliard School of Music. He was an assistant to photographer Lester Bookbinder in New York and accompanied him on a working visit to the United Kingdom in the early 1960s and stayed.

Fashion photography by David Montgomery in the 1960s

Montgomery’s photographic subjects have included Bill Clinton, Lucian Freud, Mick Jagger, Jimi Hendrix, Margaret Thatcher, Peter O’Toole and Andy Warhol. His photographs of Andy Warhol have been included in The Andy Warhol Museum in Pittsburgh. For his photograph of Hendrix, which is shown in the inside cover of the 1968 album Electric Ladyland, Montgomery started a fire using a can of petrol to photograph flames behind Hendrix.

Montgomery also photographed Queen Elizabeth II in 1967, being the first American to do so, after which he said that he was never frightened of a subject again, going on to photograph five Prime Ministers.

These stunning black and white photos are part of his work that David Montgomery took fashion portraits of classic beauties in the 1960s.

Grace Coddington in figure-skimming ball dress in black gauze that sweeps back into fullness under a three-tiered cape-jacket by Balenciaga, photo by David Montgomery, Paris, Harper's Bazaar UK, October 1964

Heide Wiedeck in white wool jersey dress belted with a white leather string by Adele Simpson, hat by Halston, photo by David Montgomery, Harper's Bazaar, January 1964

Jean Shrimpton in a fitch coat with optional belt by Mary Quant with hat to match, gold knit dress from Ginger Group Collection, photo by David Montgomery, Harper' Bazaar UK, November 1964

Jean Shrimpton in black-and-white tweed suit with cropped jacket and wrap-over skirt worn with suède helmet, all by Christian Dior-London and Christian Dior Chapeaux, photo by David Montgomery, Harper's Bazaar UK, November 1964

Jean Shrimpton in culotte suit in Pittard's navy leather by Elma Sportswear, sweater at Fenwicks, photo by David Montgomery, Harper's Bazaar UK, October 1964

June 17, 2024

45 Amazing Behind the Scenes Photos From the Making of “The Matrix” (1999)

The Matrix is a 1999 science fiction action film written and directed by the Wachowskis. It is the first installment in the Matrix film series, starring Keanu Reeves, Laurence Fishburne, Carrie-Anne Moss, Hugo Weaving and Joe Pantoliano, and depicts a dystopian future in which humanity is unknowingly trapped inside the Matrix, a simulated reality that intelligent machines have created to distract humans while using their bodies as an energy source. When computer programmer Thomas Anderson, under the hacker alias “Neo”, uncovers the truth, he joins a rebellion against the machines along with other people who have been freed from the Matrix.

All but a few scenes were filmed at Fox Studios in Sydney, as well as in the city itself, although recognizable landmarks were not included to maintain the impression of a generic American city. The filming helped establish New South Wales as a major film production center. Filming began in March 1998 and wrapped in August 1998; principal photography took 118 days. Some filming also occurred at Culver Studios.

Due to Reeves’s neck injury, some of the action scenes had to be rescheduled to wait for his full recovery. As a result, the filming began with scenes that did not require much physical exertion, such as the scene in Thomas Anderson’s office, the interrogation room, or the car ride in which Neo is taken to see the Oracle. Locations for these scenes included Martin Place’s fountain in Sydney, halfway between it and the adjacent Colonial Building, and the Colonial Building itself. During the scene set on a government building rooftop, the team filmed extra footage of Neo dodging bullets in case the bullet time process did not work. The bullet-time fight scene was filmed on the roof of Symantec Corporation building in Kent Street, opposite Sussex Street.

Moss performed the shots featuring Trinity at the beginning of the film and all the wire stunts herself. The rooftop set that Trinity uses to escape from Agent Brown early in the film was left over from the production of Dark City, which has prompted comments due to the thematic similarities of the films. During the rehearsal of the lobby scene, in which Trinity runs on a wall, Moss injured her leg and was ultimately unable to film the shot in one take. She stated that she was under a lot of pressure at the time and was devastated when she realized that she would be unable to do it.

The dojo set was built well before the actual filming. During the filming of these action sequences, there was significant physical contact between the actors, earning them bruises. Reeves’s injury and his insufficient training with wires prior to filming meant he was unable to perform the triple kicks satisfactorily and became frustrated with himself, causing the scene to be postponed. The scene was shot successfully a few days later, with Reeves using only three takes. Yuen altered the choreography and made the actors pull their punches in the last sequence of the scene, creating a training feel.

The filmmakers originally planned to shoot the subway scene in an actual subway station, but the complexity of the fight and related wire work required shooting the scene on a set. The set was built around an existing train storage facility, which had real train tracks. Filming the scene when Neo slammed Smith into the ceiling, Chad Stahelski, Reeves’s stunt double, sustained several injuries, including broken ribs, knees and a dislocated shoulder. Another stuntman was injured by a hydraulic puller during a shot in which Neo was slammed into a booth. The office building in which Smith interrogated Morpheus was a large set, and the outside view from inside the building was a large, three story high cyclorama. The helicopter was a full-scale, light-weight mock-up suspended by a wire rope operated a tilting mechanism mounted to the studio roofbeams. The helicopter had a real minigun side-mounted to it, which was set to cycle at half its regular (3,000 rounds per minute) firing rate.

To prepare for the scene in which Neo wakes up in a pod, Reeves lost 15 pounds (7 kg) and shaved his whole body to give Neo an emaciated look. The scene in which Neo fell into the sewer system concluded the principal photography. According to The Art of the Matrix, at least one filmed scene and a variety of short pieces of action were omitted from the final cut of the film.

The Matrix opened in theaters in the United States on March 31, 1999, to widespread acclaim from critics, who praised its innovative visual effects, action sequences, cinematography and entertainment value. The film was a box office success, grossing over $460 million on a $63 million budget, becoming the highest-grossing Warner Bros. film of 1999 and the fourth-highest-grossing film of that year. The film received nominations at the 72nd Academy Awards for Best Visual Effects, Best Film Editing, Best Sound and Best Sound Editing, winning all four categories. The film was also the recipient of numerous other accolades, including Best Sound and Best Special Visual Effects at the 53rd British Academy Film Awards, and the Wachowskis were awarded Best Director and Best Science Fiction Film at the 26th Saturn Awards. The Matrix is considered to be among the greatest science fiction films of all time, and in 2012, the film was selected for preservation in the United States National Film Registry by the Library of Congress for being “culturally, historically, and aesthetically significant.”






Jerry West, the Man Behind the NBA Logo

Officially, the NBA’s logo is blank. It is an anonymous, faceless player dribbling a ball against a red and white background. That’s the NBA’s story and it’s sticking to it. Unofficially, however, the logo is well known to be the silhouette of one of the league’s first true icons: Jerry West, who died June 12, at the age of 86.

This photo of Jerry West by former Lakers photographer Wen Roberts was said to be the inspiration for the NBA logo.

In 1969, the NBA hired a brand consultant named Alan Siegel to create a logo. One year earlier, he had done so for Major League Baseball, and the images are strikingly similar. The baseball logo is also a blank player against a red and white background, but the image has no distinguishing stylistic features. The NBA’s logo, however, visibly features a player in the middle of a dribble move. In 2010, Siegel admitted the truth to the Los Angeles Times. “It’s Jerry West,” he said.

More specifically, it is the image of West taken in a photograph by Wen Roberts in 1969. “It had a nice flavor to it,” he said in 2010, “so I took that picture and we traced it. It was perfect. It was vertical and it had a sense of movement. It was just one of those things that clicked.”

The league itself, however, hasn’t been quite as forthcoming. In that same 2010 interview, Siegel offered a charitable explanation for why the league has refused to acknowledge West’s status as the logo. “They want to institutionalize it rather than individualize it. It’s become such a ubiquitous, classic symbol and focal point of their identity and their licensing program that they don't necessarily want to identify it with one player.”

In a 2017 interview with Aaron Dodson of The Undefeated, he offered a more practical possible explanation. “Maybe they thought West would want a fee.” In 2021, commissioner Adam Silver finally relented, if only slightly. “While it’s never been officially declared that the logo is Jerry West, it sure looks a lot like him.”

The irony of all of this is that West would seem unlikely to seek financial gain from the logo. In fact, he even told The Jump in 2017 that he wished the league would change it. “I wish that it had never gotten out that I’m the logo, I really do. I’ve said it more than once, and it’s flattering if that’s me — and I know it is me — but it is flattering, but to me, I played in the time when they first started to try to market the league. There were five people they were going to consider. I didn’t find out about it until the late commissioner told me about it, Walter Kennedy, and then, obviously, the New York Times had a big article about it. Again, it’s flattering, but it’s also, If I were the NBA, I would be embarrassed about it. I really would. I don’t like to do anything to call attention to myself, and when people say that, that’s just not who I am, period. If they would want to change it, I wish they would. In many ways, I wish they would.”

The NBA logo, featuring Jerry West’s iconic silhouette, stands as a testament to the sport’s rich history and the exceptional talent that has graced its courts.

There have been pushes for various players to replace West as the logo. When Kobe Bryant died in 2020, Kyrie Irving suggested that he become the league’s new face. Michael Jordan’s Jumpman logo, a similarly iconic silhouette, has also been suggested, though its corporate history likely makes that impossible. When West was asked to make a pick to replace him during an appearance on Podcast P with Paul George, he refused to put that any on any other player in the way it had been put on him. “I would never do that, it’s disrespectful to other players.”

From a business perspective, it’s hard to imagine the NBA ever making a change. Its logo has become indistinguishable from its brand and history. Even if that logo will outlast West, it isn’t how he wants to be remembered. “I have often felt, what would I like for people to think about me. He was a good guy and he cared. That would be it. Nothing more,” West said on Podcast P.

Well, he’ll be remembered for a good deal more than that, but his humility in serving as the league’s logo for the past 55 years certainly supports that preferred impression, even if he’s technically only held the role in an unofficial capacity.




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