Rare 9/11 Footage Nearly Lost Forever, Found 23 Years Later

On September 11, 2001, 24-year-old Japanese man Kei Sugimoto filmed the attack on the World Trade Center from a rooftop about 3 kilometers away. Twenty-three years later in 2024, he rediscovered the deteriorating tapes and published the footage, preserving a visual record that came close to disappearing forever.

Sugimoto filmed from the rooftop of 64 St. Marks Place in the East Village, roughly 3 kilometers (under 2 miles) north of the Twin Towers. The video was captured using a high-end consumer Sony VX2000 mini-DV camcorder fitted with a teleconverter lens, resulting in a remarkably clear and zoomed-in view for 2001 amateur standards.

Historians and archiving enthusiasts noted that this is the only known footage capturing the collapse of the towers exclusively from the north perspective. Most other widely available angles were captured from the south, east, or across the Hudson River.

Sugimoto originally assumed the incident was a standard building fire, but realized it was a terrorist attack after witnessing the second plane strike. Though he saw the second impact, he did not catch it on camera; he ran to grab his gear immediately afterward to document the unfolding event.

The resulting video lasts about 6 minutes and 16 seconds, providing a crisp, continuous look at the massive smoke plumes billowing from the structures before recording the step-by-step collapse of both towers.

Sugimoto initially tried to hand his tape over to the police on the day of the attacks, but they declined to take it. He subsequently stored it away and forgot about it. More than two decades later, while cleaning out his home, he rediscovered the old physical tapes. Recognizing that magnetic tape degrades and corrupts over time, he decided to digitize the files for historical archival purposes and uploaded them to his personal YouTube channel. The footage quickly amassed millions of views, sparking global conversations about how much undiscovered historical material may still reside in people's attics and closets.

30 Amazing Photos of Danish Silent Film Actress Asta Nielsen in the 1910s

Asta Sofie Amalie Nielsen (September 11, 1881 – May 24, 1972) was a Danish silent film actress who was one of the most popular leading ladies of the 1910s and one of the first international movie stars. Seventy of Nielsen’s 74 films were made in Germany where she was known simply as Die Asta (The Asta).

Originally trained for the stage, Nielsen achieved overnight worldwide fame with her debut film, Afgrunden (The Abyss). Directed by her first husband, Urban Gad, the erotic melodrama became a massive international sensation. It featured a highly controversial, heavily sensual “gaucho dance” that cemented her status as cinema's first true sex symbol.

Following her instant success, she relocated to Berlin. Between 1911 and 1914, she worked under highly lucrative contracts, making dozens of films that were globally distributed. Her star power was so monumental that her production companies sold her movies to European theaters in pre-financed “Asta Nielsen series” packages.

Physically striking, Nielsen was celebrated for her large, intensely expressive dark eyes, a pale, mask-like face, and a slim, boyish figure. She subverted traditional damsel-in-distress tropes by consistently portraying passionate, complex, and strong-willed women who fought against tragic societal circumstances.

Because of the intensely erotic and raw nature of her performances, her films faced heavy censorship in the United States. Consequently, while she was a household name across Europe and Russia, her work remained relatively obscure to American audiences during the decade. Her profound dramatic intensity led critics to crown her “die Duse des Kinos” (the Duse of the cinema), comparing her immense talent to the legendary Italian stage actress Eleonora Duse.

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Beverly Adams: Glamorous Star of 1960s Hollywood

Born 1945, Canadian-American actress Beverly Adams is known for her glamorous roles in 1960s film and television.

After starting as a model and beauty contest winner, Adams appeared in beach-party comedies and spy spoofs, most notably as Lovey Kravezit in the Matt Helm films starring Dean Martin, including The Silencers (1966) and Murderers’ Row (1966). She also featured in How to Stuff a Wild Bikini (1965) and made numerous television guest appearances.

With her striking looks and light comedic presence, Adams embodied the stylish, playful spirit of mid-1960s Hollywood before stepping away from acting after her marriage to hairstylist Vidal Sassoon. These vintage photos capture the beauty, charm, and 1960s glamour of Beverly Adams, a memorable face of classic Hollywood cinema.

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The Clearest Video of American Airlines Flight 11 Striking the North Tower of the World Trade Center on September 11, 2001

Jules Clément Naudet and Thomas Gédéon Naudet are French-American filmmakers. The brothers, residents of the United States since 1989 and citizens since 1999, were in New York City at the time of the September 11 attacks to film a documentary on members of the Engine 7, Ladder 1 firehouse in Lower Manhattan.

Jules captured the clearest footage of the first airplane, American Airlines Flight 11, hitting the North Tower of the World Trade Center when he rode with Battalion 1 to investigate a suspected gas leak in a storm drain at the intersection of Church and Lispenard streets while filming a documentary about the FDNY. The footage shot in 2001 was made into the 2002 documentary 9/11. The video camera that Jules was using that captured Flight 11 crashing into the World Trade Center is now on display in the National Museum of American History in Washington, D.C.

Everyday Life in 1970s Minnesota Through Flip Schulke’s Lens

These photos by Flip Schulke offer a vivid and intimate look at everyday life in Minnesota during the 1970s. Best known for his powerful documentation of the civil rights movement, Schulke also captured the quieter rhythms of small-town and rural America as part of the EPA’s Documerica project.

His images of Minnesota, particularly around New Ulm, reveal ordinary people, local landscapes, community activities, and the changing face of American life in the decade. Through his observant and humanistic lens, these photos preserve a valuable visual record of midwestern life more than fifty years ago.

A newly created park downtown on Minnesota Street in New Ulm, Minnesota, circa 1970s

Accordionist in a Polka band at the Gibbon Ballroom at Gibbon, Minnesota, 20 miles north of New Ulm, circa 1970s

Adults looking over bargain merchandise placed in the street on the sidewalks by merchants in New Ulm, Minnesota, during their annual summer Crazy Days sale, circa 1970s

Auctioneer asking for bids at an auction of household goods in a residential area, New Ulm, Minnesota, circa 1970s

Audience at an auction of household goods in a residential area, New Ulm, Minnesota, circa 1970s.

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On January 9, 2007, Steve Jobs Unveiled Apple’s 1st iPhone

On January 9, 2007, Steve Jobs took the stage at the Macworld Convention in San Francisco to unveil the original iPhone, a moment widely regarded as one of the most iconic product debuts in tech history.

Jobs teased the audience by announcing three separate revolutionary products:

• A widescreen iPod with touch controls
• A revolutionary mobile phone
• A breakthrough internet communications device

He then revealed: “These are not three separate devices, this is one device, and we are calling it iPhone.”

Jobs famously mocked existing smartphones of the era (like the BlackBerry and Palm Treo) for using physical keyboards and plastic styluses. Apple introduced multi-touch technology, allowing users to navigate entirely with their fingers: “Who wants a stylus? You have to get ’em, put ’em away, you lose ’em. Yuck. Nobody wants a stylus. So let’s not use a stylus.”

The original iPhone featured a 3.5-inch display (320×480 resolution), a 2-megapixel camera, up to 8GB or 16GB of storage, and ran on AT&T's 2G EDGE network. The device went on sale in the United States on June 29, 2007, starting at $490, and fundamentally redefined consumer electronics, mobile computing, and app-driven ecosystems.

30 Stunning Portraits of a Very Young and Beautiful Bessie Love in 1910s

Bessie Love (born Juanita Horton; September 10, 1898 – April 26, 1986) was an American-British actress who achieved prominence playing innocent, young girls and wholesome leading ladies in silent and early sound film. Known for her diminutive stature, expressive eyes, and naturalistic style, her career took off almost immediately upon entering the industry in 1915.

Seeking work to help support her family, she visited the studio lot of legendary director D. W. Griffith. Griffith signed her, renamed her Bessie Love, and immediately recognized her potential, nicknaming her “Our Mary” after Mary Pickford due to her innocent and emotive screen presence.

Griffith cast her in small parts in The Birth of a Nation (1915) and as the Bride of Cana in his monumental spectacle Intolerance (1916). Under Griffith’s Triangle Fine Arts company, she co-starred with top silent icons of the era, including Douglas Fairbanks and William S. Hart . By late 1916 and 1917, she was headlining feature melodramas such as A Sister of Six (1916) and Nina, the Flower Girl (1917).

As the studio system evolved in the late 1910s, Love sought creative independence and better compensation. She was enticed away from Triangle by Pathé with a lucrative contract. Demonstrating an early eye for production detail, her contract gave her the rare authority to select her own cinematographer; she chose Clyde De Vinna, who later became an Academy Award-winning cinematographer.

Later in 1918, she signed a multi-film deal with Vitagraph Studios. During this era, she expanded into screenwriting, authoring the scenario for her 1919 feature A Yankee Princess.

Throughout the 1910s, Love was typically cast as the delicate heroine, the dutiful daughter, or the wholesome young girl in peril. Despite being typecast in sweet roles, film critics frequently singled out her performances for their “unaffected” and earnest quality, laying the groundwork for her eventual shift to flapper roles in the 1920s and her Oscar-nominated performance in The Broadway Melody (1929).

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