David Bowie During the Filming of “The Man Who Fell To Earth” in Los Angeles, 1975

In 1975, legendary photographer Terry O’Neill captured a series of images of David Bowie in Los Angeles during the production of Nicolas Roeg’s sci-fi masterpiece, The Man Who Fell to Earth.

Bowie is captured in a sharp, detached look, often wearing a stylish hat and sunglasses, dressed in a suit jacket. He appears elegant yet distant, perfectly suiting his role as the alien Thomas Jerome Newton. This was during a turbulent time for Bowie; he was deep into the “Thin White Duke” era, recording Station to Station while filming, and later admitted he remembered the production only in “flashes” due to heavy cocaine use.

The movie itself was mostly shot in New Mexico (deserts, White Sands, etc.), but there were scenes and downtime in Los Angeles, where these iconic off-set or between-takes photos were taken.

Candid Photographs of Teenage Kirsten Dunst During the Filming of “The Virgin Suicides” (1999)

In 1998, Kirsten Dunst starred in the Sofia Coppola-directed drama The Virgin Suicides as Lux Lisbon, one of the troubled teenage daughters of Ronald Lisbon (James Woods). It’s still considered one of her best movies. Sofia Coppola and Kirsten Dunst went on to collaborate on The Bling Ring, Marie Antoinette, and The Beguiled.

“We were in Toronto during preproduction and Kirsten was there shooting some teen comedy, I think. At that point, she’d been doing more broad comedies, but I’d seen Interview With the Vampire, and she stands out,” Coppola said about Dunst in an interview with Vogue. “What I love about her is that she looks like this all-American blonde cheerleader but has this depth behind her eyes that contrasts her look. I just clicked with her right away. She just totally gets me and got how I wanted to do it. Back then, she was just a kid, but it was the beginning of our friendship.”

The film premiered on May 19, 1999, at the 1999 Cannes Film Festival. Dunst was 17 years old at the time, having celebrated her 17th birthday on April 30, 1999. The movie was filmed in Toronto, Ontario, during the summer of 1998 when she was 16.

“When I read the script, I was a little bit nervous because I was making out with all these guys in the script, and I just was overwhelmed and kind of a young 16-year-old,” Dunst told People. “But when I met Sofia, I felt at ease, and I knew that this would be something special.”

“The lights in the house would go off, and then I’d have to run out,” Dunst said about a romantic scene in the movie involving a kiss with Josh Hartnett as Trip Fontaine. “It was such a long-winded thing to get in the car, jump on Josh, his wig would fall off… Then I bit him once, I remember. It was just a mess.... To be part of a movie that would be my favorite movie during that age. You couldn’t ask for more.”

Here are some behind the scenes photographs of Kirsten Dunst as Lux Lisbon during the filming of The Virgin Suicides. She looks lovely as usual with her legendary sweet smile and cute dimples!

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40 Vintage Portraits Capturing the Charm of Little Girls’ Fashion in the Mid-19th Century

Fashion for little girls in the mid-19th century was a charming reflection of Victorian societal values, blending innocence with a miniature version of adult elegance.

During this era, young girls typically wore “knee-length” dresses characterized by full skirts, puffed sleeves, and delicate lace trimmings. Unlike the somber tones of later years, mid-century children’s attire often featured cheerful ginghams, floral muslins, and rich velvets. A defining element of the period was the pantalettes: frilly, lace-edged drawers that peeked out from beneath the hemline, ensuring modesty while adding a playful touch.

These garments were not just clothing, but a rite of passage, as the lengthening of a girl’s skirt served as a visual marker of her journey toward womanhood in the Victorian world. These vintage portraits offer a precious window into a bygone era, where childhood fashion was an intricate art of lace, ribbons, and timeless grace.

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The Rise of a Metropolis: New York in the Early 1900s

New York in the early 1900s was a city of breathtaking transformation, standing at the dawn of the American Century. It was a time when the skyline began its upward reach with the birth of the first skyscrapers, and the streets were a chaotic, vibrant symphony of horse-drawn carriages, early motorcars, and clanging streetcars.

From the bustling immigrant tenements of the Lower East Side to the opulence of Fifth Avenue, the city was a true melting pot of ambition and grit. This era captured the raw energy of a metropolis reinventing itself through the Industrial Revolution, the rise of Broadway, and the construction of the legendary New York City Subway.

Early 20th-century New York wasn’t just a place, it was a powerful vision of the modern world being built in real-time. Take a step back in time through these amazing photos to experience the grit, glamour, and grandeur of New York City in its most transformative era.

Cab stand at Madison Square, New York, circa 1900

Casino Theatre, Broadway, New York, circa 1900

Italian bread peddlers, Mulberry Street, New York, circa 1900

Prudential Building, Church and Pearl Streets. An early skyscraper, designed by Louis Sullivan and Dankmar Adler, Buffalo, New York, 1900

The Bowery near Grand Street, New York, circa 1900

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32 Amazing Photos of Michelle Pfeiffer as Isabeau d’Anjou on the Set of “Ladyhawke” (1985)

Michelle Pfeiffer’s role as Isabeau d’Anjou in the 1985 fantasy classic Ladyhawke is often cited as the moment she became a true Hollywood icon. While she was already known for Scarface, her presence on the set of Ladyhawke was marked by a mix of ethereal beauty and a determined effort to be seen as more than just a “pretty face.”

Pfeiffer was initially hesitant to take the role because she didn’t want to play a “damsel in distress” or a “Disney princess romping through the woods.” However, her audition tape stood out for an unexpected reason: her sense of humor. She filmed a scene with a then-unknown friend named Kevin Costner (who read the part of Gaston). What truly won over director Richard Donner was a moment where she playfully mimicked a hawk on camera, providing her own “bird voice-over.” This showed a range and wit that convinced him she was perfect for the complex, tragic Isabeau.

The production was filmed almost entirely in central and northern Italy, moving through stunning medieval castles and the rugged Apennine Mountains. Despite the “ethereal” look of the film, the shoot was physically demanding. Scenes were filmed in locations like the Rocca Calascio (a ruined fortress 4,800 feet up a mountain) and the Dolomites. Famed cinematographer Vittorio Storaro used a specific lighting palette to emphasize the dawn and dusk transitions. Pfeiffer often had to be filmed in the “golden hour,” requiring precise timing and long waits on cold, high-altitude sets.

One of the film’s most famous elements is that the two leads, Pfeiffer and Rutger Hauer (Navarre), are rarely on screen together due to the curse. On set, they had to maintain a “star-crossed” chemistry despite the logistical separation of their shooting schedules.

Pfeiffer worked alongside real red-tailed hawks (specifically one named Gift). Because she spent so much time with the bird handlers, she reportedly developed a great respect for the animals, even though she had to be careful; hawks are notoriously unpredictable on busy film sets.  

The makeup and costume teams worked to give Pfeiffer a pale, almost translucent look to contrast with the dark, gritty medieval world. This “Audrey Hepburn-esque” quality was intentional, meant to make Isabeau feel like a creature not entirely of the human world.

The set dynamic changed significantly before filming began. Kurt Russell was originally cast as Navarre but dropped out during rehearsals. He was replaced by Rutger Hauer, whose European intensity changed the tone of the production and provided a more “knight-like” foil to Pfeiffer’s delicate but resilient Isabeau. Pfeiffer’s performance earned her a Saturn Award nomination for Best Actress, solidifying her status as a leading lady capable of carrying big-budget genre films.

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Tilly Losch: The Fluid Grace of the Jazz Age

Tilly Losch (1903–1975) was a mesmerizing Austrian-born dancer, actress, and painter who epitomized the avant-garde glamour of the early 20th century. Celebrated for her ethereal beauty and “liquid” style of movement, she began her career as a prima ballerina in Vienna before taking the world stages of London and New York by storm.

Losch was a true muse of the Jazz Age, collaborating with legendary figures like Max Reinhardt and George Balanchine, and starring in opulent productions such as The Miracle and The Seven Deadly Sins. Beyond her technical brilliance, she was a cultural sensation whose life–marked by high-profile marriages and a later transition into evocative surrealist painting–remains a fascinating study of artistic reinvention and the haunting elegance of the Art Deco era.

These vintage photos capture the magnetic presence of Tilly Losch, a woman who moved through life with the same poetic grace she brought to the stage.

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18 Fascinating Portraits of Tammi Terrell in the 1960s

Tammi Terrell (born Thomasina Winifred Montgomery, April 29, 1945 – March 16, 1970) was an American singer-songwriter best known as a Motown Records star in the 1960s, particularly for her passionate, soulful duets with Marvin Gaye.

Terrell was born in Philadelphia, Pennsylvania, and showed talent early, singing in church and winning local talent contests. By her early teens, she performed in clubs and opened for acts like Patti LaBelle & the Bluebelles.

She began her professional recording career around 1960 under the name Tammy Montgomery with Scepter/Wand Records, releasing singles like “If You See Bill.” She later toured with James Brown’s Revue for several months and recorded for his Try Me label, then briefly attended the University of Pennsylvania on a scholarship before focusing on music.

In 1965, she signed with Motown after being spotted by Berry Gordy. Her early solo singles for the label included “I Can’t Believe You Love Me” and “Come On and See Me,” though they had modest success. She also released the solo album Irresistible.

Terrell’s biggest fame came from her chemistry with Marvin Gaye. Starting in 1967, the duo recorded a string of classic hits written and produced largely by Nickolas Ashford and Valerie Simpson, including: “Ain’t No Mountain High Enough” (inducted into the Grammy Hall of Fame), “Your Precious Love,” “Ain’t Nothing Like the Real Thing” and “You’re All I Need to Get By.”

These songs defined Motown’s romantic, upbeat soul sound and became enduring standards. They released three duet albums together and scored multiple Top 40 hits on the Billboard Hot 100, with strong R&B chart performance. Their partnership is often remembered for its emotional depth and vocal harmony.

Tragically, Terrell’s career was cut short. In late 1967, she collapsed on stage during a performance with Gaye. She was diagnosed with a malignant brain tumor. Over the next couple of years, she underwent eight brain surgeries, which led to severe complications including memory loss, partial paralysis, blindness, hair loss, and significant weight loss (down to about 93 pounds). She eventually went into a coma after her final surgery and died on March 16, 1970, in Philadelphia at the age of 24. Her death deeply affected Marvin Gaye, who later described it as a profound personal loss that influenced his music and outlook.

Despite her short life and career (active mainly from 1960 to 1969), Tammi Terrell left a lasting mark on soul and R&B music. Her powerful yet warm vocals and the timeless duets with Gaye continue to be celebrated and sampled. Compilations of her solo work (such as “Come On and See Me”) have highlighted that she was a talented artist in her own right beyond the duets. She is remembered as one of Motown’s brightest but most tragic stars.

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