30 Stunning Portraits of Dita Parlo in the 1930s

During the 1930s, German actress Dita Parlo established herself as a major star of European cinema, moving fluidly between German and French films. Within just a four-year span, she starred in two masterpieces that are widely considered among the greatest movies ever made.

Following her rise to stardom in German silent and early talkie cinema (such as Melodie des Herzens in 1929), Parlo attempted to transition to Hollywood in 1931. She appeared in German-language foreign versions produced by MGM and Warner Bros. (such as Menschen hinter Gittern) as well as small roles in films like Honor of the Family (1931). However, her subtle style did not align with Hollywood studio demands at the time, leading her to move to France.

Parlo achieved her greatest artistic success working in French cinema during the mid-to-late 1930s. Directed by Julien Duvivier, Au bonheur des dames (1930) showcased her early capability in dramatic, emotionally grounded roles. In L'Atalante (1934), Parlo starred as Juliette, a young rural bride navigating love, marriage, and longing aboard a river barge alongside Jean Dasté and Michel Simon. Her performance became an enduring symbol of poetic realism. She played Elsa, in La Grande Illusion (1937), a compassionate German farm widow who provides shelter and comfort to escaped French POWs. Her role anchored the film’s message of shared humanity across national boundaries.

Near the end of the decade, Parlo appeared in films like Mademoiselle Docteur (1937) and Ultimatum (1938). At the outbreak of World War II, as a German national living in France, she was detained as an alien and deported back to Germany, which largely halted her film career until after the war.

Her screen presence in the 1930s left a lasting cultural impression, inspiring everything from fashion imagery to artistic tributes, including entertainer Dita Von Teese (who adopted her stage name from Parlo) and Madonna (who referenced her L'Atalante character in her 1992 Sex book and Erotica project).

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Rare Vintage Covers of Unknown Magazine (1939–1943)

These rare vintage covers of Unknown magazine (later known as Unknown Worlds) showcase the distinctive visual style of one of the most important fantasy pulps of the early 1940s. Edited by John W. Campbell and published by Street & Smith from 1939 to 1943, the magazine featured imaginative and atmospheric cover art during its early issues, before switching to a more restrained design.

The painted covers, created by artists such as H.W. Scott and Edd Cartier, captured a blend of fantasy, the uncanny, and everyday settings that defined the magazine’s unique approach. These covers remain a striking record of a short-lived but highly influential publication in the history of fantasy fiction.

Unknown magazine cover, April 1939

Unknown magazine cover, August 1939

Unknown magazine cover, December 1939

Unknown magazine cover, July 1939

Unknown magazine cover, June 1939

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Never Before Seen Photos of Dolly Parton and Dom DeLuise on the Set of “The Best Little Whorehouse in Texas” in 1981

David DeLuise recently opened the family archives to share rare, never-before-seen photos of country legend Dolly Parton alongside his late father, comedy icon Dom DeLuise. The nostalgic snapshots, which David posted to his Instagram account, were captured back in 1981 on the set of the musical comedy film The Best Little Whorehouse in Texas. The movie eventually hit theaters in 1982.

In the film, Parton starred as the outspoken brothel madam Miss Mona, while DeLuise played the colorful, moralizing TV personality Melvin P. Thorpe. The set hosted an incredibly close-knit cast. According to family lore and crew stories, Dolly Parton and Dom DeLuise bonded so deeply during production that they once went trick-or-treating together completely in disguise around the Pacific Palisades on Halloween, and went entirely unrecognized by neighbors.

The newly shared photos offer fans a heartwarming, candid look at the joyful chemistry and genuine off-screen friendship between two of Hollywood and Nashville’s most beloved entertainers.

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Pola Negri: Exotic Star of Silent Hollywood

Pola Negri (1897–1987), born Apolonia Chałupiec in Poland, was one of the most glamorous and exotic stars of the silent film era.

After early success on the stage and in German cinema under director Ernst Lubitsch, Negri rose to international fame with films such as Madame Dubarry (1919). Invited to Hollywood by Paramount, she became a major silent-screen star known for her passionate performances, dramatic presence, and sophisticated European allure.

Though her career declined with the arrival of talking pictures, Negri remains remembered as a pioneering international actress and one of the definitive vamps of early Hollywood. These vintage photos capture the exotic beauty, dramatic presence, and enduring glamour of Pola Negri, a true icon of the silent screen.

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Private Footage of the 9/11 Terrorist Attack Shot by a College Student From a NYU Dormitory

On the morning of September 11, 2001, Caroline Dries was a student at New York University (NYU) residing on a high floor at 200 Water Street in Lower Manhattan with her roommate, Megan. Awakened at 8:46 a.m. by the sound of American Airlines Flight 11 hitting the North Tower, Dries began filming with a handheld camcorder she had bought just a week earlier.

The camera captured the raw real-time reactions of Dries and her dorm mates. At 9:03 a.m., while zooming in on falling debris and people jumping from the North Tower, United Airlines Flight 175 struck the South Tower live on camera. The shocking moment led to panicked reactions as the students realized it was an intentional attack rather than an accident.

Horrified, Dries and her roommate briefly fled into the street but returned to their dorm room due to confusion and chaos outside. Her video later captured the collapse of the South Tower at 9:59 a.m.

Dries held onto the raw tapes for nearly a decade, finding it difficult to process the gravity of what she had captured, which included heartbreaking details like victims falling from the towers. She eventually shared her story and footage publicly around the 10th anniversary of the attacks on programs for networks like the CNN Student Footage Interview and The History Channel.

Dries later pursued a highly successful career in television, working as a writer and executive producer on major series including Smallville, The Vampire Diaries, and creating Batwoman for The CW. Despite her Hollywood success, she has noted that the raw 9/11 tape remains the most significant and compelling piece of film she will ever be a part of.

1961 Volkswagen Single-Cab Pickup: Classic Utility with Character

The 1961 Volkswagen Single-Cab Pickup is a rare and practical variant of the iconic Type 2 Transporter.

Based on the same rear-engined, air-cooled platform as the beloved VW Bus, this single-cab model featured a compact driver’s compartment and an open cargo bed with drop-down sides, making it a versatile work vehicle. Powered by a modest flat-four engine, it combined simplicity, durability, and unmistakable Volkswagen styling.

Though produced in far smaller numbers than the Microbus, the Single-Cab Pickup has become a highly sought-after classic, admired for its utilitarian charm and timeless design. These beautiful photos capture the distinctive style and practical charm of the rare 1961 Volkswagen Single-Cab Pickup, a true classic of mid-century utility vehicles.

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Mardee Hoff, the Girl With the Most Beautiful Figure in America

Mardee Hoff (born Marjorie Saunders Hoff, November 4, 1914 – April 27, 2004) was an American model and artist who, in late 1935, was selected by the American Society of Illustrators as the woman with the “most perfect figure in America.”

She was the daughter of illustrator and photographer Guy Hoff and Leona (Saunders) Hoff, born in Buffalo, New York. Her nickname “Mardee” came from the name of her mother’s best friend’s cat; both supposedly had wide-set eyes.

In December 1935, she was selected from over 2,600 contestants at New York’s Commodore Hotel by the American Society of Illustrators for having the most perfect physical proportions in the country. This launched her into a whirlwind of national publicity, media clips, and high-profile modeling gigs.

Hoff became a leading “Cover Girl” model with the Harry Conover agency in the late 1930s, known for a wholesome American-girl look. She modeled for McClelland Barclay (one of the contest judges), appearing in his illustrations for Whitman’s Chocolates, magazine covers and story art (Saturday Evening Post, Cosmopolitan, This Week, etc.), film promotions (including work related to Hotel for Women and Ziegfeld Girl), and wartime efforts such as Dogs for Defense. Their professional relationship developed into a personal one; Barclay, who was lost at sea in 1943 while serving in the Navy, left her his Long Island house and personal effects in his will. She preserved many of his papers, letters, and materials, which later aided biographical research on him, and supported his posthumous recognition.

She also pursued art herself (charcoal portraits and other work are documented) and traveled extensively. She later married and was known as Mardee H. Foster. She had no children and died at age 89 in Lisbon, New Hampshire; her obituary notes her careers as a model and well-known artist.

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