Two Young Men Hold a Pre-Printed Sign “NOT MARRIED BUT WILLING TO BE”, ca. 1900

Approximately 120 years ago, this couple held opposite edges of a sign whilst posing for this photo in a very different world than the one we live in today.

In the late 19th and early 20th centuries, preprinted signs reading “Not Married But Willing To Be” were common novelty props supplied by photography studios. They were intended to be used tongue-in-cheek by solo, single men who were dressed in their Sunday best. The photograph would then be shared as a playful advertisement to local women that the bachelor was available for marriage.

Instead of a solo man looking for a wife, this photograph subverts that norm entirely: two young men hold the sign together, each gripping an edge. While they posed for this photo in an era when male partnerships were strictly criminalized and socially suppressed, their intimate posture, proximity, and shared declaration quietly signaled a desire to be legally wed to one another. Authors and curators have noted that the couple actually took at least five different photographs together to memorialize their relationship.

The photo serves as the famous cover image for Loving: A Photographic History of Men in Love 1850s–1950s. The book is drawn from the Nini-Treadwell Collection, an archive of more than 4,000 vintage photographs meticulously accumulated over two decades by married couple Hugh Nini and Neal Treadwell. They traveled the globe, scouring flea markets, antique shops, family albums, and estate sales, to rescue lost moments of male romance that families often hid away or destroyed out of shame.

Fleetwood Mac Celebrating Halloween in 1978

In October 1978, Fleetwood Mac took a break from recording the Tusk album at Village Recorders in Los Angeles to celebrate Halloween by attending a costume party together. The band’s costumes from that specific night, documented in candid photos featured in the book Get Tusked: The Inside Story of Fleetwood Mac’s Most Anticipated Album, reflected a wide, eccentric, and today highly controversial range of themes.

Lindsey Buckingham dressed as a priest, complete with a dark clerical frock and collar. Stevie Nicks wore a dramatic blonde wig, heavy white face makeup and a white gown, a ghostly, ethereal look often linked to her “Rhiannon” persona.

Christine McVie wore a highly controversial Aunt Jemima-inspired costume in blackface. John McVie wore a deeply problematic Nazi officer uniform. According to details in Mick Fleetwood’s autobiography, the choice stemmed from McVie’s personal, historical interest in collecting Third Reich memorabilia rather than political alignment, though both his and Christine’s costumes are widely viewed as unacceptable by modern social standards.

Mick Fleetwood also dressed up in elaborate gear, fitting his eccentric style. He participated in the group’s spooky season gathering, which took place while the band was deep in the era of recording their ambitious follow-up album, Tusk.

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Marisa Berenson: The Elegant Icon of 1970s Fashion and Cinema

Marisa Berenson is an American model and actress who became one of the defining faces of the late 1960s and ’70s.

Granddaughter of legendary fashion designer Elsa Schiaparelli, Berenson was discovered by Diana Vreeland and rose to prominence as a high-fashion model, appearing on the covers of Vogue and Harper’s Bazaar. Known for her refined beauty and eclectic style, she transitioned successfully into film, earning critical acclaim for her role as Natalia Landauer in Cabaret (1972) and starring as Lady Lyndon in Stanley Kubrick’s Barry Lyndon (1975).

With her aristocratic elegance and distinctive presence, Berenson remains an enduring icon of both fashion and cinema. These elegant photos capture the timeless beauty and sophisticated style of Marisa Berenson, a true icon of 1970s fashion and film.

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Diana Dors Posing With Her Custom 1949 Delahaye Type 175 S Saoutchik Roadster

The 1949 Delahaye Type 175 S Saoutchik Roadster owned by British “blonde bombshell” actress Diana Dors is widely considered one of the most striking and flamboyant coachbuilt automobiles of the post-WWII era. Often referred to as “the ultimate expression of French automotive Art Deco,” the car was a spectacle of dramatic swooping lines and extravagant chrome ornamentation.

The car was originally commissioned by the flamboyant English millionaire Sir John Gaul. Built on the first post-war Delahaye chassis (chassis number 815023), it was brought to life by the legendary Parisian coachbuilder Jacques Saoutchik. Saoutchik gave the roadster its iconic “Narval” nose, heavily inspired by the protruding tusk of a narwhal whale. The car was fully wrapped in sweeping, voluptuous Art Deco bodywork featuring fully enclosed wheels, heavily skirted fenders, and intricate brass trim that was original gold-plated.

The roadster debuted at the 1949 Paris Auto Show and spent the year sweeping top honors at elite European Concours d’Elegance events in Monte Carlo and San Remo. It was eventually purchased for a 23-year-old Diana Dors for £5,000 in 1954, before she even possessed a driver’s license. She did not keep it long; it was traded for a Cadillac Eldorado convertible around 1955.

By the 1970s, the car migrated across the Atlantic to Colorado. Frustrated by the unreliable and complex French mechanical layout, a subsequent owner controversially sliced out the front portion of the chassis to swap in an Oldsmobile Toronado V8 engine and a front-wheel-drive system.

The car remained separated from its original powertrain for nearly 40 years. Eventually, a dedicated collector sourced correct Type 175 components, commissioning master restorer Fran Roxas to bring the vehicle back to its original factory glory. The restored automotive masterpiece made its official comeback debut at the 2006 Pebble Beach Concours d’Elegance, where it won Best-in-Class. It later commanded a jaw-dropping price of nearly $5 million USD at auction and has been displayed as a historic treasure at the Qatar National Museum in Doha.

30 Stunning Vintage Photos of Brigitte Bardot From ‘Plucking the Daisy’ (1956)

These stunning vintage photos capture Brigitte Bardot during the filming of Plucking the Daisy (En effeuillant la marguerite, 1956), a lighthearted French comedy directed by Marc Allégret. In the film, Bardot plays Agnès Dumont, a young woman who escapes her strict father and finds herself navigating Parisian life with charm and mischief.

The images highlight her natural beauty, playful energy, and emerging star quality at a pivotal moment in her career, just before the international breakthrough of And God Created Woman. They offer a captivating glimpse of Bardot in one of her early leading roles.

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22 Amazing Photographs of Tom Skerritt in the 1970s

Emmy Award-winning actor Tom Skerritt passed away at the age of 93 on October 21, 2026, at his home in Seattle from natural causes. His family confirmed his passing in a statement, remembering him not just for his extraordinary seven-decade Hollywood career, but for his humor, curiosity, wisdom, and generosity.

The 1970s was the defining decade that launched Skerritt from a busy television guest star into a prominent, recognizable cinematic presence. During this era, he established his signature “everyman” charm, navigating effortlessly between counterculture comedies, prestigious dramas, and landmark science fiction. Skerritt secured his true breakout role playing US Army Surgeon Captain Augustus Bedford “Duke” Forrest in Robert Altman’s seminal military black comedy M*A*S*H (1970). Starring alongside Donald Sutherland and Elliott Gould, the massive hit solidified his footing in Hollywood.

He displayed his range in the critically acclaimed The Turning Point (1977), Oscar-nominated drama starring Anne Bancroft and Shirley MacLaine, which helped prove he could handle grounded, emotionally heavy studio pictures. Skerritt showed off his comedic timing by appearing in Cheech & Chong’s legendary counterculture stoner comedy Up in Smoke (1978). He capped off the decade with one of his most iconic roles, Captain Dallas of the Nostromo in Ridley Scott’s sci-fi horror masterpiece Alien (1979). Playing the doomed captain opposite Sigourney Weaver, Skerritt’s quiet authority anchored the terrifying first half of the film.

Before his film career exploded later in the decade, Skerritt spent the early 1970s as a highly visible face on the small screen. He frequently guest-starred on major westerns, dramas, and police procedurals of the era, including: Gunsmoke, Bonanza, Hawaii Five-O, Baretta and Barnaby Jones.

Often described as a “character actor locked in a leading man's body,” Skerritt’s work in the 1970s laid the foundational rugged charm that would later lead to iconic roles in the 1980s and 1990s, such as Viper in Top Gun and his Emmy-winning run on Picket Fences.

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Wende Wagner: The Athletic Beauty of 1960s Television and Film

Wende Wagner (1941–1997) was an American actress and stuntwoman known for her athletic grace and striking presence in 1960s television and film.

Born in Connecticut to a Navy swimming coach and a champion skier, Wagner grew up with a strong athletic background and became an accomplished swimmer, diver, and surfer. She began her career as an underwater stunt double on series such as Sea Hunt before transitioning to acting.

Wagner is best remembered for her role as Lenore “Casey” Case in The Green Hornet (1966–1967) alongside Van Williams and Bruce Lee, and she also appeared in films including Rio Conchos (1964), Rosemary’s Baby (1968), and Guns of the Magnificent Seven (1969). With her natural beauty and adventurous spirit, she remains a memorable figure of 1960s popular culture.

These captivating photos highlight the beauty, energy, and distinctive presence of Wende Wagner, a standout of 1960s television and film.

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