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November 8, 2026

Dale Evans: The Original Queen of the West

Dale Evans (1912–2001) was an American actress, singer, and songwriter who became known as the “Queen of the West.”

Born Frances Octavia Smith in Texas, Evans began her career in radio before moving into films in the 1940s. Paired with singing cowboy Roy Rogers, she quickly became his on-screen partner and later his wife. Together they starred in more than two dozen Western films and the popular television series The Roy Rogers Show.

Evans also wrote the enduring song “Happy Trails,” which became their signature theme. Beyond entertainment, she was a committed Christian author and speaker. With her warmth, talent, and lasting partnership with Rogers, Evans remains the original and most iconic Queen of the West. These classic photos capture the charm, spirit, and enduring appeal of Dale Evans, the original Queen of the West.






The Unbelievable Story of Diego Maradona With His Custom Black Ferrari Testarossa

Fresh off winning the 1986 World Cup with Argentina and leading Napoli toward historic glory, Diego Maradona decided he wanted a new sports car. He gave his legendary manager, Guillermo Coppola, a seemingly impossible instruction: “I want a Ferrari, but it has to be black.”

The problem was that Ferrari’s founder, Enzo Ferrari, famously maintained that a true Ferrari must be red. At the time, the factory in Maranello strictly rolled the iconic Testarossa off the assembly line in Rosso Corsa (racing red). When Coppola originally made the request, the brand reportedly scoffed, stating that a factory-black Testarossa simply didn’t exist.

However, Maradona was the biggest celebrity on Earth. Ferrari eventually relented, making an exception that had previously only been granted to actor Sylvester Stallone. They built a custom model finished in a specific dark hue (often referred to as Glasurit Nero Met 901/C), making Maradona one of the very first people to own a factory-certified black Ferrari.




Coppola didn’t just break Ferrari’s rules; he also used the car to orchestrate a brilliant piece of business with Napoli’s president, Corrado Ferlaino. The car itself initially cost around $430,000. Coppola went to Ferlaino and convinced him that gifting this ultra-exclusive vehicle to Maradona would ensure the superstar stayed happy and committed to the club. Ferlaino agreed to foot the bill but ended up paying heavily for it. According to Ferlaino, the final expenses nearly doubled after adding a hefty $130,000 surcharge for the custom paint job, alongside other logistics.

The absolute best part of the story happened when the vehicle was flown to Naples and delivered straight to the tarmac. Maradona and Ferlaino walked up to the pristine, menacing black Testarossa. Diego was thrilled, until he opened the door and sat inside.

Maradona looked around the stark white leather interior and suddenly frowned. He turned to Coppola and asked, “Where is the stereo? And where is the air conditioning?” Coppola explained that because it was a lightweight, high-performance purist sports car, those amenities were stripped out. Coppola famously tried to logic with him: “Diego, this is a racing car. It doesn’t have it.”

Without missing a beat, a furious Maradona retorted, “Well, then they can shove it up their...! I’m not taking it.” Ferlaino stood by in complete disbelief after spending over half a million dollars. To save the situation, Coppola immediately had the car taken back to have a premium sound system and AC unit custom-fitted within 24 hours.

Once the comforts were installed, Maradona fell in love with the car. Because he was utterly mobbed by adoring fans every time he stepped outside in Naples, he routinely used the black Testarossa to zip through the city streets late at night when the roads were empty.



He kept the car throughout his historic run at Napoli. It eventually changed hands over the decades, spending time in a Spanish collector’s hands before selling at an auction in 2014 for around €250,000 with just over 20,000 kilometers on the odometer. Today, it remains a permanent symbol of the era when Maradona didn’t just bend defenders to his will, he bent the rules of Ferrari, too.

Wartime Love: 30 Heartwarming Photos of Wedding Couples During WWII

These heartwarming vintage photos capture couples who chose to marry during the uncertain years of World War II. Despite the shadow of war, separation, and hardship, the images show young men and women in uniform and formal attire, exchanging vows, cutting cakes, and sharing quiet moments of joy.

Some weddings were simple and hurried, others carefully arranged before deployment. These photos offer a tender and moving glimpse of love, hope, and resilience in one of history’s most difficult times.






November 7, 2026

Studio Portraits of Joni Mitchell Taken by Ed Thrasher in 1968

These black and white portraits capture Joni Mitchell in 1968 during a studio promotional photo session shot by Ed Thrasher. Thrasher was the Chief Art Director at Warner Bros. / Reprise Records during the late 1960s and 1970s. He designed and art-directed hundreds of iconic album covers for artists ranging from Frank Sinatra and Jimi Hendrix to Neil Young and Joni Mitchell.

This session took place around the launch of Mitchell’s debut studio album, Song to a Seagull (1968), released under Reprise Records. Having recently moved to California after being discovered by David Crosby in Coconut Grove, Florida, Mitchell was transitioning into an influential figure in the Laurel Canyon folk scene.

The images showcase a classic studio setup featuring stark backlighting and a wind machine blowing her hair to create dynamic motion. Images from this session were used for Reprise promotional materials, press releases, magazine feature layouts, and inside gatefolds for early Reprise pressings and archival retrospectives.






20 Stunning Portraits of Argentine Actress Mona Maris When She Was Young in the 1920s

During the 1920s, Argentine actress Mona Maris (November 7, 1903 – March 23, 1991) established herself as a rising international star, transitioning from a high-society background in Buenos Aires to becoming a sought-after talent in both European silent films and early Hollywood. Her multicultural appeal and sophisticated, exotic persona allowed her to capture the attention of major global film producers before the decade closed.

Maris began her professional cinematic journey in Europe. She made her screen debut in the British-produced film The Apache (1925). Because of her mastery of French and German, she easily secured roles in France and England, eventually landing a contract with the prestigious Universum Film AG (UFA) studio in Germany. Between 1927 and 1928, she starred in several prominent German features, including Der Fürst von Pappenheim (1927) and Los Esclavos del Volga, building a reputation as a sultry, elegant screen presence.

While performing in Berlin in 1927, Maris caught the attention of Joseph Schenck, the president of United Artists. Recognizing her global appeal, he offered her a path to a Hollywood career. Maris officially relocated to the United States in 1929 after signing a contract with Fox Film Company. She made her American debut in the late silent film Romance of the Rio Grande (1929).

While her multi-language fluency was initially a selling point for studios looking to expand their global reach, the sudden widespread arrival of “talkies” in 1929 posed a significant hurdle. Maris’s English was heavily strained and initially deemed nearly unintelligible by Hollywood producers. This vocal barrier ultimately shaped the trajectory of her later 1930s career, steering her toward “femme fatale” archetypes and Spanish-language versions of mainstream American movies.






The Mid-Century Muse: Barbara Mullen and the New Face of Fashion

Barbara Mullen (1927–2023) was an American fashion model who helped redefine beauty in the postwar era. She was discovered while working as a mannequin at Bergdorf Goodman, and rose to prominence after her first appearance in Vogue in 1947.

With her unconventional features, slender frame, and expressive presence, Mullen stood apart from the classic Hollywood ideal and became a favorite of photographers such as Richard Avedon, Lillian Bassman, William Klein, and Norman Parkinson. Throughout the 1950s, she was one of the most sought-after and highest-paid models of her generation, appearing in major fashion magazines around the world. Her distinctive look helped usher in a new, more modern standard of beauty that would influence the decades to come.

These elegant photos celebrate Barbara Mullen, the mid-century muse who quietly transformed the face of fashion.

Barbara Mullen wearing a pink dress with a sheer pink veil, 1947

Barbara Mullen in burgundy and gray dress with gray waist band and gray cotton gloves, all by Mildred Orrick, photo by Herbert Matter, February 1948

Barbara Mullen standing in a blue short sleeve dress with a full skirt and a flower at the neckline by Clare McCardell, red suede gloves by Fuchs, photo by Horst P. Horst, Vogue, May 1, 1948

Barbara Mullen wearing a black jacket with a stand-up collar, printed with Zodiac symbols in stained glass colors, by Ceil Chapman, with a yellow-banded gray side-tilted helmet by John Frederics, photo by Herbert Matter, February 15, 1948

Barbara Mullen wearing a fern shadowed dress in green by Herbert Sondheim with beads around neck wearing matching green gloves, photo by Herbert Matter, 1948

35mm Transparency Studio Photos of Dana Plato on the Sitcom “Diff'rent Strokes”

Dana Plato portrayed Kimberly Drummond on the hit sitcom Diff'rent Strokes from 1978 to 1984, starring as the sweet, level-headed teenage daughter of wealthy white businessman Phillip Drummond. Originally introduced as a recurring face, her instant charisma and relatability with young female viewers quickly elevated her to a core series regular.

Kimberly is the biological child of Mr. Drummond. When her father adopts Arnold (Gary Coleman) and Willis Jackson (Todd Bridges), the sons of his late housekeeper, she warmly embraces them as her brothers. Kind-hearted, stylish, and sweet, Kimberly served as the grounded big sister who often mediated conflicts between her father and new brothers.

In 1984, during the show’s sixth season, 19-year-old Plato became pregnant in real life. The producers felt a teenage pregnancy would tarnish her character’s wholesome, “squeaky-clean” image. Instead of incorporating the pregnancy into the plot, the writers abruptly wrote Kimberly out of the main narrative by sending her character to study abroad in Paris. After giving birth to her son, Plato was permitted to return exclusively for a handful of guest appearances, but she never regained her status as a primary cast regular before the show concluded in 1986.









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