Photos of Bob Dylan During Recording Sessions for His Debut Album at Columbia Studio in New York City in 1961

In November 1961, a 20-year-old Bob Dylan entered Columbia Studios in New York City to record his self-titled debut album. Signed by legendary talent scout John Hammond, Dylan tracked the entire record in just a few short sessions. He used minimal production, relying primarily on his acoustic guitar, harmonica, and distinctive voice.

Dylan met John Hammond at a rehearsal session for Carolyn Hester on September 14, 1961, at the apartment shared by Hester and her then-husband, Richard Fariña. Hester had invited Dylan to the session as a harmonica player, and Hammond approved him as a session player after hearing him rehearse, with recommendations from his son, musician John P. Hammond, and from Liam Clancy.

Hammond later told Robert Shelton that he decided to sign Dylan “on the spot” and invited him to the Columbia offices for a more formal audition recording. No record of that recording has turned up in Columbia’s files, but Hammond, Dylan, and Columbia's A&R director Mitch Miller have all confirmed that an audition occurred.

On September 26, Dylan began a two-week run at Gerde’s Folk City, second on the bill to The Greenbriar Boys. On September 29, an exceptionally favorable review of Dylan’s performance appeared in the New York Times, written by Robert Shelton. The same day, Dylan played harmonica at Hester’s recording session at Columbia’s Manhattan studio. After the session, Hammond brought Dylan to his offices and presented him with Columbia’s standard five-year contract for previously unrecorded artists, and Dylan signed immediately.

That night at Gerdes, Dylan told Shelton about Hammond’s offer but asked him to “keep it quiet” until the contract’s final approval had worked through the Columbia hierarchy. The label’s official approvals came quickly.

Studio time was scheduled for late November. During the weeks leading up to those sessions, Dylan began searching for new material even though he was already familiar with many songs. According to Dylan’s friend Carla Rotolo (sister of his girlfriend Suze Rotolo), “He spent most of his time listening to my records, days and nights. He studied the Folkways Anthology of American Folk Music, the singing of Ewan MacColl and A. L. Lloyd, Rabbit Brown’s guitar, Guthrie, of course, and blues … his record was in the planning stages. We were all concerned about what songs Dylan was going to do. I remember clearly talking about it.”

The album was ultimately recorded in three short afternoon sessions on November 20 and 22 at Columbia’s 7th Avenue studio. Hammond later joked that Columbia spent “about $402” to record it, and the figure has entered the Dylan legend as its actual cost. Despite the low cost and short amount of time, Dylan was still difficult to record, according to Hammond. “Bobby popped every p, hissed every s, and habitually wandered off mike,” recalls Hammond. “Even more frustrating, he refused to learn from his mistakes. It occurred to me at the time that I’d never worked with anyone so undisciplined before.”

Seventeen songs were recorded, and five of the album’s chosen tracks were actually cut in single takes (“Baby, Let Me Follow You Down,” “In My Time of Dyin’,” “Gospel Plow,” “Highway 51 Blues,” and “Freight Train Blues”) while the master take of “Song to Woody” was recorded after one false start. The album’s four outtakes were also cut in single takes. During the sessions, Dylan refused requests to do second takes. “I said no. I can’t see myself singing the same song twice in a row. That’s terrible.”

The album cover features a reversed photo of Dylan holding his acoustic guitar. This was done to prevent the neck of the guitar from obscuring Columbia’s logo.

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A Daguerreotype of Caesar, the Earliest Known Portrait of an African American

Caesar (c. 1737? – 1852) was an enslaved man in New York who is notable for a surviving 1851 daguerreotype portrait, one of the earliest known photographs of an African American person in the United States.

He is also remembered as possibly the last enslaved person to die in New York State (after slavery was fully abolished there) and as a candidate for the earliest-born person ever photographed while alive, though his claimed birth year is unverified and likely exaggerated.

Caesar was born (supposedly in 1737) on the Bethlehem House estate in Bethlehem, New York, owned by the Nicoll family (specifically associated with Rensselaer/Van R. Nicoll). He lived through multiple generations of the same enslaving family, outliving several masters. He was allowed to retire around 1817 at about age 80 but continued living with the family.

New York gradually abolished slavery: most enslaved people were freed by July 4, 1827, but Caesar was not officially manumitted until around 1841 (when remaining forms of slavery ended). His final connection was with Wm. Nicoll Sill (grandson of a previous master).

In 1851 (a year before his death), a member of the family, likely the son of his last master, persuaded the elderly Caesar to sit for a daguerreotype portrait. A handwritten note accompanying the image reads (with original spelling):

“Ceasar [sic], born a slave of Van R. Nicoll, son of William, in 1737 at Bethlehem, N.Y., where he died in 1852. The last slave to die in the North. This daguerreotype was taken in 1851. His 2nd master was Francis Nicoll, son of Van R. Nicoll and his 3rd master Wm. Nicoll Sill...”

He died in 1852 and is buried with a tombstone claiming he was 115. The 1850 census lists him as “Cesar Nicholls,” age 110. No contemporary records firmly confirm his exact birth year, so the longevity claims remain unproven (though impressive if accurate).

Vera-Ellen: The Radiant Dancing Star of Hollywood Musicals

Vera-Ellen (1921–1981) was an American actress, singer, and dancer who lit up the screen during Hollywood’s Golden Age of musicals.

Celebrated for her extraordinary dancing ability, long slender legs, radiant smile, and boundless energy, Vera-Ellen became one of the most gifted dancers in film history. She starred in several beloved MGM musicals, notably dancing opposite Fred Astaire in Three Little Words (1950) and The Belle of New York (1952), and delivered a memorable performance alongside Bing Crosby and Danny Kaye in the holiday classic White Christmas (1954).

Known for her technical precision, joyful stage presence, and wholesome charm, Vera-Ellen represented the pinnacle of 1950s musical film elegance and athletic grace. These beautiful vintage photos capture the infectious energy, graceful movement, and radiant charm of Vera-Ellen, one of the most talented and beloved dancers in the history of Hollywood musicals.

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Portraits of Teenage Priscilla Beaulieu (Later Known as Priscilla Presley) in West Germany From Between 1960 and 1962

Between 1960 and 1962, Priscilla Beaulieu lived a mostly long-distance relationship with Elvis Presley while navigating her teenage years in West Germany. After meeting Elvis in late 1959, this specific two-year period marked their transition from an in-person courtship to a highly anticipated reunion in America.

In March 1960, Elvis Presley completed his military service and left West Germany to return to the United States. At the time of his departure, 14-year-old Priscilla was still a student in Wiesbaden. Her style during this period was inherently youthful and natural. She wore her hair in its natural lighter brown shade, often tied back in a casual ponytail or cut with classic teenage bangs, wearing little to no makeup.

After Elvis left, Priscilla faced a period of relative isolation. Swarmed by reporters at school asking about her relationship, she was convinced the romance was over. However, communication continued through sporadic, late-night long-distance phone calls from Elvis.

After months of minimal contact, Elvis called Priscilla in early 1962 and invited her to visit him in Los Angeles during her summer break. This visit marked a massive turning point in her personal transformation. During this trip, Elvis began actively influencing her aesthetic, encouraging her to play up her features. Priscilla began experimenting with a bolder, more mature look, darkening her hair toward a richer, raven-black shade and teasing it into the early iterations of her signature voluminous, high-climbing 1960s bouffant.

She started leaning heavily into the “mod glam” era, introducing dramatic, flawlessly flicked black liquid cat-eye liner and thick false eyelashes that defined her striking, doll-like gaze. Elvis took her on a trip to Las Vegas, breaking the strict itinerary her parents had agreed to. To keep up with Elvis’s entirely nocturnal lifestyle, she was introduced to prescription sleeping pills and amphetamines.

By the end of 1962, following a subsequent visit to Graceland at Christmas, Priscilla’s parents finally agreed to let her permanently relocate to Memphis in early 1963 to finish her high school education at an all-girls Catholic school, setting the stage for her full-time immersion into Elvis’s world.

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Greta Plattry: The Elegant Soul of American Knitwear and Sportswear

Greta Plattry (1909–2006) was a German-American fashion designer known for her elegant yet practical sportswear and knitted separates during the 1940s and 1950s. Born in Berlin, she immigrated to the United States in 1937 and quickly established herself in the American fashion industry.

Plattry gained recognition for her innovative use of knitted fabrics, Tyrolean-inspired designs, and casual yet sophisticated resort wear. Her collections often featured hand-knitted sweaters, dresses, and coordinates that combined European refinement with American ease.

Though less famous today than contemporaries like Claire McCardell, Greta Plattry was highly regarded in her time for creating wearable, feminine clothing that appealed to modern, active women of the postwar era. These beautiful vintage photographs and fashion images showcase Greta Plattry’s refined taste, innovative knit designs, and lasting influence on American sportswear during the golden postwar era.

Janet Randy in white ribbed knit, wool cardigan sweater with robin's egg blue, knit skirt by Greta Plattry, 1951

Mary Jane Russell wearing black, knit sweater with turquoise wool, poodle cloth skirt, both by Greta Plattry, photo by Clifford Coffin, Glamour, 1951

Suzy Parker in cork-colored suit of wool jersey with crossover blouse of deep cyclamen pink, skirt with taffeta lining to match the blouse by Greta Plattry, photo by Richard Rutledge, Vogue, January 1, 1952

Suzy Parker in evening dress of white silk organdie with Lurex gilt thread plaid worn with pink wool sweater by Greta Plattry, photo by Richard Rutledge, Vogue, January 1, 1952

MaryJane Russell wearing a paisley sweater and skirt by Greta Plattry, photo by Horst P. Horst, Vogue, August 1953

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The Story of Steve McQueen With His 1958 Porsche Speedster, the First Brand-New Car He Ever Purchased

Steve McQueen’s 1958 Porsche 356 A 1600 Super Speedster (Chassis 84855) is legendary as the first brand-new car he ever purchased and the vehicle that launched his formal racing career.

In late 1958, while his acting career was gaining momentum with the TV series Tales of Wells Fargo, McQueen bought the black-on-black Speedster from a dealership in Alhambra, California. The car featured a 1600cc “Super” engine producing roughly 75 horsepower.

He specifically ordered it with Rudge “knock-off” wheels, a rare and expensive racing feature, and a cigarette lighter clamped to the steering column. He eventually removed the “Speedster” and “Reuter” badges for a cleaner look, a detail preserved by the car's current owners.

McQueen used this Porsche to transition from motorcycle racing to sports car competition. In May 1959, he entered his first official Sports Car Club of America (SCCA) race in Santa Barbara and won his class against 47 other novice drivers. He continued racing the Speedster throughout 1959 at iconic tracks including Del Mar, Willow Springs, and Laguna Seca.

The Speedster’s history includes a famous gap in ownership that highlights McQueen’s attachment to his machines. As his career exploded in the late 1960s, McQueen sold the car to real estate developer and collector Bruce Meyer. McQueen soon regretted the sale and spent years persuading Meyer to sell it back.

In 1974, Meyer finally agreed to sell it back to McQueen for approximately $1,500—the same price he had paid years earlier. McQueen verified it was his original car by pulling up the carpet to find the roll-bar mounting holes he had drilled decades before.

Unlike many of his other famous cars (like the Jaguar XKSS or various Ferraris), the 1958 Speedster never left the family again. It remained with McQueen until his death in 1980 and is currently owned and preserved by his son, Chad McQueen.

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30 Fascinating Photos of Rosemary Clooney in the 1950s

Rosemary Clooney (May 23, 1928 – June 29, 2002) was an American singer and actress. She was a major pop star, actress, and television personality in the 1950s, rising to fame as one of the biggest female singers of the early part of the decade.

Clooney started the decade fresh from singing with Tony Pastor’s big band alongside her sister, Betty. Striking out as a solo artist for Columbia Records, she was placed under the direction of the notorious A&R man Mitch Miller. He had a penchant for quirky, dialect-driven novelty songs. Though Clooney initially resisted them, these tracks skyrocketed her to fame.

Written by William Saroyan and Ross Bagdasarian (later the creator of Alvin and the Chipmunks), “Come On-a My House” (1951) featured a forced Armenian accent and a frantic harpsichord backing. It became a massive #1 hit, selling over a million copies and cementing her star status. Another high-energy, “Botch-a-Me (Ba-Ba-Baciami Piccina)” (1952), Italian-inflected pop novelty that dominated the charts. Capitalizing on the mid-decade mambo craze, “Mambo Italiano” (1954) became an international smash.

While these songs made her a household name, Clooney vastly preferred singing straight jazz and rich traditional pop standards, a side of her talent that would be better showcased later in the decade.

Her immense pop popularity quickly caught the attention of Paramount Pictures. After a few initial films, she landed the role that immortalized her on celluloid: Betty Haynes in the 1954 classic White Christmas. Starring alongside Bing Crosby, Danny Kaye, and Vera-Ellen, Clooney provided the film’s emotional and vocal anchor. Because her co-star Vera-Ellen’s singing voice was dubbed, Clooney actually recorded both parts for the famous “Sisters” duet. The film was the highest-grossing movie of 1954 and permanently linked Clooney to the holiday season for generations to come.

As the mid-1950s progressed, Clooney expanded her reach across the cultural landscape. She hosted her own syndicated musical variety television show, The Rosemary Clooney Show, from 1956 to 1957, which featured top-tier musical guests and showcased her effortless, conversational singing style.

Desiring to prove her depth beyond novelty pop, she teamed up with the legendary Duke Ellington and his orchestra for Blue Rose (1956), highly acclaimed jazz album. It remains a high-water mark of her discography. Clooney formed a deep personal and professional bond with Bing Crosby. They recorded several duets, concept albums (like Fancy Meeting You Here in 1958), and went on extensive concert tours together.

By the end of the 1950s, the music industry was drastically shifting. The rise of rock ‘n’ roll began to push traditional pop and big-band vocalists off the Top 40 charts. The immense pressure of her career, her troubled marriage, and the physical toll of five quick pregnancies began to accumulate, setting the stage for severe mental health and addiction struggles in the 1960s before her triumphant career comeback decades later. 

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