Amazing Photos of the 1963 Ford Thunderbird Italien Concept Car

The 1963 Ford Thunderbird Italien was a one-of-a-kind concept vehicle that perfectly embodied Ford’s desire to blend American power with sophisticated European styling.

Starting life as a standard 1962 Thunderbird convertible, the car was dramatically transformed by Dearborn Steel Tubing (DST) to be featured in Ford's traveling “Custom Car Caravan.” The Italien’s most distinctive feature was its sleek fastback roofline and fiberglass bodywork, replacing the convertible top. It boasted a Ferrari-inspired front grille, unique trim, and a sumptuous interior featuring luxurious leather upholstery. Finished in an eye-catching Deep Candy Apple Red paint, this show car captivated audiences with its combination of American muscle (powered by a 390 cubic inch V8) and the elegant, fluid lines reminiscent of contemporary Italian design.

The Italien appeared at the 1964-1965 World’s Fair and was featured on the June 1963 cover of Speed and Custom magazine. Though never mass-produced, it left a lasting impression on Ford’s subsequent styling efforts and remains a highly sought-after piece of automotive history.

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Outtake Photos of the Beach Boys at Paradise Cove in Malibu for Their “Surfin’ Safari” Album Cover, 1962

The Beach Boys’ debut album, Surfin’ Safari, was released in October 1962. It was different from other rock albums of the time in that it consisted almost entirely of original songs, primarily written by Brian with Mike Love and friend Gary Usher. Another unusual feature of the Beach Boys was that, although they were marketed as “surf music,” their repertoire bore little resemblance to the music of other surf bands, which was mainly instrumental and incorporated heavy use of spring reverb. For this reason, some of the Beach Boys’ early local performances had young audience members throwing vegetables at the band, believing that the group were poseurs.

In January 1963, the Beach Boys recorded their first top-ten single, “Surfin’ U.S.A.”, which began their long run of highly successful recording efforts. It was during the sessions for this single that Brian made the production decision from that point on to use double tracking on the group's vocals, resulting in a deeper and more resonant sound. The album of the same name followed in March and reached number 2 on the Billboard charts. Its success propelled the group into a nationwide spotlight, and was vital to launching surf music as a national craze, albeit the Beach Boys’ vocal approach to the genre, not the original instrumental style pioneered by Dick Dale.

The cover for the album was shot at Paradise Cove, north of Malibu, in August of 1962 by Capitol Records’ in-house photographer Ken Veeder. The band members wore their own casual attire, specifically the now-iconic Pendleton wool shirts that were popular in the surfing scene at the time (the group was even initially called “the Pendletones”). The longboard featured prominently in all the photos, including the final cover and numerous outtakes, belonged to Dennis Wilson. He was the only actual surfer in the group and was the inspiration for the band’s initial surf-centric direction.

The photoshoot was so successful that many outtakes from the 1962 session were used again for the cover of their third album, Surfer Girl, released the following year in 1963.

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40 Fabulous Portraits of Agnes Moorehead as Endora on the ABC Sitcom “Bewitched”

Endora, played by Agnes Moorehead (December 6, 1900 – April 30, 1974), was one of the standout characters on the beloved 1960s television show Bewitched, which originally aired from 1964 to 1972. As the mother-in-law of the main character, Samantha Stephens, Endora was a powerful witch with a flair for the dramatic. Known for her mischievous nature, stylish wardrobe, and sharp tongue, she added a layer of complexity and humor to the series. Moorehead’s portrayal of Endora was widely praised for its charm and depth, making the character unforgettable for viewers. The character’s witty one-liners and magical antics helped to solidify Bewitched as one of the most iconic television series of the 1960s.

Endora was known for her flamboyant, colorful, flowing outfits, dramatic eye makeup, and distinctive look, which set her apart from the suburban setting of the show. In the first two black and white seasons, her makeup was less noticeable, but it became a signature part of the character in color episodes. Moorehead delivered her lines with razor-sharp precision and perfect articulation, often providing much of the show's comedy through her disdain for mortals, particularly her son-in-law, Darrin Stephens.

The core of her character was her magical interference in the life of her daughter, Samantha (Elizabeth Montgomery), and her constant efforts to convince Samantha to leave her mortal husband. Endora rarely addressed Darrin by his correct name, calling him “Durwood,” “Duncan,” “Dustbin,” and other incorrect names.

Moorehead imbued Endora with depth, color, and personality, blending comedy with occasional deeper themes, such as an episode where Endora protested the use of ugly witch stereotypes in a Halloween ad campaign.

Moorehead initially had little enthusiasm for the sitcom format, preferring her extensive work in radio and film, including classic movies like Citizen Kane and The Magnificent Ambersons. She had actually auditioned for the title role in Hazel before being offered the part of Endora. Despite her initial reservations, she came to like playing Endora very much. The role provided her with a consistent and lucrative income for eight years (1964–1972) and allowed her to achieve the widespread recognition she always desired.

Her performance earned her six nominations for the Primetime Emmy Award for Outstanding Supporting Actress in a Comedy Series. Moorehead’s portrayal of Endora created one of the most memorable characters in television history, solidifying her legacy as an icon of the golden age of television.

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Beautiful Christmas Snaps of an American Family in 1960

Christmas photos taken of an American family in 1960 offer a wonderful glimpse into the post-war suburban dream, perfectly encapsulating the era's vibrant yet somewhat formal holiday aesthetic. The focus often centered on the tree, typically adorned with thick tinsel (or icicles) and large, multi-colored bubble lights.

Family members, often dressed in their best clothes: ladies in tailored dresses or neat slacks, and men in suits or pressed shirts, posed with an air of pleasant formality. The snapshots, frequently taken on color film, capture the excitement of unwrapped gifts, the festive glow of the fireplace, and the general feeling of domestic prosperity and quiet celebration that defined the start of the new decade.

These snapshots from Spicer capture beautiful Christmas moments of the Byrd family in Beaumont, Texas in 1960.

Diane, Pat and Magaret (Pat and Becky in the portrait), Christmas 1960

Alice Byrd and Reba Sonnier, Christmas 1960

Becky and Sara, Christmas 1960

Becky Byrd and Sara Shub, alliterative cousins, Christmas 1960

Becky Byrd, Christmas 1960

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Goalkeeper Sam Bartram Standing Alone on the Pitch, 1937

On Christmas Day, 1937, Charlton Athletic were playing Chelsea at The Valley (Charlton’s home ground) in London. Partway through the match, a dense fog began to roll in over the pitch. Visibility got worse and worse until players could barely see each other, let alone the ball.

Eventually, the referee decided to abandon the match because the fog made it impossible to continue safely. However, no one managed to inform Sam Bartram, Charlton’s goalkeeper, who was stationed at the far end of the field.

Oblivious to what had happened, Bartram remained alone in his goal, peering into the mist, convinced that play was still going on somewhere beyond the fog. He stood there patiently, occasionally shifting position and waiting for his teammates or opponents to appear.

“I saw less and less players,” Bartram recalled. “I was sure we were dominating the game, but it seemed clear to me that we hadn’t scored because my teammates would have gone back into their defensive positions and I would have seen one of them. There were not even shouts of celebration.”

After about ten minutes, a policeman emerged from the fog and approached him. The officer said something like, “The game’s been stopped! Everyone else has gone back to the dressing rooms!”

Arriving in the locker room, his teammates were surprised to see him running late and jeered when they learned the story. “After a long time, a figure loomed up in the fog and I shouted, ‘What’s happened?’ ‘The game’s been abandoned,’ came the reply. ‘The field’s been empty for ten minutes!’ I walked back to the dressing room, feeling my way, and found my teammates laughing at me.”

Sam Bartram made his debut at the age of 20 for Charlton and played 623 games in 22 years. He retired at the age of 42 as the club’s most capped player and was also part of the team that won the only trophy in their history: the 1947 FA Cup.

30 Fascinating Photos Capture Austin, Texas in the Early 1970s

The early 1970s marked a pivotal transformation for Austin, Texas, establishing its identity as the world’s “Live Music Capital.” The city became a unique melting pot where hippies, rednecks, and college students coalesced around a new genre of music: the “Cosmic Cowboy” sound.

This period was characterized by a strong counterculture movement, political activism driven by the University of Texas campus, and a laid-back, inclusive atmosphere that celebrated creativity and individuality. This cultural boom, centered on music and liberal politics, set the foundation for Austin’s reputation as a progressive oasis in Texas, forever linking the city with the phrase: “Keep Austin Weird.”

These fascinating photos, taken by duckswim2, show various scenes from the University of Texas neighborhood and other corners of Austin in 1972.

Guadalupe Street, Austin, Texas, 1972

Artist selling her work at the 23rd Street Market, Austin, Texas, 1972

Austin, Texas and nearby, 1972

Austin, Texas, 1972

Austin, Texas, 1972

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Grace Kelly as an Advertising Model for Cleaning Products in New York City, June 1948

In 1948, before she became a Hollywood icon and Princess of Monaco, Grace Kelly was a young aspiring actress and model living in New York City. At just 18, she supported herself by taking on commercial modeling jobs, which were among the most common ways for newcomers to gain visibility in the entertainment world.

Kelly appeared in print advertisements for consumer goods, including household and cleaning products, cosmetics, and fashion catalogs. These early ads often portrayed her as the wholesome, elegant “American girl next door,” qualities that later defined her screen presence.

Her modeling work was handled by the John Robert Powers Agency, one of the top agencies of the era. She appeared in ads for products such as Old Gold cigarettes, Maxwell House Coffee, and domestic cleaning brands, often wearing neat dresses and aprons, smiling in spotless kitchen settings.

These modest beginnings in New York’s advertising world were a key step in her journey, helping her pay for acting classes at the American Academy of Dramatic Arts, which launched her transition to Broadway and then Hollywood by the early 1950s.

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