Amazing Photographs of Liam and Noel Gallagher of Oasis Taken by Kevin Cummins in 1994

In 1994, legendary British music photographer Kevin Cummins captured a series of raw, intimate, and now-iconic photographs of Liam and Noel Gallagher. Taken just before and during the release of Oasis’s groundbreaking debut album, Definitely Maybe, these photos defined the visual mythos of the Gallagher brothers and the rise of Britpop. Rather than highlighting their infamous sibling rivalry, Cummins’s early archive emphasizes an unguarded brotherly bond, humor, and a shared, defiant confidence.

“I thought it would ne a nice idea to do their first year, which gives it a good narrative flow,” said Cummins, “I was commissioned by Creation to see how their visual identity would work best, but by the end of the year they were the property of the tabloids.

“Creation thought there wouldn’t be any antagonism if they brought in a photographer who was from Manchester and supported City.”

Shot in their hometown of Manchester right around the time Definitely Maybe hit the shelves, these street portraits capture the duo against everyday urban backdrops. Notable locations included standing outside the historic Peveril of the Peak pub and posing directly on Portland Street.

In one of the most culturally resonant shoots of the era, the Gallagher brothers proudly leaned into their Manchester roots by posing together wearing the official Manchester City 1993/1994 football kits.

“We did some shots inside in the studio, with one behind the other so that you’d have brother reading above theirs heads on the shirt. Then we did some other shots where Liam jumped on Noel's back as if we'd just scored a goal, which is quite rare in these days.

“Then we went outside and they played football in the street and then kicked the ball at Noel. Noel kicked it back at him and they tried to punch each other. We just waited for that to finish and then carried on doing pictures.

“I think it’s an era-defining session that because football wasn't fashionable at the time. Here’s these lads playing football and linking themselves to Man City with brother all over the shirt... everything fell into place really with that session and that picture where Liam is on Noel's back has been on about 200 magazine covers.”

Kevin Cummins (born 1953) is one of Britain’s most celebrated music and portrait photographers. He is best known for creating the definitive visual record of the Manchester music scene and the rise of Britpop. Over a career spanning five decades, his bleak, cinematic, and raw style helped establish the mythos of some of the world's biggest rock bands.

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Two Studio Portraits of Katie Roubideaux, ca. 1898

Katie Roubideaux (1890–1991), also known later in life as Kate “Ta Sina Sapawin” Roubideaux Blue Thunder, was a Brulé Lakota (Rosebud Sioux) woman whose long life spans a profound era of Native American history.

Born on the Rosebud Reservation in South Dakota, she became widely recognized in historical records due to famous studio portraits taken by photographer John Alvin Anderson in 1898, when she was just eight years old. In the photographs, she is depicted wearing a traditional decorated and fringed skin dress, beaded leggings, and moccasins while holding a doll.

She was the daughter of Louis Roubideaux and Adelia Blunt Arrow. Her father was a notable figure on the reservation, serving as the official U.S. interpreter in the late 1880s and at one point acting as the captain of the Indian Police.

Katie lived to be 100 years old, passing away on May 13, 1991. Because her life spanned a full century, she witnessed an extraordinary transition in America and for her people.

Born just fourteen years after the Battle of the Little Bighorn, she grew up during the harsh boarding school era. At age 14, she attended the St. Francis Mission school. Despite living through times when Native languages and traditions were aggressively banned by the government, she held onto her Lakota heritage, keeping songs, stories, and ceremonies alive.

Over her lifetime, she saw the shift from horses to automobiles, lived through both World Wars and the Great Depression, and watched major events like the 1969 moon landing and the 1973 Wounded Knee Occupation.

In her adult life, she was known affectionately to her community as “Granny Kate.” She was married three times, to Henry Knocks Off Two, Phillip Marshall, and later David Blue Thunder, and dedicated much of her life to raising her six children and many grandchildren. She was remembered for living a simple, traditional life, sewing clothes from homemade patterns, and always maintaining a strong Lakota spirit.

40 Behind the Scenes Photographs of Anne Bancroft Preparing for Her Role in the 1962 Film “The Miracle Worker”

To prepare for her iconic, Academy Award-winning role as Annie Sullivan in The Miracle Worker (1962), Anne Bancroft undertook a deeply immersive and physically grueling preparation process. Because she first originated the character in the 1959 Broadway stage production, much of her foundational research took place during that time and seamlessly transferred to her cinematic performance.

Bancroft was determined to authentically capture the psychological and physical realities of navigating the world with severe visual impairment, mirroring the history of Annie Sullivan herself. She spent extended periods completely depriving herself of sight by covering her eyes. She used these exercises to gain insight into how to move, react, and navigate spaces purely through touch, sound, and spatial awareness.

She visited a camp for blind individuals as well as the renowned Perkins School for the Blind, the exact institution where the real Annie Sullivan was educated. While there, she observed disabled children and studied their communication patterns. To communicate authentically with her co-star, she mastered the tactile manual alphabet used by deafblind individuals.

Director Arthur Penn and writer William Gibson decided to give the character an Irish brogue during early theater rehearsals. This vocal choice helped Bancroft mentally separate Annie Sullivan from her previous stage role in Two for the Seesaw, and it ultimately became a defining trait of her performance.

The role of Annie Sullivan was famously violent and exhausting. Bancroft and her 12-year-old co-star, Patty Duke (who played Helen Keller), had to engage in intense, un-choreographed choreography that required immense stamina. For the legendary, multi-minute dining room battle scene, where Annie attempts to teach Helen table manners, both actresses had to wear heavy concealment padding beneath their costumes to minimize severe bruising and injuries from all the slapping, wrestling, and falling.

Bancroft’s intense dedication to finding the “human truth” of the character was famously captured in a 1959 photo essay by Nina Leen for Life magazine, which documented her practicing daily tasks completely blindfolded. Her dedication paid off immensely; she won both a Tony Award for the stage play and the 1962 Academy Award for Best Actress for the film.

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Isabel Sarli: Legendary Sex Symbol of Argentine Cinema

Isabel Sarli (1929–2019), nicknamed “Coca,” was an Argentine actress and model who became one of the most iconic sex symbols of Latin American cinema.

After being crowned Miss Argentina and competing in Miss Universe, Sarli was discovered by director Armando Bó and rose to fame in a series of bold, controversial films during the 1960s and ’70s. Movies such as Thunder Among the Leaves (1958), Carne (1968), Fuego (1969), and Fiebre (1971) made her a major star and a figure of both scandal and fascination.

With her striking beauty and fearless screen presence, Sarli became a cult icon whose work continues to be celebrated for its camp appeal and cultural impact. These vintage photographs capture the beauty, allure, and unforgettable screen presence of Isabel Sarli, a true legend of Argentine cinema.

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30 Photos of a Young and Beautiful Anne Francis in Swimsuits in the 1950s

Anne Francis was a quintessential style icon of the 1950s, frequently bridging the gap between high-fashion elegance and playful Hollywood pin-up culture. Before starring in iconic roles like Forbidden Planet (1956) and TV’s Honey West (1965), she built a thriving modeling career, frequently photographed by legendary fashion photographers like Milton Greene. Her promotional beach shoots and film appearances served as a masterclass in the transformative swimsuit fashion trends of the 1950s.

Francis was celebrated for her athletic yet shapely frame, making her a preferred model for mid-century beach aesthetics. Her vintage photo archives showcase the dynamic evolution of the decade's styles. In several poolside sets, Francis modeled tight, ruched black one-pieces featuring sweetheart bodices and low, square cut bottoms that typified early-to-mid-1950s glamour. Posing on sailboats and beaches, she often donned high-waisted two-piece suits patterned in bold stripes or wild animal textures, striking a balance between girl-next-door playfulness and Hollywood allure.

In her most famous 1950s sci-fi role in Forbidden Planet, Francis wore a legendary, minimalist, short-cut white dress designed by Walter Plunkett. When her character, Altaira, asks the space travelers, “What’s a bathing suit?” it sparked an iconic moment that ironically cemented her as a cinematic beachwear fantasy figure for an entire generation.

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1953 Fiat 8V Supersonic: Jet-Age Italian Masterpiece

The 1953 Fiat 8V Supersonic is one of the most striking and exclusive sports cars of the early 1950s.

Built on Fiat’s rare “Otto Vu” chassis and bodied by Carrozzeria Ghia to a design by Giovanni Savonuzzi, the Supersonic featured dramatic, futuristic styling inspired by the jet age. Only a small number of these coachbuilt coupés were produced, each powered by Fiat’s unique overhead-valve V8 engine.

With its sleek lines, aircraft-like details, and extreme rarity, the 8V Supersonic remains a celebrated example of Italian design innovation and postwar automotive elegance. These stunning photos capture the futuristic design and timeless elegance of the rare 1953 Fiat 8V Supersonic, a true jet-age classic.

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27 Gorgeous Photos Show Lauren Bacall’s Fantastic Legs

Lauren Bacall was the very definition of classic Hollywood glamour, and yes, her legs were legendary. Those long, elegant limbs weren’t just eye candy; they were part of her whole screen presence, lending her a confident, sultry allure that set her apart from other leading ladies of the era. Whether she was walking onto the stage or standing tall beside Humphrey Bogart in To Have and Have Not (1944) or The Big Sleep (1946), her posture and poise made those legs unforgettable.

In the golden age of cinema, actresses like Bacall didn’t just rely on beauty, they owned their space with a unique blend of sophistication and edge. Her legs became a symbol of that cool, effortless sex appeal that could both command attention and inspire admiration. It wasn’t just about how they looked; it was how she carried herself with a smoky voice and piercing gaze, making every scene crackle with magnetism.

So yeah, Lauren Bacall’s fantastic legs were a huge part of her iconic image, but they were just one piece of the puzzle. Together with her talent, charisma, and that unmistakable style, she created a Hollywood legacy that’s still celebrated today.

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