Bring back some good or bad memories

July 29, 2021

Strange Beauty Mask, 1940

March 1940 — At the International Beauty Shop Owners’ show in New York City, Ruth Scott modeled a mask to heat the face and tone up the skin. The scratchers on her fingers were brass thimbles to protect nail polish until it dried.

Newsweek - Mar 25, 1940

Fascinating Vintage Meat Ads From the 1930s to 1970s

It’s always fascinating to compare food advertisings then and now. Back then, pork, beef and chicken were three basic food groups in America, whereas today people have become more conscious of diet and nutrition, which results in the changes in modern selling points: organic, local, healthy and sustainable. Food stylists across social media, of course, had not existed yet, so glistening mounds of meat dripping with gravy and covered with fat were what consumers would see.

Take a look back at these vintage meat ads from old magazines, cookbooks from the 1930s to 1970s:

30 Amazing Photos Capture Street Scenes of Amsterdam During World War II

Nazi Germany invaded the Netherlands on 10 May 1940 and took control of the country. Some Amsterdam citizens sheltered Jews, thereby exposing themselves and their families to a high risk of being imprisoned or sent to concentration camps.

More than 100,000 Dutch Jews were deported to Nazi concentration camps, of whom some 60,000 lived in Amsterdam. In response, the Dutch Communist Party organized the February strike attended by 300,000 people to protest against the raids.

At the end of the Second World War, communication with the rest of the country broke down, and food and fuel became scarce. Many citizens travelled to the countryside to forage. Dogs, cats, raw sugar beets, and tulip bulbs—cooked to a pulp—were consumed to stay alive. Many trees in Amsterdam were cut down for fuel, and wood was taken from the houses, apartments and other buildings of deported Jews.

In the spring of 1945, Canadian forces liberated Amsterdam and the rest of the Netherlands.

These amazing photos from janwillemsen captured street scenes of Amsterdam in 1940 and 1941.

Amsterdam Prins Hendrikkade/Centraal Station, 1940

Amsterdam Amstel near Hogesluis, 1940

Amsterdam Amstel, 1940

Amsterdam bridge Leidsestraat, 1940

Amsterdam Damrak, 1940

July 28, 2021

Portrait Photos of Loretta Young From ‘Love Is News’ (1937)

Love Is News is a 1937 romantic comedy film starring Tyrone Power, Loretta Young, and Don Ameche. The movie was directed by Tay Garnett and was the first film for which Power had top billing. The picture was remade in 1947 as That Wonderful Urge, with Power again and Gene Tierney.

Love Is News was presented on Screen Guild Players June 13, 1943. The 30-minute adaptation starred Jack Benny, Ann Sheridan, and James Gleason.

These vintage photos captured portrait of a beautiful Loretta Young during the filming Love Is News in 1937.

First Lady Jacqueline Kennedy Photographed by Mark Shaw at the White House, April 1961

A version of these photos of Jackie in the West Sitting Hall in the family quarters on the Second Floor of the White House, taken by Mark Shaw for the cover of LOOK magazine in 1961, has been seen frequently due to the fact that it was mistakenly distributed all over the world by the White House as an “official White House photo.” In fact, Mark Shaw retained the rights to all his photographs, an unusually forward thinking decision at that time.

Mark Shaw lived from 1922–1969. He was born in New York’s Lower East Side, the only son of a Lower East Side seamstress and an unskilled laborer. He was a student at New York’s Pratt Institute where he majored in Engineering. He became a highly decorated World War II Air Force pilot. After the War, Shaw started working as a professional photographer and soon became a freelancer for LIFE magazine.

As a photographer he is perhaps best known for his images of Jacqueline and John F. Kennedy and their family which he originally shot as their family photographer. After JFK'’ death a selection of photographs was published as a book “The John F. Kennedy’s – A family album.” This book sold over 200,000 copies when it first came out, very impressive even today. In 2000 Rizzoli published an updated version of “The John F. Kennedy’s – A Family Album,” featuring many never before seen color and black and white photographs. Most recently, Mark Shaw’s images of the Kennedys were widely used in the exhibition “Jacqueline Kennedy – The White House Years,” originating at the Metropolitan Museum of Art in New York and later traveling around the country.

Only two weeks before John F. Kennedy was assassinated, Jacqueline Kennedy wrote a note to Shaw, one of many, thanking him for photographs of her with her three-year-old, John F. Kennedy Jr.: “They really should be in the National Gallery! I have them propped up in our Sitting Room now, and everyone who comes in says the one of me and John looks like a Caravaggio—and the one of John, reflected in the table, like some wonderful, strange, poetic Matisse. And, when I think of how you just clicked your camera on an ordinary day in that dreary, green Living Room. I just can’t thank you enough, they will always be my greatest treasures. Anyone who puts a finger-print on them will have his hand chopped!”

Also leading fashion photographer, Mark Shaw worked for Harper’s Bazaar, Mademoiselle, and a host of other fashion magazines. He started working for LIFE magazine in 1952 and in 16 years shot 27 covers and almost 100 stories. Throughout the 1950s and 1960s Mark Shaw shot the European fashion collections for LIFE, and was one of the first photographers to shoot fashion on the runways and “backstage” at the couture shows.

Lamborghini Athon, an Amazing But Forgotten Concept Car From 1980

At the 58th Turin Motor Show, held in April 1980, Bertone introduced a new concept car based on a Lamborghini chassis – a slightly unusual choice, given that Lamborghini was in dire financial straits at the time. The press release from the Turin coachbuilder made it clear that Bertone wanted to support the company. The name Athon, referring to the Egyptian cult of the sun, was appropriate as the car was a spider, completely devoid of a top and intended as a fair-weather car.

The Athon was the first Bertone concept car created under the direction of Frenchman Marc Deschamps, following the departure of Marcello Gandini at the end of 1979. Some observers had expected Bertone to embrace a different school of design, but under the guidance of Nuccio Bertone, Deschamps seemed to follow closely in the footsteps of his predecessor. The Athon was thus based on similar aesthetic codes to the Bertone concept cars shown since the 1970s, with tense surfaces and highly sculpted geometric volumes delineated by clear edges and cut-lines. Likewise, the Athon explored themes close to Bertone’s heart in the treatment of glass surfaces as integrated parts of the bodywork or as openings.

Mechanically, the car was based on the Silhouette, itself closely derived from the Urraco. The three-litre V-8 gave 260 bhp at 7,500 rpm fed by four Weber carburettors and was mated to a five-speed manual gearbox. The wheelbase was unchanged, but the overall length was under four metres due mainly to the short rear overhang. With no soundproofing, driving the Athon at any speed was a glorious aural experience, as noted by Italian magazine Quattroruote in its July 1980 test review. Without any serious modification to the mechanicals, the car was reported to retain all the positive attributes of the Silhouette in terms of road-holding and handling.

The Athon’s proportions were unusual for a spider, with a forward-set cabin and a long and relatively tall rear deck underlining the mid-engine configuration. The engine cover was treated as a separate item, painted semi-matte to subtly offset it from the rest of the bodywork. Designed in such a way as to intentionally blur the boundary between the body and the mechanicals it contained, it even incorporated “dummy” air-filter boxes on its top surface. In contrast, the smooth wraparound windscreen made use of state-of-the-art glass technology and was smoked to integrate even more with the warm gunmetal grey body color.

It was a highly graphic but also a highly sculpted car: whilst the overall shape might appear somewhat monolithic – a sure sign of Deschamps’s intention – surfaces were deeply recessed on the flanks. The interaction of volumes between doors and side sills is especially dramatic. Taillights were but thin grooves recessed in the rear corners, so as to interfere as little as possible with the solid appearance of the rear end. The two-piece alloy wheels were manufactured by Campagnolo and were close enough to production form that they would be adopted on the new Jalpa a year later.

Although built in a short time span, the Athon shows the same quality of construction inherent in all Bertone prototypes, with a surprising level of attention paid to the interior detailing, both ergonomically and aesthetically. The innovative digital instrument display was developed with the Italian supplier Veglia, while secondary controls normally found on stalks – such as the windscreen wipers and indicators – were instead grouped in a pod a hand-width from the left of the steering wheel. These details, as well as the single-spoke steering wheel itself, were good examples of Bertone seeking to push the envelope with regard to interior ergonomics.

40 Gorgeous Photos of Marie-France Pisier in the 1960s

Born 1944 in Dalat, Vietnam, French actress, screenwriter, and director Marie-France Pisier made her screen acting debut in 1962 film Antoine and Colette. She later collaborated on the screenplay to Jacques Rivette’s Celine and Julie Go Boating (Céline et Julie vont en bateau, 1974); she also played a significant supporting role in the film. Later in the same year, she had a role in Luis Buñuel’s Phantom of Liberty.

Pisier gained widespread public recognition in 1975 when she appeared in Jean-Charles Tacchella’s popular comedy Cousin Cousine. Her role as the volatile Karine earned her a César Award for Best Supporting Actress. Her subsequent feature films included three with director André Téchiné: French Provincial (Souvenirs en France, 1975), The Bronte Sisters (Les sœurs Brontë, 1979), and Barocco (1976), for which she won a second César for her performance alongside Isabelle Adjani and Gérard Depardieu.

Pisier attempted to crack the American film industry with The Other Side of Midnight (1977), adapted from a Sidney Sheldon novel. She appeared on American television in the miniseries The French Atlantic Affair (1979), and Scruples the next year. She made two more Hollywood films, French Postcards (1979) and Chanel Solitaire (1981).

Returning to France, Pisier made her directorial debut with The Governor’s Party (Le bal du gouverneur, 1990), which she adapted from her own novel. Her final film as director was with Bérénice Bejo (winner of the César Award for Best Actress in The Artist) in Like An Airplane (Comme un avion, 2002).

Pisier was found dead in her swimming pool and is believed to have drowned on 24 April 2011, aged 66. President Nicolas Sarkozy made a public statement honoring “her supreme elegance born of the most perfect simplicity”.

Take a look at these gorgeous photos to see the beauty of young Marie-France Pisier in the 1960s.



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