The Collaboration Between Michael Jackson and Guns N’ Roses Guitarist Slash in the 1990s

During the 1990s, Michael Jackson and Guns N’ Roses guitarist Slash formed one of the most iconic pop-rock partnerships in music history. Driven by Jackson’s desire for a more aggressive, hard-rock edge, their work seamlessly blended high-energy pop with blistering guitar solos.

Their connection originated in 1990 when Jackson reached out through his manager to see if Slash would play on his upcoming album, Dangerous. At the time, Guns N’ Roses was the biggest hard rock band in the world, while Jackson was the indisputable King of Pop. Despite their radically different public images, Slash accepted out of sheer curiosity and admiration for Jackson’s artistry.

What struck Slash most about Jackson was his approach in the studio. Rather than micromanaging or dictating exact notes, Jackson gave Slash total creative autonomy. “He just said, ’Play whatever you feel like playing,’” Slash recalled. “He didn’t try to direct me. He just let me do my thing... which was amazing because most pop artists of that caliber want to control every single note.”

During sessions for “Give In to Me,” Jackson simply cheered him on, encouraging his raw, heavy tone. This deep trust created an instant bond, making Slash one of Jackson’s go-to guest performers for over a decade. While often mistakenly credited for the main riff in “Black or White” (which was played by Tim Pierce), Slash officially performed the intro guitar tracking, specifically the skit where a kid blasts rock music to annoy his father.

Slash returned to provide heavy, driving rock riffs for the aggressive protest track “D.S.” found on Jackson’s HIStory: Past, Present and Future, Book I album. He contributed his signature, biting guitar work to the dark, industrial-rock track “Morphine” from the remix album Blood on the Dance Floor: HIStory in the Mix.

On stage, the contrast was electric, Jackson’s sharp, synchronized choreography paired with Slash’s loose, improvisational shredding. One of their most iconic running gags occurred live at the 1995 MTV VMAs. During a fiery guitar solo, Jackson would act frustrated that Slash was “stealing the spotlight” and refusing to stop playing, sending security guards to mock-restrain him before transitioning smoothly into the next beat. Slash periodically flew out to make guest appearances during Jackson’s HIStory World Tour , elevating tracks like “Black or White” and “Beat It” with live solos.

Away from the cameras, Slash often spoke about Jackson’s surprisingly quiet, polite demeanor offstage. Behind the massive celebrity persona, Slash saw a remarkably dedicated musician who treated everyone around him with kindness and respect. Jackson appreciated having someone around who interacted with him like a normal peer rather than an unreachable icon.

Their working relationship occasionally caused tension within Guns N’ Roses, most notably between Slash and frontman Axl Rose, but Slash remained steadfast in his loyalty to Jackson as a musician and friend.

Following Jackson’s passing in 2009, Slash frequently reflected on his talent and impact, calling him “one of the most talented musicians I’ve ever had the honor to work with.” He highlighted Jackson’s incredible sense of rhythm, noting that even without instruments, Jackson could convey precisely how a guitar line should groove just by beatboxing and moving.

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Back in 1963 Henry Cooper Almost Caused a Huge Shock When He Floored Muhammad Ali at Wembley Stadium, London

On June 18, 1963, a 21-year-old Cassius Clay (later Muhammad Ali) traveled to Wembley Stadium in London to fight British heavyweight champion Henry Cooper in front of 55,000 fans. It became one of the most famous non-title bouts in boxing history—featuring a dramatic knockdown, tactical controversy, and a precise prediction coming true.

America’s Cassius Clay is shown sliding against the ropes as he goes down after a wild left hook from British champ Henry Cooper in the fourth round of their bout in London, England, June 18, 1963.

Clay arrived in London as the brash, undefeated (18–0) top contender, loudly dubbing himself “The Greatest” and declaring that Cooper was a mere stepping stone to world champion Sonny Liston. Playing the ultimate showman, Clay arrived in the ring wearing a crown and delivered his trademark pre-fight prediction: “If he gives me any jive, Cooper will fall in five.”

The 29-year-old Cooper caught Clay off-guard with early aggression, bloodying Clay’s nose in the opening round. Clay rebounded by round two, heavily jabbing Cooper and opening up major cuts on Cooper's notoriously fragile face. Clay began to taunt Cooper, showboating on the outside.

In the final seconds of the fourth round, Cooper unleashed his trademark, devastating left hook known as ”‘Enry’s ‘Ammer.” The punch landed flush on Clay’s jaw, sending him crashing backward into the canvas. It was the first time Clay had ever been officially floored in his professional career. Clay arose heavily dazed at the count of four just as the bell rang.

The interval between rounds four and five became historic. Realizing Clay was severely disoriented, his trainer, Angelo Dundee, notice a small tear in Clay’s boxing glove. Dundee strategically worsened the tear and informed the referee, buying Clay vital extra seconds to clear his head while handlers looked for a replacement pair. Though debate continues on how much extra time this afforded, it allowed Clay to regain his composure.

Clay emerged for the fifth round with a vengeance. He immediately unleashed a blistering combination that widened the deep gash over Cooper’s left eye. With Cooper bleeding profusely and unable to see, referee Tommy Little stepped in and halted the bout at 2:15 of the fifth round, fulfilling Clay’s exact round-five prediction.

Surviving Cooper’s left hook preserved Clay's shot at the world title. Just eight months later, in February 1964, Clay shocked the world by defeating Sonny Liston in Miami to become World Heavyweight Champion, after which he changed his name to Muhammad Ali.

Ali and Cooper met again in a 1966 rematch at Highbury Stadium, where Ali once again won on cuts in Round 6. Cooper remained one of the few men Ali openly praised for having legitimate knockout power.

Boxer Cassius Clay rests during an early morning run in London’s Hyde Park. Clay is preparing for his fight at Wembley with British heavyweight Henry Cooper.

Muhammad Ali during a training session at the Territorial Army Centre in White City, London, before his fight with Henry Cooper.

Cassius Clay shakes hands with Henry Cooper during the weigh-in at London Palladium. Clay continued his confident boastings that he will beat Cooper in five rounds in their fight at Wembley Stadium tonight.

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Vicki Hilbert: Elegant Face of 1960s Fashion

Vicki Hilbert was an American fashion model active in the mid-1960s, known for her refined features and sophisticated presence.

Hilbert appeared on the cover of British Vogue in October 1965 and was photographed by leading photographers of the era, including Norman Parkinson and Richard Avedon. Her work in high-fashion editorials for Vogue and other publications captured the clean, elegant aesthetic of the period.

With her poised style and classic beauty, Hilbert became a recognizable face of mid-1960s fashion photography. These vintage photos beautifully capture the refined elegance and timeless style of Vicki Hilbert, a sophisticated model of the 1960s.

Vicki Hilbert in cashmere cardigan with matching wool skirt by Pringle, Vogue, November 1, 1965

Vicki Hilbert in black velvet evening pyjamas striped in jet slashed to the waist with a huge pink rose and tied satin ribbon by Catherine Scott, coiffure by Kenneth, mules by Herbert Levine, photo by Horst P. Horst, Vogue, November 15, 1965

Vicki Hilbert in ginger-and-beige 'tooth, wool and leather caped suit, the cape is lined in leather, by Tiffeau & Busch, jewelry by Vendôme, photo by Richard Avedon, Harper's Bazaar, August 1965

Vicki Hilbert in greenish-beige wool smocked blouson top and gathered skirt by B.H. Wragge, jewelry by Vendôme, photo by Richard Avedon, Harper's Bazaar, August 1965

Vicki Hilbert in pullover sweater and matching hat by B.H. Wragge, Harper's Bazaar, September 1965

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Amazing Photographs of Alfred Hitchcock Taken by Gjon Mili on the Set of “Shadow of a Doubt” in 1942

In 1942, legendary photographer Gjon Mili captured a famous series of stroboscopic multiple-exposure photographs of director Alfred Hitchcock on the Hollywood set of his psychological thriller, Shadow of a Doubt.

Mili, a pioneer in using electronic flash and stroboscopic light to freeze rapid movement, photographed Hitchcock demonstrating various directorial actions, such as walking and pointing into the distance. The resulting images overlay multiple frames of Hitchcock’s silhouette into a single, fluid composition, perfectly mirroring the dramatic, suspenseful essence of the filmmaker’s work.

Mili utilized high-speed stroboscopic photography, a technique he heavily developed while working at MIT alongside Harold Edgerton. The photos were shot for LIFE Magazine to showcase Hitchcock’s highly animated and precise physical style of directing behind the scenes.

Filmed in Santa Rosa, California, in mid-1942, Shadow of a Doubt (released in 1943) is often cited by Hitchcock as one of his personal favorite projects, featuring Teresa Wright and Joseph Cotten in a dark story of small-town intrigue.

Stunning Portraits of Sharon Tate From “Don't Make Waves” (1967)

These stunning portraits capture the radiant beauty of Sharon Tate during the filming of the 1967 comedy Don’t Make Waves. Shot on set and in promotional sessions, the photographs showcase her natural charm, luminous smile, and effortless glamour that made her one of the most captivating stars of the late 1960s.

Whether posing in stylish period costumes or relaxing between takes, Tate’s presence shines through with a mix of innocence and sophistication. These images offer a delightful glimpse into her brief but unforgettable career at the height of her Hollywood appeal.

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John Wojtowicz Posing in Front of the Chase Manhattan Bank in Brooklyn He Tried to Rob, 1978

John Wojtowicz (also known as “Littlejohn” or “The Dog”) standing outside the Chase Manhattan Bank branch in Gravesend, Brooklyn (at 450 Avenue P), that he tried to rob on August 22, 1972. He is wearing a black T-shirt reading “I ROBBED THIS BANK.” The photo was taken after his release from federal prison in April 1978; he returned to the site to pose for pictures and sign autographs, capitalizing on his notoriety.

Wojtowicz (then 27), a Vietnam veteran, former Chase Manhattan teller, and married father of two who was also involved in New York’s gay scene, planned the heist primarily to fund gender-reassignment surgery for his lover, Ernest Aron (later Elizabeth Debbie Eden / Liz Eden). Aron had attempted suicide, and Wojtowicz believed the surgery would help. He recruited two accomplices, Salvatore (“Sal”) Naturile and Robert (“Bobby”) Westenberg. After some failed scouting attempts at other banks (and after watching The Godfather that day for inspiration), they targeted this branch near closing time.

Westenberg lost his nerve and fled. Wojtowicz and Naturile entered, presented a note inspired by The Godfather (“This is an offer you can’t refuse”), and took employees hostage. What was meant to be a quick job turned into a chaotic 14-hour standoff. Police and FBI surrounded the bank; a large crowd of onlookers and media gathered. Wojtowicz negotiated, played to the crowd (throwing money, demanding food and pizza, etc.), and demanded to see Aron (who was brought from a hospital). The vault had limited cash; they seized roughly $38,000 in cash plus traveler’s checks.

The situation ended when the hostages and robbers were taken to Kennedy Airport under the pretense of providing a plane. FBI agents shot and killed Naturile; Wojtowicz surrendered. He was sentenced to 20 years but served about five (released in 1978).

The story became a media sensation and inspired the 1975 film Dog Day Afternoon (directed by Sidney Lumet, with Al Pacino as a character based on Wojtowicz and John Cazale as the Naturile figure). Wojtowicz sold the rights and used some of the money to help fund Eden’s surgery; she had the operation in 1973. Their relationship later ended; Eden died of AIDS-related illness in 1987.

After release, Wojtowicz struggled to find steady work, he even applied unsuccessfully for a security job at the same bank. He leaned into his fame: standing outside the bank signing autographs and posing in the “I Robbed This Bank” shirt, as seen in the 1978 photo. He lived much of the rest of his life in Brooklyn (often with his mother), had further legal troubles, and died in 2006. A 2013 documentary, The Dog, covers his life in more detail.

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Rare Photos of Mark Knopfler as a Young Boy, Long Before He Co-Founded the Rock Band Dire Straits

Mark Knopfler got his first guitar, a red Hofner V-2, when he was 15. Never having taken music lessons, he relied on listening to various guitarists on records and on the radio to develop his chops. “Besides listening to the blues players,” he recalled, “I picked up the basics from people like the Shadows, the Everly Brothers, Duane Eddy, Rick Nelson, and Elvis.”

While in high school he played his Hofner in local bands. “I played with different groups in and around London,” he said, “and we did some real diabolical stuff. I even played bass for a while. Besides playing electric guitar, I’d also get asked to play some acoustic stuff. But, since I didn't have an acoustic guitar at the time, I used to borrow one from a friend so I could play folk joints.

“I was into playing American music, especially the blues. First, I learned how to fingerpick, just the basic stuff, and then I began developing a clawhammer style. And all during this time I was playing my solidbody without an amp of my own. While I was into many different types of music, and played with many different local groups, I really didn't have a band to call my own until Dire Straits was formed in 1977.”

Many professional players are asked what advice they’d give to aspiring musicians, and often their responses reflect the ethic of hard work and practice. But Knopfler approaches the question from a different, and some might say unique, angle: “Advice for young players? Well, I think they should learn boogie woogie piano. It’s very rudimentary, and no matter how you do it, you should just get familiar with it. I bad a piano long before I bad a guitar, and the practice I got just playing those three chords in a basic 12-bar blues song was very important. And another thing: Stay responsive to any environment that comes along, and try to reflect what you feel in a wide variety of styles and songs. I just want to be able to play and make people feel good with what I do. When you're thinking that way, anything can happen. And, usually, what happens is good.”

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