Lawnchair Larry’s Epic Balloon Flight in 1982

Larry Walters, nicknamed “Lawnchair Larry” or the “Lawn Chair Pilot,” was a 33-year-old truck driver from California who, on July 2, 1982, achieved unexpected fame by flying a homemade balloon rig consisting of an ordinary aluminum lawn chair (bought from Sears) tied to 42 helium-filled weather balloons.

Walters had dreamed of flying since childhood. With help from his girlfriend Carol Van Deusen, he bought about 45 weather balloons from a military surplus store, filled them with helium (using a fake letter claiming they were for a TV commercial), and attached them in clusters to the chair, which he dubbed “Inspiration I.” He equipped himself with a parachute, a pellet gun (to pop balloons for descent), a CB radio, sandwiches, beer, a camera, and an altimeter.

The launch happened in the backyard of a home in San Pedro, Los Angeles. The chair was initially tethered to his Jeep with a rope for a planned gentle ascent to about 100 feet or so, followed by a drift toward the Mojave Desert. However, the tether broke prematurely, and the rig shot upward rapidly.

Instead of a low, leisurely float, Walters reached an altitude of approximately 15,000–16,500 feet (about 4,600–5,000 meters). At that height, he drifted into controlled airspace near Long Beach Airport (and reportedly in the vicinity of LAX approaches). He was spotted by at least two commercial airline pilots (from Delta and TWA), who radioed air traffic control about a “man in a lawn chair” flying at their altitude. Walters himself used the CB radio to communicate, famously saying something like he was at 16,000 feet and thought he was in trouble. He also reported being cold at high altitude.

After about 45 minutes aloft, he began popping balloons with his pellet gun to descend. He accidentally dropped the gun, complicating control, but managed a slow descent. His rig eventually tangled in power lines in Long Beach, causing a 20-minute blackout in a neighborhood. He climbed down safely, unharmed except for the adventure.

Just after landing, Walters spoke to the press, saying: “It was something I had to do. I had this dream for twenty years, and if I hadn't done it, I think I would have ended up in the funny farm. [...] Since I was 13 years old, I've dreamed of going up into the clear blue sky in a weather balloon. […] By the grace of God, I fulfilled my dream. But I wouldn't do this again for anything.”

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Tilly Tizzani: The Elegant Face of 1960s Italian Chic

Tilly Tizzani (1938–1975) was one of the most prominent Italian top models of the 1960s. She quickly became an international fashion icon thanks to her striking beauty, elegant presence, and strong facial features.

Tilly frequently appeared on the covers and editorial pages of prestigious magazines such as Vogue, Harper’s Bazaar, and Queen. She was photographed by legendary photographers including Irving Penn, Hiro, and Norman Parkinson, and worked with top designers like Yves Saint Laurent, Givenchy, Nina Ricci, Trigère, and Fabiani.

With a style that was both sensual and sophisticated, Tilly Tizzani, alongside Isa Stoppi, is considered one of the most representative Italian models of the golden era of the 1960s. Take a look at these vintage photos to see beautiful fashion portraits of Tilly Tizzani during the 1960s.

Tilly Tizzani, photo by Norman Parkinson for Queen magazine, 1962

Tilly Tizzani in a romantic blouse by Adelaar, Vogue, November 15, 1962

Tilly Tizzani in big fleecy wool skirt with sleeveless tuck-in top lashed with snakeskin belt by Sloat, hat by Mr. John, photo by Bert Stern, Vogue, August 1, 1962

Tilly Tizzani in brilliant green, wild cardigan coat of mohair and cotton by Marquise, pin by Hattie Carnegie, photo by Bert Stern, Vogue, October 1, 1962

Tilly Tizzani in crimson wool crêpe dress, bare and high-waisted with an enormous fringed shawl by Adele Simpson, dangly jet-black earrings by Cadoro, coiffure by Kenneth Batelle, photo by Bert Stern, Vogue, October 15, 1962

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Fascinating Studio Portraits of Girlschool Taken by Paul Natkin in 1982

In mid-April 1982, photographer Paul Natkin captured several prominent images of the British heavy metal band Girlschool during their visit to Chicago, Illinois. These sessions included both staged promotional portraits and live concert photography. Classic early-1980s metal look with leather, denim, and big hair, his 1982 portraits often featured the classic lineup of Kim McAuliffe (guitar/vocals), Kelly Johnson (guitar), Denise Dufort (drums), and Gil Weston (bass).

In the early 1980s, Girlschool was a pioneering force in the New Wave of British Heavy Metal (NWOBHM). They were known for a raw, “punk-tinged” metal sound and were one of the first all-female bands to achieve major commercial success in the genre. Their sound was fast and aggressive, often described as “punk-tinged metal.” Unlike many of their peers, the classic lineup shared lead vocal duties between McAuliffe, Williams, and Johnson.

The band had a legendary friendship and working relationship with Motörhead, who often called them their “kid sisters.”  In 1981, they joined forces under the name Headgirl for the St. Valentine’s Day Massacre EP. Their joint cover of Johnny Kidd & The Pirates’ “Please Don’t Touch” became a UK Top 5 hit and remains one of their most famous recordings.

Early on, the band avoided the “glam” look, preferring a “biker-girl” style of leather and denim. While often championed as pioneers for women in rock, the members famously preferred to be judged as musicians rather than “female musicians,” aiming to level the playing field through high-energy live performance. By 1982, they were playing stadium shows in the U.S. as a supporting act for bands like Iron Maiden and Scorpions.

 

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Little Joe, the Canary That Saved Lives

This tiny wooden coffin, dated 1875, holds the remains of a coal miner’s companion, a canary named “Little Joe.” Inscription reads, “In Memory of Little Joe, Died November 3rd, 1875.”

Back in the 19th century, canaries were more than just songbirds, they were early warning systems for deadly gases like carbon monoxide in coal mines. Their delicate respiratory systems meant they’d show signs of distress before the gas affected humans. If the canary grew ill or died, miners knew to evacuate immediately.

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The practice was especially widespread in the United Kingdom during the Industrial Revolution, when coal mining powered nations, but at grave risks to workers.

According to historical accounts, Little Joe fell silent during a routine shift, signaling danger and allowing the miners to evacuate just in time. The existence of a tiny, lovingly crafted coffin suggests that many miners viewed their canaries as companions and comrades rather than mere tools.

40 Amazing Vintage Photos of People and Television From the Mid-20th Century

In the mid-20th century, television underwent a dramatic transformation from a luxury novelty to the centerpiece of the modern home.

By the 1950s, the “Golden Age of Television” had begun, fundamentally altering family dynamics as living rooms were rearranged to focus on the flickering screen rather than the fireplace. It became a powerful social glue; families gathered nightly to watch iconic variety shows, sitcoms, and news broadcasts, creating a shared national culture.

This era also saw TV become a primary source of information and advertising, shaping public opinion and consumer habits like never before. Ultimately, television in this period didn’t just provide entertainment, it redefined how people perceived the world and connected with one another.

These amazing vintage photos from this period capture a unique moment of transition, documenting a society in the midst of a technological love affair that would forever redefine how we connect, learn, and entertain ourselves.

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26 Wonderful Photos From the Set of “About Last Night...” (1986)

Released in 1986, About Last Night... is a quintessential Brat Pack-era romantic comedy-drama that captures the transition from 1980s bar culture to the complexities of real-world relationships. Directed by Edward Zwick, the film is based on the 1974 David Mamet play Sexual Perversity in Chicago.

The story follows Danny (Rob Lowe) and Debbie (Demi Moore), two young professionals in Chicago who meet at a bar and have a one-night stand. Unlike a typical fling, they decide to try and build a serious relationship. The film tracks the evolution of their romance, from the “honeymoon phase” to moving in together, while they navigate the cynical advice and interference of their best friends, Bernie (James Belushi) and Joan (Elizabeth Perkins). It helped solidify Demi Moore and Rob Lowe as major Hollywood leads. However, many critics felt James Belushi stole the show as the loud-mouthed, chauvinistic best friend.

While the film softens the sharp, vulgar edge of David Mamet’s original play to make it more of a “date movie,” it retains some of the witty, rhythmic dialogue about the battle of the sexes. About Last Night.. is a love letter to 1980s Chicago, featuring iconic locations like Grant Park and Wrigleyville. It featured a popular 1980s soundtrack, including the hit “So Far, So Good” by Sheena Easton and “If Anybody Had a Heart” by John Waite.

Unlike many 1980s teen movies (like The Breakfast Club or Sixteen Candles), About Last Night... was aimed at “twenty-somethings.” It was praised for its relatively realistic take on how living together can strain a relationship and how friends can often be the biggest obstacle to personal growth.

The movie was remade in 2014 with a new cast including Kevin Hart and Regina Hall, shifting the setting to Los Angeles but keeping the core themes of the original play.

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Extraordinary Photos of Clotilde von Derp, the Expressionist Dancer Who Performed Either Side of the Great War

Clotilde von Derp (born Clotilde Margarete Anna Edle von der Planitz, 1892–1974) was a pioneering German expressionist dancer and one of the early exponents of modern dance. She emerged in the 1910s as a solo performer and became internationally celebrated in the 1920s through her long-term artistic and personal partnership with Russian dancer, choreographer, and painter Alexander Sacharoff (whom she married in 1919).

Von Derp trained in ballet with teachers from the Munich Opera (Julie Bergmann and Anna Ornelli) after moving to Munich as a child. She made her professional debut on April 25, 1910, at age 18 at the Hotel Union in Munich, performing under the stage name Clotilde von Derp. Audiences were immediately drawn to her striking beauty, youthful grace, and expressive presence.

She quickly gained attention in avant-garde circles. She was associated with the Blaue Reiter group (linked to Wassily Kandinsky) and performed in Max Reinhardt’s pantomime Sumurûn, which toured successfully to London. Her style moved beyond classical ballet toward freer, more emotional expression, influenced by the wave of modern dance sparked by Isadora Duncan but noted for its elegance and modernity.

From 1913 onward, she began collaborating with Alexander Sacharoff. During World War I, as “enemy aliens,” they relocated to neutral Switzerland, where she continued refining her technique (including studies with Enrico Cecchetti in Lausanne). She performed solo works like Danseuse de Delphes (1916), often in ancient Greek-inspired costumes with draped fabrics.

Their joint career reached its height in the late 1910s and throughout the 1920s. They married on July 25, 1919, in Zurich (with painter Marianne von Werefkin as a witness) and performed as the duo “Les Sakharoff.” They created what they called “abstract pantomime,” dances that visualized the emotional and sensory impressions of music rather than strictly following its rhythm. Their works drew on symbolist aesthetics, ancient Greek themes, commedia dell’arte, Renaissance, Baroque, and Rococo references, with fluid, subtle, and theatrical movements. Alexander often designed the elaborate, sometimes androgynous or cross-dressing costumes (including metallic wigs, hats, flowers, and fruit), which accentuated Clotilde’s femininity even in male attire.

They toured extensively across Europe, performed at New York’s Metropolitan Opera in 1920 (supported by Edith Rockefeller McCormick, though with mixed success), and later visited China, Japan, the Americas, and beyond. A 1921 poster by illustrator George Barbier depicted them as a complementary androgynous couple “united in dance.” Critics and artists (including Rainer Maria Rilke, who called them “poets of dance”) praised their vibrant theatricality and innovative approach. Specific pieces from the era included The Little Shepherd, Negro Song (1924), May-Dance (1924), and Vision of the 15th Century (1924).

In the 1920s, photographs and illustrations show Clotilde in flowing, draped costumes, often barefoot or in minimalist attire that emphasized expressive body lines and dramatic poses.

Von Derp and Sacharoff were among the most famous dance couples of the era, helping bridge early modern dance (post-Duncan) with expressionist and avant-garde movements. Their work reflected broader cultural shifts: rejection of rigid classical forms, embrace of emotional authenticity, cross-disciplinary ties to painting and music, and a global touring circuit. Clotilde’s elegant, haunting presence and Sacharoff’s choreographic vision made them symbols of modernist experimentation in dance.

Their partnership continued for decades (they taught and performed into the 1950s), but the 1910s and 1920s marked their rise from Munich debutante to international icons of expressive, music-driven modern dance.

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