Candid Photographs of Johnny Cash and June Carter During a Photoshoot for Their “Carryin’ On” Album Cover, 1967

Carryin’ On with Johnny Cash & June Carter is an album by Johnny Cash and June Carter released in 1967, on Columbia Records. The album consists exclusively of duets by Cash and Carter, including “Jackson;” “Long-Legged Guitar Pickin’ Man” was also released as a single. One track, a cover of Bob Dylan’s “It Ain’t Me, Babe,” dated back to 1964 and had previously been released on Cash’s 1965 album, Orange Blossom Special.

The photoshoot for the album took place in July 1967. The sessions featured the couple in a rustic, outdoor setting, often described as being “out standing in their field” or at Cash’s ranch in Hendersonville, Tennessee. The cover photography was handled by Bob Cato, an iconic photographer and graphic designer for Columbia Records.

At the time of the shoot, the two were a powerhouse touring duo. Cash was in the process of finalizing his divorce from his first wife, Vivian, and this album served as a public “coming out” for his and June’s relationship.

Cash and Carter married seven months after the album was released (with Carter subsequently changing her professional name to June Carter Cash), and the couple performed “Jackson” at numerous venues throughout the years. The album was re-issued on March 19, 2002, through Legacy Recordings, with two additional tracks.

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Mad Carpentier: The Architects of Post-War Couture

Mad Carpentier was a prestigious French haute couture house that epitomized the sculptural elegance of post-war Parisian fashion. Formed in 1940 through the partnership of Mad Maltezos and Suzy Carpentier, the house became renowned for its sophisticated architectural cutting and masterful draping.

While many of their contemporaries focused on restrictive corsetry, Mad Carpentier gained a loyal following for designs that celebrated a fluid yet structured femininity, often featuring intricate pleating and bold, sweeping silhouettes. Their work was frequently highlighted in the pages of Vogue and L’Officiel, representing the pinnacle of French craftsmanship during the 1940s and ’50s.

The partnership ended in late 1957, when Mad Maltezos left to join Patou. Below are some fashion designs from Mad Carpentier in the 1940s and ’50s.

Model in rose satin dress with a garland of shoulder drapery which falls into a hood by Mad Carpentier, photo by Lee Miller, Paris, December 1, 1944

Model in rabbit fur coat spotted like ocelot with an elegant sleeve, broad at the top, tapered at the wrist by Mad Carpentier, photo by Louise Dahl-Wolfe, Harper's Bazaar, November 1946

Barbara Goalen wearing en elegant afternoon dress in black wool with small cape effect and a wide patent leather belt that holds the lapels in place by Mad Carpentier, photo by Clifford Coffin, Vogue, Paris, October 1948

Model wearing a draped evening dress called "Vampire" by Mad Carpentier, Vogue, Paris, October 1948

Model wearing a black wool coat featuring pointed collar and cuffs by Mad Carpentier, photo by Robert Randall, Vogue, Paris, October 1949

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A Stone Drawing of a Woman Thousands of Years Old Found in France

This image is a 25,000-year-old Paleolithic engraving of a woman found deep within the Cussac Cave (Grotte de Cussac) in the Dordogne region of southwestern France. Often referred to by archaeologists as a “Venus” figure, the engraving is part of a significant collection of prehistoric art and human remains discovered in September 2000 by amateur cave explorer Marc Delluc.

The cave is located in the Dordogne River valley and spans approximately 1.6 kilometers (roughly one mile). There are over 150 Paleolithic artworks in the cave, primarily engravings of animals such as woolly mammoths, bison, rhinoceroses, and horses, alongside several stylized feminine forms.

The engravings date to the Gravettian era, a period of the Upper Paleolithic known for its distinct stone tool industry and the creation of “Venus figurines.” Cussac is rare because it contains both prehistoric art and human remains (at least six individuals) dating to the same period, suggesting it served as both a gallery and a sacred burial site. 

The engraving depicts a woman with a voluptuous figure, which scholars often interpret as a symbol of fertility and prosperity within ancient hunter-gatherer societies. Its artistic style, featuring amplified forms, is consistent with other contemporary Paleolithic sites like the Pech-Merle Cave. Due to the density and quality of its engravings, Cussac is considered as archaeologically significant for engraving as the famous Lascaux Cave is for painting.

40 Elegant Portraits of Fashionable Women From the Edwardian Era

The Edwardian Era was a golden age of opulent femininity and structured grace, often immortalized in the “S-bend” silhouette. Portraits from this period capture the “Gibson Girl” ideal: a woman who was tall, slender, and commanded presence through voluminous pompadour hairstyles and extravagant millinery adorned with feathers and lace.

Unlike the rigid Victorian era, Edwardian fashion embraced softness and light, utilizing delicate fabrics like chiffon, silk, and Irish crochet to create “lingerie dresses” that appeared ethereal yet sophisticated.

These portraits serve as more than just fashion plates, they are historical windows into an era of leisure and aristocratic refinement, where every detail, from the high boned collars to the sweeping trains, signified a lady’s social standing and the romantic transition into the modern world.

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40 Publicity Portraits of Amanda Blake as Miss Kitty Russell on the Western Television Series “Gunsmoke”

Amanda Blake’s portrayal of Miss Kitty Russell on Gunsmoke is one of the most enduring performances in television history. She played the role for 19 years (1955–1974), becoming the definitive “saloon keeper with a heart of gold.”

In the early seasons, Kitty’s profession was more overtly implied to be a “madam,” consistent with the gritty realism of the radio show. However, as the TV series progressed and moved toward a more family-friendly tone, her role shifted into the more “respectable” owner and operator of the Long Branch Saloon. Unlike many female characters of the era, Kitty was a self-sufficient businesswoman. She was often seen managing ledgers and staff, holding her own in a male-dominated frontier.

The central tension of the show was her unspoken, long-term relationship with Marshal Matt Dillon. While they never married or even explicitly shared a screen kiss, their deep mutual respect and affection were the emotional anchor of the series.

Blake brought a specific blend of toughness and vulnerability to the role that prevented Kitty from becoming a caricature. Her signature look, vibrant red hair and elaborate Victorian dresses, made her a visual icon of the Old West. Much like James Arness, Blake played Kitty with a “poker face” that made her rare moments of emotion more powerful. She was known for her sharp tongue and ability to trade barbs with Doc Adams or keep rowdy cowboys in check.

After 19 seasons, Amanda Blake decided to leave Gunsmoke in 1974, just one year before the show was ultimately canceled. The grueling schedule and the commute from her home in Phoenix to Hollywood had become taxing. Her departure was written into the show by having Kitty simply “leave town,” a move that many fans felt left a void in the final season.

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A Young Cindy Crawford Photographed by Barry Elz in Studio, 1985

In 1985, Cindy Crawford was not yet a global household name. She was still a student at Northwestern University (studying chemical engineering) and working primarily out of the Chicago fashion scene. Barry Elz was one of the first professional photographers to recognize Crawford’s potential. He worked with her frequently during this period, helping her build the portfolio that would eventually catch the eye of major agencies in New York.

Taken in 1985 by Elz, this series of images is a window into the mid-80s aesthetic and Crawford’s early career in Chicago. This shoot occurred just as the industry was shifting away from the delicate, “waif-like” looks of the late 1970s toward the more powerful, curvy, and athletic presence that Crawford came to personify. The use of high-contrast black and white, along with the visible film borders, gives the photo a “test shoot” or “raw” quality. It highlights the transition from commercial catalog work to high-fashion editorial.

Interestingly, in many early shoots from 1984–1985, editors would occasionally airbrush out her famous beauty mark. Barry Elz was among those who captured her more naturally, allowing her unique features to stand out.

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Merle Lynn: The Vogue Muse Who Became a Novelist

Merle Lynn was a distinguished high-fashion model who became a prominent face of the early 1960s couture scene. Born in February 1943, she possessed a refined elegance that captured the attention of legendary photographers like Richard Dormer and Guy Bourdin, appearing in prestigious publications such as Paris Vogue and the Vogue Pattern Book.

Beyond her success on the runway and in beauty campaigns for brands like Estée Lauder, Lynn revealed a creative depth that extended into the literary world. Writing under the name Merle Lynn Browne, she authored novels including The Ravishers and The Arousers, often collaborating with her husband, the New York Times best-selling novelist Gerald A. Browne.

Her journey from a high-fashion muse in Paris to a published author remains a testament to her multifaceted talent. She shares a quiet, creative life with her husband in Scottsdale, Arizona.

Merle Lynn, make-up for eyes 'Evening Star' and nail polish 'White Frost' by Estee Lauder, photo by Guy Bourdin, Paris Vogue, December 1966

Merle Lynn in worsted twill dress by Susan Small, photo by Richard Rutledge, Harper's Bazaar UK, April 1966

Merle Lynn in apres-ski felt jacket with diamond pattern by Hermès, photo by Jean Louis Guégan, 1965

Merle Lynn in metallic dress with short St.Gall metallic lace bolero by Yves Saint Laurent, photo by Tom Kublin, 1965

Merle Lynn in beautiful evening dress of white silk jersey with a high waist, long floating panels on each side and one in back worn as a loose cowl hood by Patricia at Aldo Bruno, photo by Bill King, Harper's Bazaar UK, September 1966

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