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August 8, 2026

18 Photos of a Very Young Connie Stevens in the late 1950s

In the late 1950s, Connie Stevens (born Concetta Rosalie Ann Ingoglia; August 8, 1938) was a rising young actress and singer, transitioning from bit parts and vocal groups into feature films, a recording contract, and her breakthrough TV role. She had moved to Los Angeles around 1953 to live with her father and soon performed with groups such as the Three Debs and the Fourmost (whose male members later formed The Lettermen). By the mid-to-late 1950s she was doing extra and supporting work while building a singing career.

Feature debut in Young and Dangerous (1957), followed by Eighteen and Anxious (1957), Dragstrip Riot (1958), The Party Crashers (1958), and a supporting role as the love interest in Jerry Lewis’s Rock-a-Bye Baby (1958). The Lewis film was a significant early break after he spotted her in Dragstrip Riot.

Released her debut album Concetta in 1958 on Warner Bros. Records (she was among the early artists signed to the label). She recorded standards and other material; later in 1959 she scored a major novelty hit with the duet “Kookie, Kookie (Lend Me Your Comb)” alongside Edd “Kookie” Byrnes (tied to his character on 77 Sunset Strip). In 1959 she signed a multi-year contract with Warner Bros. and was cast as Cricket Blake (a photographer/singer) on the new detective series Hawaiian Eye, which premiered in October 1959 and quickly made her a teen idol.

By the end of the decade she was established as a pert, energetic blonde ingénue with a distinctive voice—working steadily in Hollywood’s teen-film and TV pipeline and on the cusp of wider pop success (her biggest solo hit, “Sixteen Reasons,” came in 1960–61). Her image mixed cute/tomboyish appeal with singing talent, and the Hawaiian Eye role cemented her early fame.




















Trisha Noble: From Australian Pop Star to International Actress

Trisha Noble (1944–2021), born Patricia Ann Ruth Noble, was an Australian singer and actress who rose to fame in the early 1960s as the teenage pop star Patsy Ann Noble. Known for her hit single “Good Looking Boy” and regular appearances on the Australian television show Bandstand, she later moved to the United Kingdom and then the United States, transitioning into acting.

Under the name Trisha Noble, she appeared in numerous television series and films, including roles in American shows and later as Jobal Naberrie in the Star Wars prequels. With her vibrant personality and versatile talent, she remained a familiar face across music, television, and film for several decades.

These vintage photos capture the youthful charm and vibrant energy of Trisha Noble, the Australian star who successfully moved from pop music to international acting.






1938 Delahaye 135 MS Coupe: French Art Deco Masterpiece

The 1938 Delahaye 135 MS Coupe is widely regarded as one of the most elegant French automobiles of the prewar era.

Powered by a powerful 3.6-liter inline-six engine producing up to 160 horsepower in MS specification, it combined sporting performance with extraordinary coachbuilt design. Many examples were bodied by the legendary Figoni et Falaschi, whose dramatic teardrop styling and flowing Art Deco lines made the car a true automotive sculpture.

With its refined engineering, exclusive craftsmanship, and striking aesthetics, the Delahaye 135 MS Coupe remains one of the most desirable classics of the 1930s. These beautiful photos capture the flowing Art Deco elegance and timeless beauty of the rare 1938 Delahaye 135 MS Coupe.






50 Amazing Photographs From the Set of “Once Upon a Time in America” (1984)

Once Upon a Time in America (Italian: C’era una volta in America) is a 1984 epic crime drama directed by Sergio Leone, marking his final film before his death in 1989. Based on Harry Grey’s novel The Hoods, the film serves as the grand culmination of Leone’s thematic “Once Upon a Time” trilogy (following Once Upon a Time in the West and Duck, You Sucker!).

The filming of Leone’s 1984 masterwork was a legendary multi-continental production that took over 13 years of development and 10 demanding months of principal photography. Unlike almost all modern film productions where music is composed and recorded post-filming, Ennio Morricone composed and recorded the film’s iconic score before shooting began.

Leone insisted on setting up large loudspeakers on set during filming to blast Morricone’s haunting score, such as “Deborah’s Theme” and “Cockeye’s Song,” while the camera rolled. Because the film was shot without live sound recording, the actors moved, walked, and paced their performance directly to the rhythm of the music.

To prepare for the older 1968 version of Noodles, De Niro requested a private meeting with real-life crime figure Meyer Lansky to study his mannerisms and body language. Lansky declined, but the request was classic De Niro method preparation.

Leone spent weeks casting child actors who possessed exact physical mannerisms matching their adult counterparts. During rehearsals, he made the older actors study footage of the younger actors, and vice versa, to synchronize their body movements. Makeup artist Manlio Rocchetti spent hours applying fine latex appliances on De Niro and Woods for the 1968 sequences to achieve natural-looking aged skin rather than heavy prosthetics.

Leone originally envisaged two three-hour films, then a single 269-minute (4 hours and 29 minutes) version, but was convinced by distributors to shorten it to 229 minutes (3 hours and 49 minutes). The American distributors, The Ladd Company, further shortened it to 139 minutes (2 hours and 19 minutes), and rearranged the scenes into chronological order, without Leone's involvement.

The US edit was a critical and commercial flop in the United States, and critics who had seen both versions harshly condemned the changes made. While sometimes considered one of Leone’s most overlooked films, the original European cut of Once Upon a Time in America has remained a critical favorite and frequently appears in lists of the greatest films of all time, especially in the gangster genre.






August 7, 2026

Inside the Opium Dens From Between the Late 19th and Early 20th Centuries

Opium dens were establishments where opium was sold and smoked, typically in reclining positions using long pipes heated over oil lamps. They flourished from the mid-to-late 19th century into the early 20th century across China, Southeast Asia, North America (especially Chinatowns), parts of Europe, and Australia.

Chinese immigrants brought the practice to the United States during the California Gold Rush (around 1850 onward). San Francisco’s Chinatown became an early hub, with dens often in basements, back rooms, or upstairs spaces of laundries and boarding houses. These were tightly sealed to protect the lamps from drafts and contain the distinctive fumes. The habit spread eastward to cities like New York (notably Mott and Pell Streets), Denver, Portland, and others, as well as Canadian Chinatowns in Victoria and Vancouver. Similar dens existed in Australian gold-rush areas (e.g., Melbourne, Ballarat) and, to a lesser and often exaggerated extent, in London’s Limehouse district.

In China itself, dens ranged widely by class: opulent ones for the affluent and sparse ones for laborers. Western dens mirrored this range. Many Chinese smokers used opium as an escape from loneliness, hard labor, prejudice, and homesickness. By the 1870s–1890s, non-Chinese patrons, including white Americans of various classes, from underworld figures to middle- and upper-class individuals, and both men and women, frequented them. Some dens became mixed-race spaces.

Unlike bars or taverns designed for standing or sitting upright, opium dens were laid out specifically for patrons to lie down on their sides. Because smoking opium (chandoo) required heating a viscous paste over a small oil lamp while balancing a heavy pipe, resting on one’s side was both ergonomically necessary and essential for safety. Dens featured low wooden platforms, raised bamboo beds, or cushioned divans. In basic establishments, smokers shared wide wooden couches covered with straw mats or simple fabric; upscale establishments offered carved teak benches, silk pillows, and porcelain headrests.

Dens were typically dim and heavily insulated from drafts, as open air currents could extinguish or fluctuate the flame of the opium lamp. The air held a heavy, sweet, burnt-herbal aroma distinct from tobacco smoke. Establishments employed attendants (often called “cooks” or pipe-masters) who prepared the opium spheres, heated them over oil burners, loaded the clay pipe bowls, and handed them to patrons.

Peak popularity in the U.S. came in the 1880s and 1890s. Opium was initially legal or loosely regulated. Concerns, fueled by moral reformers, temperance advocates, and anti-Chinese sentiment, led to local bans (San Francisco’s 1875 ordinance was among the earliest anti-drug laws targeting dens), the Chinese Exclusion Act of 1882 (which also restricted opium imports), the Pure Food and Drug Act of 1906, and the Smoking Opium Exclusion Act of 1909. Public burnings of confiscated opium and pipes occurred. Dens were driven underground but persisted in some places into the mid-20th century (New York’s last known one closed in 1957; some Australian dens lasted into the 1950s).

Period accounts mixed genuine observation of addiction and squalor with heavy racial stereotyping, claims of dens luring and “corrupting” white women, associations with crime or moral decay, and “Yellow Peril” tropes. Many such narratives were exaggerated or false; dens attracted diverse patrons, and smoking also occurred privately in homes. Photographs from the era show both ordinary Chinese smokers and mixed groups reclining with pipes, sometimes appearing relaxed rather than purely degraded.






Stunning Found Slides of Models From Amherst, July 1963

These stunning found slides, date-stamped July 1963 and discovered in a box labeled “Models, Amherst, 1963,” offer a fascinating glimpse into early 1960s fashion and portrait photography.

Captured in Amherst, the photos feature young models posing in the stylish clothing and hairstyles of the era, reflecting the clean lines, youthful optimism, and emerging modern look of the early sixties.

With their soft color tones and candid yet carefully composed frames, these slides provide an authentic and nostalgic record of a specific time and place in mid-century American fashion history.






George Michael Wearing a Captain’s Jacket on the Set of Wham!’s 1983 “Club Tropicana” Music Video in Ibiza

These candid photographs show George Michael on set during the filming of Wham!’s iconic “Club Tropicana” music video in the summer of 1983.



The music video was filmed on location at the famous Pikes Hotel in Ibiza, Spain. The hotel served as the perfect sunny, luxurious backdrop for the song's satirical take on package holidays and the glamorous jet-set lifestyle.

In this particular behind-the-scenes moment, Michael was playfully posing in a formal captain’s uniform jacket, complete with gold rank stripes on the sleeves, but paired with absolutely no pants, sporting just ultra-short shorts and white tube socks.

In the storyline of the “Club Tropicana” music video, he and his bandmate Andrew Ridgeley play two airline pilots on vacation. At the very end of the video, their holiday fantasy wraps up as they are shown dressing back into their pilot uniforms to head back to work.

This humorous, pantsless behind-the-scenes shot perfectly encapsulates the campy, lighthearted, and sex-positive aesthetic that defined Wham! in the early 1980s. It has since become a beloved piece of pop history and a testament to George Michael’s early status as a fearless, boundary-pushing style icon.



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