The 1953 Hudson Hornet Sedan: A Racing Legend

The 1953 Hudson Hornet Sedan stands as a legendary icon of mid-20th-century American motoring, celebrated primarily for its unparalleled dominance on the NASCAR racing circuit.

While visually similar to its predecessors, the 1953 model represented the final year of the famed “step-down” body design , a revolutionary low-slung structure where the floorpan was placed lower than the perimeter of the frame. This design offered a significantly lower center of gravity, translating into superior handling, a major advantage over competitors whose cars often swayed through turns.

Under the hood, the Hornet was powered by the formidable “Twin H-Power” system, a 308-cubic-inch flathead six-cylinder engine equipped with two carburetors and a high-compression aluminum head. This robust engine, combined with the step-down chassis, allowed the Hornet, nicknamed the “Fabulous Hudson Hornet,” to secure three consecutive NASCAR Grand National championships from 1951 to 1953, forever cementing its place in racing history before the company was merged into American Motors Corporation (AMC).

Here below is a collection of beautiful photos of the 1953 Hudson Hornet Sedan.

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Myrna Loy Photographed by Henry Waxman as the ‘Intellectual Vamp’ for the Silent Film “What Price Beauty?” (1928)

Myrna Loy photographed by Henry Waxman for the 1928 film, What Price Beauty?. Filmed in 1925 but not released until 1928, Loy had a small role in the film but it helped give her attention. Waxman actually helped discover her, as he took portraits of her while she was performing at the Grauman’s Egyptian Theater. The portraits were seen by Rudolph Valentino and Natacha Rambova, and Rambova hired Loy for her role in What Price Beauty? in which Rambova was a producer. A few of the stills pictured here were featured in Motion Picture magazine, which then led to a film contract with Warner Bros for Loy.

Following her failed screen test for the film Cobra and extra work on Pretty Ladies, Myrna remembered how she was casted in What Price Beauty? in her book, Being and Becoming:

“Natacha Rambova came to the rescue. Henry Waxman called to say that she wanted me at the studio, so I hurried over. Lou and Betty [her best friends] waited by the phone until I called home with the news that Natacha had hired me for a small but showy part in What Price Beauty?. Mother made a midnight supper and Lillian Butterfield and Melva Lockman, my friends from Grauman’s, joined us for a celebration. They all stayed overnight, five of us crosswise in one double bed, chattering away, planning brilliant futures for ourselves.

“What Price Beauty? had a dreadful script, a variation on the country-girl-in-the-big-city theme, but done with the Rambova touch. She’d found a young designer named Adrian Greenberg—that’s where M-G-M’s Adrian started. His big test, and my only scene, was a futuristic dream sequence depicting various types of womankind. Natacha dubbed me ‘the intellectual type of vampire without race or creed or country.’ Adrian designed an extraordinary red velvet pajama outfit for me, with a short blond wig that came to little points on my forehead, very, very snaky. This bizarre film wasn’t released for three years, but Henry Waxman took pictures of me in that outfit. They appeared in a fan magazine captioned ‘Who is she?’ and eventually led to my contract.”

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30 Vintage Portraits of Lea Massari in the 1950s and ’60s

Born 1933 in Rome, Italian actress Lea Massari is renowned for her extensive career in both Italian and French cinema, establishing her as a key figure in European art house film. She achieved international fame through two of her most iconic roles: the mysteriously disappearing Anna in Michelangelo Antonioni’s groundbreaking film L’Avventura (1960), and the sophisticated, complicated mother Clara in Louis Malle’s Murmur of the Heart (Le Souffle au Cœur, 1971).

Known for her subtle, elegant performances and striking beauty, Massari worked with legendary directors like Sergio Leone and Francesco Rosi, solidifying her status as one of mid-20th century European cinema's most important and enduring stars.

Take a look at these vintage photos to see portraits of a young Lea Massari in the 1950s and 1960s.

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Woman Standing on a Street Holding a Sign Reading “OUR BOSS OWNS 77 HOUSES — WE CAN’T PAY RENT”

This powerful photograph, taken in Richmond, Virginia, in October 1938, captures a striking moment of protest during the Great Depression. The woman in the image, whose identity is generally unknown, was one of many tobacco workers picketing for higher wages and fair labor conditions.

The image was captured during a period of significant labor activism, where African American women in the tobacco industry were leading strikes to fight for better pay and working conditions.

The woman's sign reads: “Our boss owns 77 houses • We can’t pay rent.” This stark statement highlighted the immense economic disparity between the wealthy employers who were accumulating vast property and the workers who struggled to afford basic necessities like housing, despite their labor fueling the industry.

The photograph was taken on the 900 block of N. Lombardy St. in Richmond, where the buildings visible in the background, including the “Wingo Co” building, are reportedly still standing. The original image is held in the Library of Congress collection as part of the NAACP records.

40 Fascinating Photos Capture People With Christmas Gifts From the Mid-20th Century

Christmas morning in the mid-20th century presented a distinctly charming scene, largely shaped by the post-war economic boom and the rise of mass-market consumerism.

Children’s excitement was palpable as they tore open paper to find classic toys that defined the era. Boys often unwrapped Matchbox cars, Erector Sets, or, later in the period, the first G.I. Joe action figures. Girls’ eyes would light up at the sight of a new Barbie doll (introduced in 1959), a Chatty Cathy doll, or a miniature Easy-Bake Oven. The simplicity of toys like Silly Putty, Play-Doh, or an Etch A Sketch often provided hours of entertainment, reflecting a time when imagination was as important as technology.

For adults, gifts often balanced utility and emerging luxury. Women might receive labor-saving kitchen appliances like a new toaster, blender, or electric mixer, reflecting the idealized role of the mid-century housewife. More personal gifts included fine jewelry or luxurious perfumes. Men's gifts often centered on hobbies or status, such as a new smoking pipe, a sophisticated mantel clock, or matching family pajamas to be worn for the holiday photo.

The atmosphere was one of joyful domesticity, with the gifts under the tinsel-heavy tree symbolizing prosperity, family connection, and the embracing of modern, comfortable living. These fascinating photos capture people with their Christmas gifts in the 1950s and 1960s.

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Historical Photos of Wooden Water Pipelines From the Late 19th and Early 20th Centuries

Wooden water pipelines, made from hollowed-out logs or wooden staves, were a common and effective infrastructure solution used by ancient civilizations and in urban centers across Europe and North America from the 16th to the early 20th centuries.

The earliest form of wooden pipes were single logs, typically from elm or oak, with a hole bored or carved through the center using an auger. The ends were often tapered (male end) and reamed (female or “bell” end) to fit together, forming a seal that became watertight as the wood swelled when soaked with water.

Later, especially for larger diameter pipes in the American West, pipelines were constructed from numerous wooden staves (planks) held together by metal bands or hoops. This method allowed for the construction of continuous, large-diameter pipes. Joints were often reinforced with metal collars or bands and sealed with natural materials like pitch or clay to prevent leaks. Rot-resistant woods such as redwood, cedar, fir, elm, and oak were preferred to ensure longevity.

Wooden pipes were widely used in Europe and became the primary water main material in North American cities like Boston, Philadelphia, and Montreal in the 18th and 19th centuries. They were a practical and abundant alternative to cast iron, which was not always readily available.

Wooden pipelines, particularly the large stave type, were a common and effective solution for transporting water over long distances for agriculture, industry, and burgeoning settlements in the American West and Pacific Northwest.

As industrialization made cast iron pipes more economical and reliable, wooden pipes were phased out, though some systems remained in use well into the mid-20th century.

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This “Screaming Spirit” Photo Was Taken Moments After 16-Year-Old John Boulware Was Killed in a Car Crash in 1984

On December 27, 1984, John Boulware was a passenger in a car with three friends, heading to a Prince concert. The driver lost control, and the car crashed head-on into a tree by the southeast corner of Highland Park Golf Course, in St. Paul, Minnesota. John was killed instantly, while the other three teenagers sustained only minor injuries.

As standard procedure, police officer Brian Coyle took photographs of the scene using a 35mm film camera. When the film was developed, one specific photo revealed a blurred, distorted face with its mouth wide open in a silent scream, hovering above the open driver's side door.

The face in the photo bore an uncanny resemblance to John. The image, quickly dubbed “The Screaming Spirit” or “The Screaming Soul,” baffled experts. No technical faults were found with the camera or the negative, and no physical object at the scene could explain the anomaly.

In episode one of Casefiles Unknown (Conrad 2015), Officer Coyle described these strange anomalies: “There were some images on the pictures that definitely weren’t there when I was taking the pictures. There were streaks of light, both red and white, that ran through the pictures. Some of them coming from the images, some of them just passing through the pictures.”

Lines like these, which often appear in alleged paranormal photos, are often attributed to ghostly “energy” because reasons. Actually, it comes down to a lack of understanding of basic photography, specifically the way light interacts with film and sensors which leads to such unfounded conclusions.

Officer Coyle continued to describe the photo, the one that would eventually become known as the “Screaming Spirit” image: “On the side picture of the vehicle, facing the driver’s door, above the vehicle, about even with where the front seat passenger would be sitting, there was a clear image of a face. It appeared to be in agony ... a scream. It had distinctive hair and a distinct profile.”

The photo has sparked decades of debate. Paranormal believers claim the image shows John's soul caught in the shock and confusion of sudden death, attempting to transition to the afterlife. Skeptics argue it is likely a photographic anomaly, such as a double exposure, a trick of light and reflection, or pareidolia (the human tendency to see faces in random patterns).