The Infamous Exploding Whale Incident in Florence, Oregon in November 1970

On November 9, 1970, a 45-foot, 8-ton sperm whale washed ashore near Florence, Oregon. Because Oregon’s beaches were technically classified as public highways at the time, the responsibility for removal fell to the Oregon State Highway Division (now ODOT) rather than a wildlife agency. The carcass was rotting quickly, and the stench was becoming unbearable. Burying it was considered, but officials feared it would just be uncovered by the tide.

The engineer in charge, George Thornton, consulted with the U.S. Navy and decided the best course of action was to treat the whale like a large boulder. He figured that a massive blast with 20 cases (half a ton) of dynamite would “atomize” the whale into tiny pieces that seagulls and crabs would then finish off. A military veteran in the crowd reportedly warned Thornton that 20 sticks would have been plenty and that 20 cases was a recipe for disaster. He was ignored.

At 3:45 p.m. on November 12, they pushed the plunger. The result was captured in a now-famous news report by KATU’s Paul Linnman. A 100-foot-high column of sand and blubber erupted into the air. Instead of disintegrating, the whale broke into large, heavy chunks. Spectators who thought they were at a safe distance (about a quarter-mile away) had to run for cover as “meaty” rain began falling. The most famous casualty was a brand-new car parked nearby, which was completely crushed by a massive chunk of flying blubber. Ironically, the car had been purchased at a “Whale of a Deal” promotion. The seagulls that were supposed to eat the remains were scavenged away by the explosion and didn’t return for some time.

While Thornton later claimed the operation was a success because the whale was “removed” from its original spot, the state never tried it again. When 41 sperm whales beached themselves nearby in 1979, the state opted to bury them instead.

Today, Florence embraces the history. In 2020, the city officially named a new park the Exploding Whale Memorial Park to commemorate the 50th anniversary.

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A Year of Al Moore Pin-Up Girls From Esquire Magazine, 1950

Great vintage pin-up girl artwork by artist Al Moore. These lovely ladies were part of a 1950 calendar. Which month is your favorite?

Born in Illinois, AI Moore played college football at Northwestern University and professional football with the Chicago Bears. After attending classes at Chicago’s Art Institute and Academy of Art, he opened a commercial art studio in New York in the late 1930s. By the mid 1940s, his clients included major companies like Galey and Lord, Beauty Counselors, the Viscole Corporation and Champion Spark Flags.

During the war years, Moore painted posters for the government and also took on assignments from Gold cigarettes, Cosmopolitan, The Saturday Evening Post and Collier’s.

Advertising work for U.S. Rubber, Nash automobiles, and Coca-Cola led, in 1946, to Moore’s breakthrough assignment – he was chosen by Esquire to replace Alberto Vargas, the most popular pin-up artist of the day. Among Moore’s triumphs at the magazine were his creation of the Esquire Girl, his answer to the Varga Girl; the 1948 Esquire calendar (with Ben-Hur Baz and others); front covers in 1948 and 1949; and the rare honor of painting the entire 1949 and 1950 calendars himself. By 1950, his two-page gatefolds in Esquire were collected by millions of Americans.

Moore contributed four pinups and a centerfold print to Brown & Bigelow’s Ballyhoo Calendar for 1953, which was as huge a success as the work of Gil Elvgren for the previous year’s calendar. In the 1950s, his corporate clients included contemporary Munsingwear, Hertz Rent-a-Car, and the McGregor Corporation. During the same years, his illustrations appeared in American Magazine, Woman’s Home Companion, McCall’s, and Woman’s Day, and he painted several front covers for The Saturday Evening Post. As an active member of the Society of Illustrators, Moore was asked to paint the poster for the society’s 1959 exhibition; it was such a success that both Pan American Airlines and Germaine Monteil Perfume also commissioned posters for their national marketing campaigns.

When photographs started to replace artwork in magazines and advertising, Moore decided to retire and pursue fine-art painting, including portrait commissions, Shortly after he moved to Crawford, Colorado, he accepted a commission from the United States Olympic Committee for three paintings for their world headquarters that would call attention to the problem of illegal steroid use by athletes.

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Civil War Veteran Samuel Decker Posing With Prosthetic Arms He Designed Himself, ca. 1867

Samuel H. Decker (1813–1894) was a Union artilleryman during the American Civil War who became famous for designing his own highly functional prosthetic arms after a devastating combat injury.

In October 1862, during the Battle of Perryville, Kentucky, Decker was serving in the 4th U.S. Artillery when his gun prematurely exploded while he was reloading. The accident resulted in the traumatic loss of both his forearms.

Dissatisfied with the simple, non-functional prosthetics available at the time, Decker spent three years (1862–1865) conceptualizing a superior alternative. While he could not physically build them himself due to his injury, he sketched the designs and supervised their construction, reportedly guiding his wife or other skilled craftsmen to complete the mechanical limbs.

His prosthetics were mechanical and functional rather than merely cosmetic. They allowed him to perform delicate daily tasks, including feeding and dressing himself, carrying packages, and even picking up objects as small as a pin. Remarkably, he used the devices to relearn how to write legibly.

In 1867, the Army Medical Museum in Washington, D.C., invited him to demonstrate his invention, which was officially documented as “hitherto unrivaled for ingenuity and utility.”

Decker’s independence and the dexterity afforded by his prosthetics led to a long post-war career as a doorman (doorkeeper) for the U.S. House of Representatives. Historical accounts note that he was once a “formidable police officer” in the Congressional gallery, successfully handling disorderly individuals despite his disability. 

Françoise Arnoul: The Sensual Icon of French Cinema

Françoise Arnoul (1931–2021) was one of the most captivating stars of French cinema during the 1950s, often regarded as the quintessential “sex symbol” of the era before the rise of Brigitte Bardot.

With her dark hair, expressive eyes, and natural allure, Arnoul became a favorite of leading directors, most notably Jean Renoir, who cast her as the lead in the 1954 masterpiece French Cancan. In this iconic role as Nini, a young laundress turned cabaret dancer, she showcased her talent for blending innocence with vibrant energy.

Throughout her career, Arnoul appeared in a wide range of films, from gritty “film noir” crime dramas to lighthearted romances, working alongside legendary actors like Jean Gabin and Fernandel. Beyond her on-screen beauty, she was respected for her longevity in the industry and her dedication to French culture, leaving behind a legacy as a graceful icon of the golden age of European filmmaking.

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Miami’s Street Scenes in the Early 1980s Through Fascinating Photos

The street scenes of Miami in the early 1980s offered a vivid and high-contrast tableau of a city at a historical crossroads. Walking through districts like South Beach, one would have encountered a unique blend of faded grandeur and emerging neon energy, where elderly residents sitting on porch swings shared the sidewalks with a new wave of trendy, fashion-forward youth.

The streets were lined with pastel-colored Art Deco hotels, many of which were still peeling from neglect before the preservation movement fully took hold. Parked along the curbs were iconic vehicles of the era: from sleek European sports cars fueled by the city’s sudden “cocaine cowboy” wealth to the rugged, sun-beaten sedans of the local working class.

Palm trees swayed over bustling boulevards where the air was thick with a mix of salty Atlantic breezes and the rhythmic sounds of Latin music spilling out from storefronts, creating an atmosphere that was simultaneously glamorous, gritty, and pulsating with a raw, multicultural soul.

These fascinating photos, taken by Steven Martin, capture street scenes of Miami, Florida in 1983.

Biscayne Boulevard, Miami, 1983

Biscayne Boulevard, Miami, 1983

Building sign, Coconut Grove, Miami, 1983

Coconut Grove Playhouse, Miami, 1983

Dade County Courthouse, Miami, 1983

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Debbie Harry: The Official Calendar 1982

A glamour/fashion wall calendar featuring Debbie Harry photographed in a series of stylized studio and location shoots. Harry’s 1982 calendar is a well-known collectible that captured her at the height of her early-1980s pop-icon status, right between Blondie’s initial breakup and her solo success. Released for 1982, though most of the photography was done in 1981.

In 1981, Harry began to branch out from Blondie, announcing her solo career and releasing her debut album, KooKoo. This move allowed her to experiment with a darker, more avant-garde visual style. The album cover was designed by the Swiss artist H.R. Giger, featuring Harry with acupuncture needles piercing her face. This was a stark contrast to the glamorous Blondie image and remains one of her most striking visual statements.

Harry was frequently photographed in both London and New York City during this period. Her style included experimental street fashion, often incorporating designs by Stephen Sprouse, who defined her electric, neon-infused stage wardrobe.

A spiral-bound calendar featuring 12 intimate and candid photographs taken by her partner and bandmate Chris Stein was released, offering fans a behind-the-scenes look at her life at the height of her fame.

40 Beautiful Photos That Show Fashion Styles For 1960s Young Women

The 1960s was a revolutionary decade for young women’s fashion, marked by a dramatic shift from the formal constraints of the 1950s to a spirit of rebellion and youthful energy. The era was defined by the “Youthquake” movement, which saw the rise of the iconic mini-skirt, popularized by designers like Mary Quant.

Early in the decade, the “Mod” look dominated, featuring bold geometric patterns, PVC materials, and bright “space-age” colors. As the years progressed, the silhouette moved away from the cinched waist toward the A-line shift dress and “Peter Pan” collars, creating a gamine, doll-like aesthetic often associated with models like Twiggy. By the late ’60s, the style evolved again into the “Hippie” or Bohemian look, introducing flared bell-bottom jeans, tie-dye prints, and flowing maxi dresses.

This decade remains one of the most influential periods in fashion history, as it was the first time trends were driven by the youth rather than the elite fashion houses.

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