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April 28, 2026

Photos of Teenage Penélope Cruz on the Set of Her Debut Movie “Jamón Jamón” (1992)

Penélope Cruz was 17 years old during the filming of her feature film debut, Jamón jamón (1992). Despite the film launching her to international fame as a major sex symbol in Spain, she later revealed that the experience was emotionally devastating and that she felt completely unprepared for the movie’s explicit and sensual scenes.

Cruz has admitted she “did not handle it at all well” and was terrified that her performance, specifically her first nude scenes, would ruin her career before it truly began. On the last day of shooting, she was in tears, convinced she would never shoot another movie again.
“I remember the last day of filming; I was crying, saying, ‘What if I never shoot a movie again?’ The feeling was devastating. ‘Who knows when I will see these people again?’ Including Javier.”
The experience was so taxing that it caused a strong psychological reaction; following the film, she cut her hair short and refused to do any romantic or intimate scenes, even simple kissing, for several years.

The movie was shot in the Los Monegros Desert in Aragon, Spain — a harsh, sun-drenched landscape that mirrored the burning passions and emotional isolation of the characters. 

Despite her personal struggle, Cruz noted that the crew and her co-stars were highly respectful of her age and the challenging nature of the material. Director Bigas Luna encouraged a daring and spontaneous atmosphere on set, often letting scenes evolve naturally to capture raw, unfiltered performances.

Cruz met her future husband, Javier Bardem, on this set in 1992. While Bardem later noted their “obvious chemistry,” describing the film as a “document of our passion,” the two remained strictly colleagues and friends for 15 years before beginning a romantic relationship in 2007.






How Three Canadian Soldiers Saved an Abandoned Baby During World War II

On September 23, 1941, a British mother abandoned her newborn baby behind blackberry bushes in Horsell Common, a 355-hectare park on the outskirts of London.


Stationed in England, three Canadian soldiers (Gunner Robert C. Griffin of Regina, Saskatchewan, Lance Sergeant Ernest Curtis of Brandon Manitoba, and Gunner Alonzo J. Brackett of Terrace, British Columbia) happened to be nearby. The three members of the Royal Canadian Artillery heard a strange noise coming from the bushes and discovered the baby who was clinging to life.

They immediately cut the remaining umbilical cord with a knife, and wrapped the little girl in a white shirt. An entry in the 8th Field Regiment's war diary from that day says: “found a newborn baby in the gun area.” The baby girl was rushed to a nearby hospital, and survived.

She was later adopted by an English couple, who named her Mary, and growing up in Hertfordshire unaware of her dramatic beginnings. It wasn’t until 2018, at age 79, that Mary discovered an old photograph of the three soldiers holding a tiny baby, revealing the truth of her miraculous rescue. “Tears were rolling down my face,” said Mary. “I owe my life to them.” Her three guardian angels had already passed away, but in 2019, Mary found and got in touch with Harry Curtis, the son of Lance Sergeant Ernest Curtis.

At her home in Hertfordshire, England, Mary Crabb displays the 1941 photo featuring her as a baby, surrounded by the Canadian soldiers who saved her life.

Joan Friedman: The Golden Face of 1950s Fashion

Joan Friedman (1931–2014) was a striking figure of the mid-20th century fashion world, embodying the sophisticated allure of the 1950s modeling era. As a high-fashion model, she was frequently captured by the legendary photographers of the day like Horst P. Horst, appearing in the pages of prestigious magazines like Vogue and Harper’s Bazaar.

Known for her refined features, graceful poise, and the ability to carry the era’s structured silhouettes: from dramatic ballgowns to chic Dior-inspired suits, Friedman represented the transition toward a more modern, expressive style of beauty. Her work remains a classic reference point for the “Golden Age” of modeling, where elegance was an art form and every pose told a story of high-society glamour.

These vintage portraits of Joan Friedman serve as a timeless reminder of an era when fashion was defined by pure grace and effortless sophistication.

Joan Friedman modeling Almanac dress, photo by Karen Radkai, Vogue, April 1956

Joan Friedman in a fitted, softly molded evening dress with a line flowing into a touch of a train, in silk crêpe made to order by Mainbocher, jewelry by Verdura, photo by Karen Radkai, Vogue, November 15, 1956

Joan Friedman in a sheer gray wool dress with a flat lowered collar by Nantucket Naturals, white beaver felt hat wrapped in satin by Dachette, alligator belt by Lederer, photo by Roger Prigent, Vogue, November 1, 1956

Joan Friedman in black rayon-crêpe dress with a deep bare-back and draped wrap-around skirt by Ceil Chapman, shoes by Delmanette, photo by Karen Radkai, Vogue, November 1, 1956

Joan Friedman in black silk dinner dress caught high with a black silk rose and a fall of streamers by Anna Miller, black shadow-hat by Lilly Daché, photo by Richard Rutledge, Vogue, April 15, 1956

30 Wonderful Photos of Ann-Margret in the 1970s

Ann-Margret Olsson (born April 28, 1941), credited as Ann-Margret, is an American actress, dancer, and singer with a career spanning seven decades. In the 1970s, she transformed from a musical starlet into a critically acclaimed dramatic actress, while overcoming a near-fatal accident that almost ended her career.

Ann-Margret shed her “sex kitten” image with her role as Bobbie in Carnal Knowledge (1971), which earned her an Academy Award nomination for Best Supporting Actress. In 1975, she starred in the film adaptation of the rock opera Tommy, earning her second Oscar nomination and a Golden Globe win. She remained a staple on television specials and talk shows like The Tonight Show Starring Johnny Carson, where she performed high-energy dance routines.

In September 1972, Ann-Margret suffered a 22-foot fall from a platform during a performance in Lake Tahoe. She sustained a shattered jaw, a broken arm, and a crushed cheekbone. After extensive reconstructive surgery and ten weeks of recovery, she made a triumphant return to the stage in Las Vegas. She later noted that the experience helped her overcome stage fright and connect more deeply with her fans.

She was celebrated for her “retro glamour,” often seen in gowns, bold colors, and dramatic makeup that influenced 1970s fashion trends. By the late 1970s, she even entered the disco scene with hits like “Love Rush.”






1962 Alfa Romeo Giulietta Sprint Speciale: A Sculpture in Motion

The 1962 Alfa Romeo Giulietta Sprint Speciale is a breathtaking masterpiece of automotive art, representing the pinnacle of Italian design and aerodynamic innovation from the early 1960s.

Penned by the legendary Franco Scaglione for the Bertone design house, its “Low Drag” silhouette was inspired by the famous B.A.T. concept cars, featuring fluid, curvaceous lines that were years ahead of their time. Underneath its stunning handmade aluminum body lay a spirited 1.3-liter twin-cam engine, delivering a high-revving performance that made it as thrilling to drive as it was to behold.

A true collector’s dream, the “SS” remains a symbol of an era when cars were not just machines, but sculptures built for speed and elegance. These beautiful photos show why the 1962 Alfa Romeo Giulietta Sprint Speciale remains one of the most beautiful silhouettes ever to grace the open road.






30 Amazing Photographs From the Set of “A Night at the Opera” (1935)

Released in November 1935, A Night at the Opera is widely considered one of the Marx Brothers’ greatest films and was their first production with Metro-Goldwyn-Mayer. Directed by Sam Wood, it marked a significant shift for the comedy troupe as their first film without Zeppo Marx and their first to feature a more structured, sympathetic narrative under the guidance of producer Irving Thalberg.

The film follows the brothers, Otis B. Driftwood (Groucho), Fiorello (Chico), and Tomasso (Harpo), as they attempt to help two talented but struggling opera singers, Ricardo and Rosa, find success. To do so, they must outwit a pompous opera director and travel from Italy to New York, eventually wreaking havoc on a live performance of Il Trovatore.

A Night at the Opera is famous for several sequences that have become staples of American comedy. Possibly the most famous bit of physical comedy in film history, where an absurdly high number of people (manicurists, stewards, engineers, etc.) cram into Groucho’s tiny ship cabin. The brothers systematically dismantle a high-brow opera performance using pulleys, costume swaps, and a baseball game played in the orchestra pit.

Producer Irving Thalberg insisted the brothers include a “straight” romantic subplot and musical interludes to make the films more appealing to a wider audience. While some fans missed the pure chaos of their earlier work (like Duck Soup), this formula made the film a massive commercial hit.

Before filming, the Marx Brothers took the script’s comedy sketches on a live vaudeville tour to test which jokes got the biggest laughs, ensuring the timing in the film was perfect. In 1993, the film was selected for preservation in the United States National Film Registry by the Library of Congress for being “culturally, historically, or aesthetically significant.” 






April 27, 2026

The Amazing Story of Outlaw John Shaw’s Last Drink in 1905

In the early hours of April 8, 1905, two men, John Shaw and his partner William Evans (who also went by the alias “Bill Smythe”), robbed a saloon in Winslow, Arizona, making off with at least $200 in silver coins. Both men were young, in their twenties, and well dressed in suits when they walked into the Wigwam Saloon. Their drinks were still sitting untouched on the bar when they wandered over to a dice table where the glitter of silver dollars caught their eye. They pulled their guns on the players and fled into the night with the takings.

Navajo County Sheriff Chet Houck and Deputy Pete Pemberton, the owner of the saloon, pursued the bandits. The lawmen had a train stopped a couple of miles past the ghost town of Canyon Diablo, about twenty-five miles west of Winslow, and walked back on foot, arriving near sunset. They made contact with Fred Volz, a local trading post owner, who told them two well-dressed men had been loitering suspiciously outside. Moments later, Shaw and Evans rounded the corner and were spotted heading toward the train depot.

When Sheriff Houck confronted the pair and demanded a search, they refused. All four men drew their weapons at nearly point-blank range, no more than four to six feet apart. Shaw ran out of bullets mid-fight, and when he turned his head to reload, Houck shot him in the head. In total, twenty-one shots were fired in a matter of seconds. Shaw was killed outright, Evans was badly wounded and later captured. A bullet grazed Sheriff Houck across the stomach but he survived.

Shaw was buried in a shallow grave in a pine coffin provided by Volz. Evans was taken to a hospital in Winslow, recovered, and was sentenced to nine years in Yuma Territorial Prison. $271 in silver coins was found in their possession.

This is where the story takes a truly strange turn.

Word of the shootout traveled fast, and by the following night it was the talk of the Wigwam Saloon. What truly shocked the cowboys gathered there was that Shaw had died without ever getting to enjoy the drink he had ordered at the bar.

A discussion followed, and the men agreed that every man deserved to finish his drink. When a train whistle blew, a mob of about fifteen drunken cowboys rushed outside to hop the westbound freight. They arrived at Canyon Diablo at dawn, pounded on Fred Volz’s door, and despite his irritation, borrowed shovels and even his Kodak box camera to document the event.

Two men jumped into the grave, lifted Shaw’s body out, and propped him up against a nearby fence. His eyes were open, and his face was frozen in what appeared to be a smile. The men put bottles to his teeth, pouring whiskey down his throat, John Shaw finally got his last drink.




Shaw in his casket.

Throughout the entire ceremony six photographs were taken by an unknown cowboy in attendance. When the camera was returned to Volz, he unloaded the film and handed it to cowboy Lucien Creswell, instructing him to give it to Sheriff Houck upon his return to Winslow. However, cowboy Sam Case had other ideas. Case had a grudge against Sheriff Houck’s brother and along the way back to Winslow, Case confronted Creswell and took the film from him stating “Houck ain’t gonna get no pictures.” From here the roll of film passed from hand to hand, carrying the story of John Shaw along with it.

Finally, a month after the impromptu funeral at Canyon Diablo, Case handed the roll of film to Winslow attorney “Judge” Burbidge, who then passed it along to his son Ted. The photographs would not see the light of day until years later when the film came into the possession of a man named Gladwell Richardson who wrote an article about them in a 1965 issue of Arizona Highways magazine.

Today four of the photographs taken at the last drink of John Shaw belong to the Arizona Historical Society as part of their John Shaw collection. One photograph was allegedly kept by Ted Burbidge but several years after his death in 1955, the photograph went missing. Along with the Burbidge photograph, the location of the sixth image taken that bizarre morning is also unknown.

Canyon Diablo is a place filled with myths and legends of the Wild West, many of which are horrific. Although mostly debunked we have photographic proof that one of the gory stories did happen, the tale of the corpse that was dug up to have one last drink.



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