40 Photos of a Beautiful Julie Newmar in the 1960s

In the 1960s, Julie Newmar (born Julia Chalene Newmeyer; August 16, 1933) became an indelible pop culture icon, defining the decade's fusion of space-age glamour, high camp, and female empowerment. Already an accomplished Broadway dancer and Tony Award winner, she reached global stardom on television by delivering a masterclass in seductive, witty, and physically imposing performances.

Before putting on the catsuit, she starred as Rhoda Miller, a sophisticated female android, in this sci-fi CBS sitcom My Living Doll (1964–1965). Leveraging her classical dance training, she perfectly executed the rigid, emotionless movements required of a robot, which she considered some of her finest and most challenging acting work.

Her most famous role came as the villainous love interest in the campy ABC hit series Batman. Appearing in just 13 episodes over the first two seasons (1966–1967), her sultry chemistry with Adam West's Batman permanently defined the character. She even famously customized her skintight black Lurex bodysuit, lowering the belt to emphasize her hips, creating a look later preserved by the Smithsonian Institution.

Her unique, statuesque presence (standing 5'11") made her a highly sought-after guest star. She memorably played the pregnant tribal queen Eleen in the 1967 Star Trek: The Original Series episode “Friday’s Child,” and made appearances on hit shows like Get Smart, The Twilight Zone, The Monkees, and Bewitched.

She spent the early 1960s starring in major national theatrical tours, playing the ultimate seductress Lola in Damn Yankees (1961) and the title character in Irma la Douce (1965). At the end of the decade, she stepped away from Batman to star in the Western adventure film Mackenna’s Gold (1969).

Beyond her acting, Newmar’s sharp intellect saw her emerge as an early fashion innovator; she actually patented a precursor to shaping pantyhose during this era, paving the way for her second career as a multi-millionaire real estate entrepreneur and lingerie designer.

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Albert Einstein Driving a ‘Flying’ Car With His Wife Elsa (1931)

On February 3, 1931, Albert Einstein and his second wife, Elsa, visited the Warner Bros. First National studio lot in California. This home movie footage captures the famous physicist, who never actually learned to drive, playfully getting behind the wheel of a car on a soundstage while utilizing early rear-projection special effects.

Einstein and Elsa toured the active Warner Bros. lot, where he received demonstrations on sound recording and early cinematic special effects. Footage shows Einstein in the driver’s seat with Elsa as a passenger, pretending to drive past projected backdrops in a practical effects demonstration.

The rare silent film was rediscovered decades later in boxes belonging to a co-inventor of Kodakcolor and premiered publicly 87 years after it was shot.

Anne Helm: Charming Star of 1960s Film and Television

Born 1938, Canadian actress Anne Helm is best known for her work in American film and television during the 1960s. She gained wide recognition for playing Elvis Presley’s love interest in the 1962 musical comedy Follow That Dream.

With her fresh-faced beauty and natural charm, Helm appeared in several films of the decade, including The Interns and Honeymoon Hotel, while also becoming a familiar guest star on numerous popular television series. Later in her career she had a recurring role on the soap opera General Hospital and eventually turned to writing children’s books under the name Annie Helm.

These vintage photos capture the youthful charm and classic appeal of Anne Helm, a memorable face of 1960s Hollywood and television.

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Madonna and Emmy and the Emmys

Emmy and the Emmys (also known simply as Emmy) was the short-lived, pre-fame post-punk and ska band formed by Madonna in New York City around 1979–1980.

After moving to New York City in 1978 to pursue dance, Madonna played drums, guitar, and sang in the band Breakfast Club (with then-boyfriend Dan Gilroy and others). She left that group around 1980, ended the relationship with Gilroy, and formed Emmy with her former Michigan boyfriend and collaborator Stephen Bray (drums). Other members included Gary Burke (bass) and Mike Monahan (guitar), with a rotating cast. The name came from Madonna’s nickname at the time, “Emmy.”

The band played a post-punk (described by Madonna as “deranged punk with minimal funk”), performed low-paying gigs at New York venues such as Max’s Kansas City, the Roxy, Botany Talk House, My Father’s Place, and Chase Park, and recorded demos. A notable four-song studio demo was recorded on November 30, 1980, and distributed on cassettes around the city. Tracks included “(I Like) Love for Tender,” “No Time for Love,” “Bells Ringing,” and “Drowning” (an early version that later evolved into Madonna’s solo track “Burning Up”). Other associated material included early takes related to songs like “Everybody” and “Ain’t No Big Deal.”

The group was active roughly 1980–1981 and did not release an official album. Madonna left to pursue a solo career; she was signed by manager Camille Barbone (Gotham Records/Management) in 1981, who focused on Madonna individually rather than the full band. Her songwriting partnership with Bray continued successfully into her solo work, including hits like “Into the Groove” and “Angel.”

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Love in the Jazz Age: 40 Charming Vintage Photos of 1920s Couples

These charming vintage photos capture the romance and spirit of couples during the Jazz Age of the 1920s. From elegant formal portraits to candid moments of affection, the images reflect the changing social atmosphere of the decade: a time of greater freedom, modern fashion, and youthful optimism.

Whether posing in stylish flapper dresses and sharp suits or sharing quiet, intimate glances, these couples embody the charm and energy of an era defined by music, dance, and new possibilities in love and life.

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Young Marilyn Monroe as the Babysitter Photographed by David Cicero for Fox Studios, 1947

In 1947, long before the world knew her as Marilyn Monroe, a young Norma Jeane posed for a series of staged “babysitter” publicity photographs taken by David Cicero (often credited as Dave Cicero) at the Los Angeles home of Roy Metzler, a 20th Century Fox casting director.

She appears with Metzler’s children, twin boys Eric and Dick and their roughly 3-year-old sister Joanne, in domestic scenes: reading to or near the children, sitting with the babies on a couch or nearby, adjusting diapers, standing over a crib, etc. She wears an apron-style dress similar to one from her small role in the Fox film Scudda Hoo! Scudda Hay!, which the photos helped promote. In the press materials she was presented as an 18-year-old former babysitter who had just landed a studio contract; she was actually 21.

Contrary to old Hollywood lore suggesting she was “discovered” while babysitting, the session was entirely staged. The studio created the lighthearted narrative to paint Marilyn as a relatable, wholesome girl-next-door. In a twist of cinematic irony, this innocent 1947 shoot stood in stark contrast to her dark, critically acclaimed 1952 psychological thriller Don’t Bother to Knock, where she played a deeply disturbed babysitter.

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Former Soviet Leader Mikhail Gorbachev for Louis Vuitton (2007)

In 2007, Louis Vuitton launched its celebrated “Core Values” advertising campaign, created by agency Ogilvy & Mather and shot by renowned portrait photographer Annie Leibovitz. One of the most arresting images in fashion and political advertising history featured Mikhail Gorbachev, the final leader of the Soviet Union.

Gorbachev is pictured wearing a pinstripe suit and overcoat inside the back of a vintage, Khrushchev-era Soviet limousine. As the car drives along a remnant of the Berlin Wall, he looks somberly out the window. Beside him on the leather seat rests a monogrammed Louis Vuitton Keepall bag. The photo starkly captures the irony of a former communist statesman participating in a high-end capitalist advertisement next to the very wall whose fall he helped orchestrate.

A fascinating detail often noted by historians is the Russian magazine peeking out of the unzipped Louis Vuitton bag. If zoomed in, the Cyrillic text reveals a headline about the unsolved murder of investigative journalist Anna Politkovskaya, a fierce critic of Vladimir Putin. While Louis Vuitton claimed the magazine was merely a realistic prop brought by Gorbachev, it added a heavy layer of contemporary political tension to the image.

The luxury group LVMH specifically utilized Gorbachev to expand market credibility among men and elite consumer classes in burgeoning luxury regions like Russia and China. Gorbachev agreed to the commercial shoot under the condition that Louis Vuitton make a sizeable financial donation to Green Cross International, an environmental sustainability organization he founded.

This “Core Values” travel campaign ran in major fashion publications alongside portraits of other iconic figures, including Catherine Deneuve, Steffi Graf, and Andre Agassi.