The 28 Installation Disks of Windows 95

The 28 installation disks of Windows 95, released in 1995, are a fascinating relic of early computing history, highlighting just how far technology has come in a few short decades. At the time, Windows 95 was a revolutionary operating system for Microsoft.

When Windows 95 was first released, installing the operating system required a staggering 28 floppy disks—a clear indicator of the pre-CD-ROM era. Each 3.5-inch disk held only 1.44 MB, so the complete OS totaled roughly 40 MB, which was enormous for the mid-1990s.

The installation process was painstakingly slow. Users had to swap disks dozens of times, carefully following on-screen prompts, and even a single damaged disk could halt the entire setup. Patience and precision were essential to successfully get the system up and running.

Eventually, most users switched to the CD-ROM version, which simplified installation dramatically. However, the floppy disk set remained crucial for older computers that lacked CD drives, representing both the challenges and the ingenuity of early PC software distribution.

The 1944 Volkswagen Type 82 ‘Kübelwagen’: A Masterpiece of Wartime Engineering

The 1944 Volkswagen Type 82, famously known as the Kübelwagen (literally “bucket car”), was the backbone of German military transport during World War II.

Designed by Ferdinand Porsche, this rugged light utility vehicle was based on the early Beetle chassis but optimized for the harshest battlefield conditions. Despite lacking four-wheel drive, the Type 82’s lightweight construction, rear-engine layout, and integrated self-locking differential gave it surprising off-road agility, often outperforming heavier and more complex vehicles.

By 1944, the design had been refined for maximum reliability, featuring its signature corrugated body panels for added strength and a simplified, air-cooled engine that could survive extreme temperatures from the African deserts to the Russian front.

With its pragmatic design and functional simplicity, the Kübelwagen established a utilitarian template that would later influence civilian vehicles like the post-war VW “Thing.” Though born from conflict, this vehicle demonstrates how Porsche's early work with the flat-four platform would evolve into more refined applications after the war.

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Elvis Presley Taking Photos With Fans at the International Hotel in Las Vegas, on August 26, 1970

On August 26, 1970, Elvis Presley performed two shows (a Dinner Show and a Midnight Show) at the International Hotel in Las Vegas. This date fell during his “Summer Festival” engagement, which is arguably the most famous period of his Vegas years because it was being filmed for the legendary MGM documentary “Elvis: That’s the Way It Is.”

By late August, the film crew had mostly finished their primary shooting, but Elvis was at his absolute peak—energetic, charismatic, and musically experimental. By this point in the residency, Elvis had moved past the opening-night jitters. The shows on August 26 were known for his playful interaction with the audience and his “TCB” (Taking Care of Business) band.

The performances during this week featured a powerhouse mix of his 1950s hits and contemporary covers. A typical setlist for that night included: “That’s All Right,” “I Just Can’t Help Believin’,” “Bridge Over Troubled Water,” “Suspicious Minds,” “Polk Salad Annie” and “Can’t Help Falling in Love.”

By 1970, however, the mood was different. Elvis was more focused on his “Contemporary” sound, moving away from being just a “Golden Oldies” act and proving he was still the premier entertainer in the world.

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Publicity Photos of David Bowie as Jareth the Goblin King in “Labyrinth” (1986)

In Jim Henson’s 1986 fantasy cult classic Labyrinth, David Bowie delivers an iconic performance as Jareth the Goblin King. Portrayed with a blend of “disturbing beauty” and theatrical charisma, Jareth is the powerful, enigmatic antagonist who kidnaps Sarah’s baby brother, Toby, and challenges her to navigate his treacherous maze.

Jareth was designed specifically to represent a teenage girl’s complex feelings about the “adult world.” Rather than a simple monster, Jareth is a charismatic, manipulative figure who represents temptation. He is Sarah’s (Jennifer Connelly) fantasy made manifest—part rock star, part dangerous romantic hero. Conceptual designer Brian Froud drew inspiration from romantic figures like Heathcliff (Wuthering Heights) and Rochester (Jane Eyre), as well as medieval knights and “leather boys.”

Bowie’s look in the film is legendary for its “glam-rock meets fairy-tale” aesthetic. His wild, gravity-defying blonde wig became a hallmark of the 1980s. Jareth’s wardrobe shifts from high-collared velvet capes and glittery ball gowns to skin-tight leggings and leather jackets.

Jim Henson originally considered Michael Jackson, Sting, Prince, or Mick Jagger for the role. He ultimately chose Bowie because his “tall, lean presence” provided a perfect contrast to the earth-toned, compact goblins. It took Henson two years to convince Bowie to join the project. Once cast, the script was heavily revised to include more of Jareth throughout the film and to feature original music written and performed by Bowie.

While Bowie was the face of the character, the intricate crystal ball contact juggling seen on screen was actually performed by choreographer Michael Moschen, who reached from behind Bowie to manipulate the spheres.

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The American Dream: Captivating Photos Capturing Family Life in the 1950s

The 1950s are often remembered as the quintessential era of the American Dream, a time of unprecedented economic prosperity and suburban growth.

Following the hardships of World War II, American families embraced a new sense of optimism and stability. This period saw the rise of the nuclear family, defined by cozy suburban homes with manicured lawns, the latest modern appliances, and the iconic station wagon parked in the driveway. Life centered around community and domesticity: backyard birthday parties, holiday dinners, and the simple joy of children playing in safe neighborhoods.

Step back in time with these captivating photos from the David Wipf collection, offering a candid glimpse into the heart of American family life during the 1950s. From backyard barbecues to quiet moments in the living room, these images perfectly preserve the spirit of an era defined by simplicity and the American Dream.

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50 Fascinating Photos of a Very Young Shirley Bassey in the 1950s

Dame Shirley Veronica Bassey (born January 8, 1937) is a Welsh singer, known for her career longevity, powerful voice and recording the theme songs to three James Bond films – the only artist to officially perform more than one. In the 1950s, Bassey underwent a rapid transformation from a factory worker in Cardiff to an international star and the first Welsh artist to have a No. 1 hit in the UK.

Bassey left school at age 14 to work in a packing factory, singing in local pubs and clubs in the evenings. She signed her first professional contract in 1953 (aged 16) to tour with a variety show called Memories of Jolson.

Her early career was briefly interrupted when she became pregnant with her first daughter, Sharon. She returned to Cardiff to wait on tables before returning to the stage in 1955. In 1955, the impresario Jack Hylton spotted her at the Astor Club and cast her in the West End revue Such Is Life. This led to her being noticed by record producer Johnny Franz.

Her debut single “Burn My Candle” was released in 1956. It became a “succès de scandale” because the BBC banned it for its suggestive lyrics, which only increased its notoriety and her popularity. In 1957, she achieved her first UK Top 10 hit with “The Banana Boat Song,” which reached No. 8. During this time, she began cultivating her signature “torch singer” persona, known for her powerful contralto voice, dramatic stage presence, and “cleavage-baring” gowns that would become her trademark look.

In January 1959, Bassey’s recording of “As I Love You” reached No. 1 on the UK Singles Chart. It was the first time a Welsh artist had ever topped the charts. While “As I Love You” was at the top, her other hit “Kiss Me, Honey Honey, Kiss Me” was also climbing, resulting in her having two songs in the Top 3 simultaneously. In April 1959, she signed with EMI’s Columbia label and released her debut studio album, The Fabulous Shirley Bassey, which reached No. 12 on the UK Albums Chart.

By the end of the decade, Bassey’s fame extended beyond the UK; she began touring the United States and became a popular act in Las Vegas. Her 1950s success laid the foundation for her later iconic status as the voice of James Bond themes.

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Brigance: The Architect of American Sportswear

Tom Brigance (1913–1990), known professionally simply as Brigance, was a visionary designer who revolutionized American fashion, particularly during the 1940s and ’50s.

As the in-house designer for Lord & Taylor, Brigance became a master of the “American Look,” creating sportswear that was both functional and high-fashion. He is most celebrated for his innovative swimwear, which used clever draping, wrap-around silhouettes, and bold textile prints to flatter the female form without relying on heavy internal corsetry. His designs reflected the liberating spirit of the post-war era, moving away from rigid Parisian couture toward a more relaxed, sun-drenched aesthetic.

Brigance is remembered as a pioneer who proved that practical, ready-to-wear clothing could be just as sophisticated and timeless as high-end evening gowns.

Jean Patchett in bathing suit by Brigance, photo by Horst P. Horst, 1951

Jean Patchett in Crompton corduroy suit worn with a orange halter-ascot which buttons to the inside of the waist, by Brigance, photo by Clifford Coffin, Vogue, January 1, 1951

Suzy Parker in slate-blue suit by Brigance, photo by Horst P. Horst, 1951

Dorian Leigh in a parka for the beach in bright red poplin by Brigance of Nudelman, photo by Toni Frissell, Harper's Bazaar, January 1951

Sunny Harnett in gray denim dress with menswear stripes and piqué halter collar by Brigance for Sportsmaker, photo by John Rawlings, Vogue, May 15, 1951

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