Amazing Photographs of Etta James Performing on Stage in the 1970s

“When I look out at the people and they look at me and they’re smiling, then I know that I’m loved. That is the time when I have no worries, no problems.” – Etta James (1938–2012)

In the 1970s, Etta James’ stage presence was a fascinating paradox of vulnerability and raw, aggressive power. While the decade was a period of intense personal struggle for her, it also captured her at what many critics consider the height of her “earthy” vocal powers.

By the 1970s, the “little girl” quality of her early career had vanished, replaced by a deeper, whiskey-cured growl. On stage, she was often described as the “Earth Mother”—a powerhouse who commanded the room with a feisty, no-nonsense personality.

Performances were often gritty and “churchy,” blending gospel-infused passion with the “hot-blooded eroticism” of the blues. She was known for intense audience engagement. In smaller venues, like the nightclubs she played in Oakland, she was known to drop to her knees and sing directly to fans at the front tables.

Her 1970s sets moved away from the orchestral “At Last” polish toward a tougher, more eclectic sound. She leaned heavily into funky R&B and swampy rock. Key live tracks from this era included nine-minute-plus versions of “Respect Yourself” and her own anthem “W-O-M-A-N.”

She didn’t just sing the songs; she “worked” them, often extending tracks into long, improvisational grooves that allowed her band to stretch out while she manipulated the crowd’s energy with sass and verve.

It’s important to note that her 1970s performances were often a “comeback” effort. She spent the early part of the decade battling addiction and was in and out of rehab. By 1974, after a stint in a psychiatric hospital and rehab, her performances took on a new level of “survivalist” energy.

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1933 Harley-Davidson Motorcycles on the Beach in Milwaukee for a Photo Shoot

In 1933, Harley-Davidson designers created a one year only paint job which is arguably the best that has ever come out of Milwaukee. Even back in the 1930s, Harley knew that nothing looks better on a motorcycle than beautiful women and if you throw in some sand and sun, you’ve got a recipe for success. So, Harley trucked a couple of their new ’33 models down to Bradford Beach in Milwaukee for a photo shoot.

Both motorcycles pictured are powered by 74” sidevalve engines mated to hand-shifted three-speed transmissions. The 1933 model year was one of the lowest production years in Harley history, with only 2671 big twins produced and a total production of 3703 units (this number includes singles and small twins). Of the two motorcycles used in the photo shoot, the sidecar model, is the rarest with only 164 being manufactured. These low productions numbers were a result of the Great Depression, which drastically cut sales for Harley-Davidson. It is likely that Harley hoped that their new “flashy” paint job would help attract more customers. Unfortunately, most of these photos were deemed too risque for an ad campaign, but one did make it on the cover of the Enthusiast.

(via Harley Davidson Forums)

Rarely Seen Photos of a Very Young Annie Lennox in the 1960s and 1970s

Annie Lennox is a Scottish singer-songwriter, political activist and philanthropist. After achieving moderate success in the late 1970s as part of the new wave band the Tourists, she and fellow musician Dave Stewart went on to achieve international success in the 1980s as Eurythmics. Appearing in the 1983 music video for “Sweet Dreams (Are Made of This)” with orange cropped hair and wearing a man's lounge suit, the BBC wrote, “all eyes were on Annie Lennox, the singer whose powerful androgynous look defied the male gaze.”

Lennox was born on Christmas Day 1954 in Torry, Aberdeen, Scotland. She went to the Aberdeen High School for Girls (which since became Harlaw Academy secondary school) where she was encouraged by her parents to explore her artistic qualities. She excelled at music, poetry and artwork. Here she learned to play the flute and the piano. She also sang in the choir and later played in symphony orchestras and military bands, and each year took part in the Aberdeen Music Festival. Lennox attended Dalcroze Eurhythmics classes while at high school. Eurhythmics, with its English spelling, is an approach to music education developed by the Swiss composer Emile Jaques-Dalcroze. The word Eurhythmics is derived from Greek and means “good flow.” The band, Eurythmics, adopted the French spelling.

In 1971, Lennox began studying on a three-year Music Performance degree course at the Royal Academy of Music in London. It is one of a small number of quite elite British music conservatories predominantly for classical music study at third level. At college in London she studied flute, piano and harpsichord for nearly three years. Although Lennox studied for close to the duration of the course she did not finish her studies at the college. She found the amount of time devoted to music practice required to become a professional classical musician obsessive and felt that she was unconnected with the “whole cultural aspect.” Lennox lived on a student grant and worked at part-time jobs for extra money. She was unhappy with the direction she was going in and doubted her own talent when compared to her student contemporaries while at the Royal Academy and deliberated on what other direction she could take.

Lennox’s flute teacher’s final report stated: “Ann has not always been sure of where to direct her efforts, though lately she has been more committed. She is very, very able, however.” Two years later, Lennox reported to the academy: “I have had to work as a waitress, barmaid, and shop assistant to keep me when not in musical work.” Lennox attended the Dalcroze Eurhythmics Spring Course of 1974. She also played and sang with a few bands, such as Windsong, during the period of her course.

In 2017, the academy awarded her an honorary degree of Doctorate. In her acceptance speech of her honorary Doctorate, Lennox said, “Many of my life experiences can be described as unconventional, idiosyncratic and synchronistic – as this event [graduation ceremony] proves to be no exception. By rights, I feel I’m not entitled to be here – but as John Lennon once famously said… ‘Life is what happens to you while you’re making other plans.’”

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Victor Stiebel: The Architect of Romantic Elegance

Victor Stiebel (1907–1976) was a prominent South African-born British fashion designer who became a leading figure in London’s “Big Ten” group of couturiers.

Best known for his romantic and feminine aesthetic, Stiebel rose to fame in the 1930s, captivating the British aristocracy and Hollywood elite with his masterfully draped evening gowns and sophisticated daywear. His designs were characterized by a perfect balance of traditional English charm and modern flair, often featuring intricate pleating, stripes, and a superb sense of movement. During World War II, his reputation grew as he contributed to the Utility Clothing Scheme, proving that elegance could exist even under strict rationing.

As a favorite designer of the British Royal Family, particularly Princess Margaret, Stiebel’s work defined the polished “New Look” era in Britain. Today, he is remembered as a master of construction whose timeless designs embodied the grace and resilience of mid-20th-century high society.

Model in romantic sweet-pea chiffon dress girdled and embroidered in black by Victor Stiebel, Kodachrome by Jay in the gallery of Sybil Colefax and John Fowler's shop, Harper's Bazaar UK, December 1947

Barbara Goalen in slipper-satin dress, tulip-topped with great panniered skirt and a swagged train held in a bow on the hip by Victor Stiebel, photo by Richard Dormer, Harper's Bazaar UK, October 1949

Model in beautiful ball dress of stiff French brocade patterned in a design of lillies by Victor Stiebel, diamond necklace and earrings from William Ogden, photo by Maurice Tabard, Harper's Bazaar UK, March 1949

Pat O'Reilly in an occasion dress of turquoise paper taffeta that swirls from a high waist and cascaded behind by Victor Stiebel, photo by Richard Dormer at the Royal Opera House, London, Harper's Bazaar UK, September 1958

Barbara Goalen in romantic vast-skirted gown of soft brown-pink net with 18th-century style décolleté garnished with a cluster of flowers by Victor Stiebel, photo by Maurice Tabard, Harper's Bazaar UK, March 1949

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40 Amazing Photos of Mid-Century Modern House Interiors

House interiors in the mid-20th century represented a radical shift toward Mid-Century Modern (MCM) design, a style that prioritized simplicity, organic forms, and seamless functionality.

Breaking away from the ornate clutter of previous eras, these homes embraced the concept of “open-plan living,” where large floor-to-ceiling windows blurred the line between the indoor and outdoor worlds. The aesthetic was defined by a bold mix of materials: warm teak and walnut furniture with tapered “compass” legs sat alongside futuristic elements like molded plastic, fiberglass, and chrome. Color palettes were equally iconic, ranging from earthy ochre and olive green to vibrant pops of atomic orange and turquoise.

These interiors weren’t just about appearance, they reflected a post-war optimism and a desire for a relaxed, efficient lifestyle, creating spaces that remain as stylish and influential today as they were seventy years ago.

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22 Fascinating Portraits of Teenage Sharon Tate in the 1950s

Sharon Tate (January 24, 1943 – August 9, 1969) was an American actress and model. In the 1950s, she was a teenager living a transient life as an “army brat” due to her father’s career as a military officer. Before becoming a 1960s Hollywood icon, her life was defined by frequent moves, beauty pageant wins, and a reputation for extreme shyness.

Born in 1943, Tate spent the 1950s moving across the United States. Her schooling during this decade included Texas and Washington. She attended South Shaver Elementary in Pasadena, Texas, until 1955, followed by Chief Joseph Junior High and Columbia High School in Richland, Washington.

Because her family moved six times before she was 16, she found it difficult to maintain long-term friendships and was described by family as shy and lacking self-confidence. Despite her shyness, Tate began entering pageants in the late 1950s, which served as a prelude to her modeling and acting career. At age 16, she won the title of Miss Richland in Washington. She also won the title of Miss Autorama in Richland, which showcased her “classic 1950s style” of polished hair and modest glamour.

By the very end of the decade (late 1959), Tate’s family moved to El Paso, Texas, where she briefly attended Irvin High School before her father was relocated to Italy in early 1960. It was in Italy that she finally began her professional journey, working as a film extra and catching the attention of Hollywood producers.

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Joseph Karl Stieler: The Master of Neoclassical Portraiture

Joseph Karl Stieler (1781–1858) was the preeminent court painter to the Bavarian kings and one of the most distinguished portrait artists of the Neoclassical era. He is most famously known for his extraordinary “Gallery of Beauties” (Schönheitengalerie), a collection of 36 portraits commissioned by King Ludwig I of Bavaria to celebrate the most beautiful women from all social classes in Munich.

Stieler’s work is characterized by a meticulous attention to detail, a smooth, porcelain-like finish on the skin, and an ability to capture the profound inner dignity of his subjects. Beyond royalty and nobility, he produced one of the most iconic and enduring images in history: the 1820 portrait of Ludwig van Beethoven, which remains the definitive visual representation of the composer’s intense and brooding genius.

Stieler’s legacy lies in his unique ability to blend idealized beauty with psychological depth, making him a central figure in European Romantic and Neoclassical art.

Family Portrait of the Herzogs, Joseph von Sachsen-Altenburg

A Lady of the Petre Family Playing the Guitar

Alexander von Humboldt

Alexandra Iosifovna

Amalie von Schintling

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