Rare Behind the Scenes Photographs From the Making of Queen’s “I Want To Break Free” (1984)

These photographs come from the private archive of Peter Hince, taken during the filming of Queen’s I Want To Break Free music video in 1984 at Limehouse Studios in London’s Docklands and a second studio in Battersea.

As Peter Hince recalled:

“The video for I Want To Break Free was done over two days, a brave tongue-in-cheek move by the band, well received... except in America, where it marked the beginning of the end for their popularity. The second day was the dressing-up in drag day. Fred revelled in it, and the others got into the spirit surprisingly well. John was happy as a grumpy old grandmother but refused currants and sultanas for warts. Brian, though convincing, was unlikely to change careers, and Roger was just a bit too convincing as he shaved his legs for his schoolgirl role. The atmosphere was very good and everyone appreciated that rock stars could make fun of themselves.

“The following morning, I flew to Japan with John, Roger and his assistant Crystal for a three-week promotional tour of the Far East, Australia and Los Angeles for The Works. The other single from The Works was ‘It’s a Hard Life,’ a grand pompous affair the band hated, done at Arri studios in Munich. Fred’s deep-pink, shiny outfit made him look like an overcooked tandoori king prawn.”

The images offer a rare behind the scenes look at that moment, not just the performance, but the atmosphere around it.

Peter Hince began his career in the music business in 1973 as an eighteen-year-old roadie working with David Bowie. Later that year, while touring with Mott the Hoople, he first encountered the then-unknown band Queen, who were supporting the group on their UK tour. During this period, Hince also worked on tours for artists including Lou Reed, Mick Ronson, Supertramp and Roxy Music, among others prominent in the 1970s music scene.

In the summer of 1975, as Queen recorded A Night at the Opera, Hince joined the band full-time. He served primarily as roadie to Freddie Mercury and bassist John Deacon, later becoming head of the band’s road crew. During his more than a decade with Queen, Hince developed a passion for photography. Trusted by the band, he was frequently able to capture set-up and candid moments in the studio, during rehearsals, on video shoots and behind the scenes on tour. Many of these photographs were subsequently used internationally on album sleeves, single covers, posters and other promotional material.

Following Queen’s final tour in 1986, Hince left the music industry and turned his long-standing hobby into a successful career as a photographer. He went on to win awards for his advertising work as well as for his distinctive black-and-white underwater photography. Throughout this period he remained close to Queen, particularly Freddie Mercury, photographing Mercury’s solo projects and attending many of his private events and gatherings.

Based in London and Munich, Peter Hince continues to write, manage his photographic archive, and appear as a corporate and guest speaker on Queen and the music business of the 1970s and 1980s.

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38 Fabulous Photos of Geraldine Chaplin in the 1970s

Geraldine Leigh Chaplin (born July 31, 1944) is an actress, whose extensive career has included multilingual roles in English, Spanish, French, Italian, and German films. Born in the United States and raised in the United Kingdom and Switzerland, she holds American, British, and Spanish citizenship. She is the daughter of Charlie Chaplin, the first of his eight children with his fourth wife, Oona O'Neill, and thus a granddaughter of playwright Eugene O'Neill.

During the 1970s, Chaplin solidified her reputation as a powerhouse of international arthouse cinema and Hollywood New Wave filmmaking. Moving away from the mainstream fame of her breakout role in Doctor Zhivago (1965), she spent the decade collaborating with legendary auteur directors across Europe and the United States.

Chaplin’s most significant artistic partnership of the decade was with Spanish director Carlos Saura, who was also her life partner at the time. Together, they made several highly acclaimed, politically charged films that critiqued the psychological landscape of Spain during the end of Francisco Franco’s dictatorship.

She played a foreign governess who exposes the deep hypocrisies and repressions of a wealthy Spanish family in Ana and the Wolves (1973). In Saura’s universally praised masterpiece Cría Cuervos (1976), she pulled double duty, portraying both the adult version of the protagonist and her deceased mother. Elisa, vida mía (1977) and Mama Turns 100 (1979) cemented her status as an icon of Spanish cinema, earning her immense critical respect in Europe.

In the mid-to-late 1970s, Chaplin made a triumphant splash back in American cinema by becoming a core member of director Robert Altman’s creative circle. She played Opal, a hilariously chatty and intrusive BBC reporter, in Nashville (1975). Her performance earned her a second Golden Globe nomination. She teamed up with Altman again, playing the historical figure Annie Oakley in Buffalo Bill and the Indians (1976). She continued her streak in Altman’s sprawling ensemble comedies as a meticulous wedding planner in A Wedding (1978).

Chaplin also served as a frequent muse for Altman’s protégé, Alan Rudolph, and jumped into commercial European blockbusters. Her nuanced performance in Welcome to L.A. (1976) earned her a prestigious BAFTA Award nomination. She starred as a vengeful ex-convict in the tense psychological thriller Remember My Name (1978). In high-adventure mainstream cinema, she brought regal elegance to the role of Queen Anne of Austria in Richard Lester’s hits The Three Musketeers (1973) and The Four Musketeers (1974).

By fluent mastery of English, French, and Spanish, Geraldine Chaplin spent the 1970s proving she was far more than Charlie Chaplin’s daughter, carving out a distinct identity as one of the most versatile and courageous international actresses of the decade.

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Hugo Ungewitter: Master of Animal and Battle Painting

Hugo Ungewitter (1869–1947) was a German painter renowned for his dramatic and realistic depictions of animals, hunting scenes, and historical battles.

Trained at the Düsseldorf Academy of Fine Arts, Ungewitter gained recognition for his powerful compositions and attention to detail, particularly in portraying horses, wildlife, and military subjects. His works often combined dynamic movement with a strong sense of atmosphere, reflecting both the natural world and significant historical moments.

Ungewitter’s paintings remain admired for their energy, technical skill, and vivid storytelling. These striking artworks showcase Hugo Ungewitter’s mastery of dramatic composition and realistic detail, capturing the power of animals and the intensity of historical scenes with remarkable skill.

A Cossack and Hunting Dogs

A Noblewoman Alighting Her Carriage

Abyssinian Cross the River

Cossack with Greyhounds on the Steppe

Cossack with His Horse and Greyhounds

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Isabelle Adjani and the Photographers’ Strike at the 1983 Cannes Film Festival

At the 1983 Cannes Film Festival, French actress Isabelle Adjani became the center of one of the most famous red carpet protests in history when photographers put down their cameras and turned their backs on her.

Adjani arrived at the festival to promote her upcoming thriller One Deadly Summer (L'été meurtrier). Deeply frustrated by aggressive media intrusion into her personal life, she actively avoided the press. She refused to attend the traditional film press conference photo ops. She shielded her face with umbrellas and bags whenever photographers approached. She would only pose for a select few photographers who signed strict exclusivity agreements.

The press core felt insulted by her actions and decided to retaliate. On the evening of May 10, 1983, as Adjani arrived at the Palais des Festivals for the formal red carpet premier, the photographers executed a silent strike. Hundreds of photographers placed their cameras directly onto the ground. They turned their backs completely to the steps as she walked by. There were no flashing bulbs or shutter clicks for France’s most sought-after actress.

Despite the tension on the red carpet, One Deadly Summer went on to become a major commercial and critical success in France, cementing Adjani’s reputation as one of French cinema's defining talents of the era. This historic standoff remains a legendary example of the complex, volatile relationship between high-profile celebrities and the paparazzi.

30 Groovy Snaps That Defined 1960s Female Everyday Fashion

These groovy vintage snaps capture the stylish and liberating everyday fashion of women in the 1960s. From mini skirts, shift dresses, and bold geometric patterns to turtlenecks, and simple yet chic separates, the images reflect the youthful energy and changing attitudes of the decade.

Whether walking city streets, shopping, or spending time with friends, these women embodied the effortless cool and individuality that defined 1960s style. A nostalgic look at how fashion became freer, bolder, and more personal during one of the most transformative eras in modern culture.

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Arnold Schwarzenegger Taking Ballet Lessons in New York City, 1976

In 1976, Arnold Schwarzenegger famously took professional ballet lessons to refine his stage presence and master the art of posing. While living in New York City, Arnold worked alongside his training partner Franco Columbu and ballet dancer/choreographer Marianne Claire to incorporate fluid dance movements into his routine.

During the mid-1970s, around the time the landmark documentary Pumping Iron was filmed, bodybuilding was evolving from a simple flex-and-hold display into a choreographed performance art. While Schwarzenegger was already renowned for his massive physique, he recognized a critical flaw shared by many lifters: rigid, abrupt movements between poses.

“People think bodybuilding is just lifting heavy weights, but presenting the physique is an art. Ballet taught me how to move gracefully and maximize the impact of every pose,” he said.

Schwarzenegger’s willingness to cross-train in a discipline traditionally seen as the opposite of heavy iron helped set a new benchmark for stage presentation in modern bodybuilding, proving that artistic control and extreme muscularity could coexist.

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Famous Posthumous Photos of “Bloody Bill” Anderson After Being Killed by Union Solders, 1864

William T. Anderson (c. 1840 – October 26, 1864), known by the nickname “Bloody Bill” Anderson, was a Confederate soldier who was one of the deadliest and most notorious guerrilla leaders in the American Civil War. Anderson operated along the lawless Missouri-Kansas border, leading a group of irregular pro-Confederate partisan fighters known as “bushwhackers.” His tactics were defined by extreme violence and a thirst for personal vengeance, fueled in part by the death of his sister in a Union jail collapse.

He became infamous for scalping, mutilating, and executing Union soldiers. His most notorious act was the Centralia Massacre in September 1864, where his men executed over 20 unarmed Union soldiers on a train and slaughtered over 100 pursuing troops. His band of fighters served as a breeding ground for future outlaws, including young Jesse James and Cole Younger.

Furious over the Centralia Massacre, Union forces tasked Lieutenant Colonel Samuel P. Cox with hunting Anderson down. On October 26, 1864, Cox lured the guerrillas into an ambush near Albany, Missouri. Anderson charged directly into the line of fire and was shot twice in the head, dying instantly.

Union forces brought his body to Richmond, Missouri, parading it through the streets in triumph. To provide undeniable propaganda proof to the public that the notorious terrorist was dead, local photographer Robert B. Kice propped his corpse into a chair, arranged his hair, and placed a revolver in his hand. The photographs were widely distributed across the border states. Following the photo session, Union soldiers reportedly dragged his body through the streets, decapitated him, and buried him in an unmarked field. Decades later, in 1908, his former subordinate Cole Younger returned to give him a proper burial in Richmond’s Pioneer Cemetery.

Historians have been mixed in their appraisal of Anderson. Biographer Larry Wood describes him as the “bloodiest man in America’s deadliest war” and characterizes him as the clearest example of the war’s “dehumanizing influence.” In their biography of Anderson, Albert Castel and Tom Goodrich view Anderson as one of the war’s most savage and bitter combatants, but they also argue that the war made savages of many others.

According to journalist T.J. Stiles, Anderson was not necessarily a “sadistic fiend,” but illustrated how young men became part of a “culture of atrocity” during the war. He maintains that Anderson’s acts were seen as particularly shocking in part because his cruelty was directed towards white Americans of equivalent social standing, rather than targets deemed acceptable by American society, such as Native Americans or foreigners.

In a study of 19th-century warfare, historian James Reid posited that Anderson suffered from delusional paranoia, which exacerbated his aggressive, sadistic personality. He sees Anderson as obsessed with, and greatly enjoying, the ability to inflict fear and suffering in his victims, and suggests he suffered from the most severe type of sadistic personality disorder. Reid draws a parallel between the bashi-bazouks of the Ottoman Army and Anderson’s guerrillas, arguing that they behaved similarly.

Anderson, ca. 1864