In 1976, the Sex Pistols Recreated The Beatles’ Iconic “Please Please Me” Album Cover at EMI House, London

In 1976, the Sex Pistols – the notorious British punk band that helped ignite the punk movement – took inspiration from one of the most iconic images in rock history: The Beatles’ 1963 album cover for Please Please Me.

The original Beatles cover, shot by photographer Angus McBean, featured the Fab Four leaning over the interior balcony of EMI’s London headquarters at 20 Manchester Square, gazing down toward the camera in matching suits and cheerful expressions. It perfectly captured their clean-cut, youthful energy at the dawn of Beatlemania.

Fast forward about 13 years later, and the Sex Pistols’ world couldn’t have been more different. By 1976–77, they embodied rebellion, anti-establishment anger, and a rejection of everything the Beatles’ generation had come to represent. Their manager Malcolm McLaren, ever the provocateur, orchestrated a photoshoot that recreated The Beatles’ Please Please Me cover, but with a sneering punk twist.

The Pistols — Johnny Rotten (John Lydon), Steve Jones, Paul Cook, and Sid Vicious (who replaced Glen Matlock) — posed at the same location in Manchester Square, leaning over the same stairwell where the Beatles had once stood. But instead of tidy suits and smiles, they appeared in ripped clothes, sullen faces, and rebellious attitudes.

The original building in Manchester Square in London was demolished in 1999, and EMI took the stair railings to its new headquarters. When it dissolved and merged with Sony in 2012, the entire structure went into the hands of Paul McCartney, and is located in its studios in Sussex.

Elegant Faces of the 1950s Through the Lens of Keith Ewart

Keith Ewart (1926–1989) was a prominent British photographer, cinematographer, and film studio owner, influential in shaping the visual style of the “Swinging Sixties.”

Ewart began his career as an acclaimed stills photographer, working for major publications like Vogue and Harper’s magazines, and was known for his legendary eye for detail and pursuit of perfection. He transitioned into the world of television commercials in the mid-1950s, becoming one of the most fashionable and in-demand directors of the era. Notably, he hired a young Ridley Scott to work as his art director on commercials during the 1960s. His studio produced famous campaigns for brands such as Camay, Maxwell House, and Benson & Hedges.

Ewart was also known for his varied personal interests: he was a brilliant jazz musician, held a private pilot’s license, and was a keen ornithologist with a particular passion for parrots. The Keith Ewart Charitable Trust remains committed to wildlife preservation and conservation.

These portraits by Keith Ewart capture the timeless grace and polished beauty of 1950s fashion, offering a glimpse into an era defined by elegance and charm.

Susan Abraham in Swiss voile blouse with stiff collar and fly-away cuffs, the cross-cut back gives a pouched effect, by Eric Hart, photo by Keith Ewart, Harper's Bazaar UK, August 1951

Anne Gunning in dreamy dance dress of white piqué, the wide ruffle curls down from the halter neck to the hem of an enormous skirt by Frank Usher, photo by Keith Ewart, Harper's Bazaar UK, June 1951

Anne Gunning in Grecian style dress of white lace flowers on mushroom-pink marquisette, a draped cross-over bodice, and full skirt gathered at the waist with narrow belt by Susan Small, photo by Keith Ewart, Harper's Bazaar UK, July 1951

Anne Gunning wearing a delicately worked evening stole of black needle-run lace as light as gossamer from The White House, photo by Keith Ewart, Harper's Bazaar UK, July 1951

Barbara Goalen in crisp white piqué dress, the skirt with rows of insertions, the tiny bolero hooks unto the bodice converting it to a day-dress by Atrima, photo by Keith Ewart, Harper's Bazaar UK, June 1951

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Stunning Portraits of a Very Young June Lockhart in the 1940s

June Lockhart (born June 25, 1925), best known for her roles in TV shows Lassie and Lost in Space, has died at the age of 100. She passed away peacefully on Thursday, October 23, at 9:20 p.m. local time in Santa Monica, California, surrounded by her daughter, June Elizabeth, and her granddaughter, Christianna. Lockhart’s family confirmed that she died of natural causes.

“She was very happy up until the very end, reading the New York Times and LA Times everyday,” family spokesman Lyle Gregory, a friend of 40 years, said Saturday. “It was very important to her to stay focused on the news of the day.”

Lockhart made her film debut at age 12 in A Christmas Carol (1938), playing Belinda Cratchit, alongside her real-life parents.

In the early 1940s, she continued appearing in small roles, but her breakout came during World War II, when Hollywood was filled with patriotic and dramatic films. One of her most notable early performances was in Sergeant York (1941), though uncredited, and she gained attention for her youthful charm and natural acting.

Her major success came with Lassie Come Home (1943), the beloved MGM classic in which she played Priscilla, a supporting role opposite a young Roddy McDowall and Elizabeth Taylor. The film’s success helped establish her reputation as a talented and wholesome young actress.

In addition to film, she also worked on stage, including Broadway performances during the mid-1940s, showing her range beyond the silver screen. She won a Tony Award in 1948 for her performance in For Love or Money, further solidifying her transition into serious adult roles.

In the 1940s, Lockhart was often cast as the wholesome, intelligent, and sincere young woman — a persona that would follow her into her iconic television roles in later decades (Lassie in the 1950s and Lost in Space in the 1960s). Photographs from this era show her with classic 1940s Hollywood glamour — wavy shoulder-length hair, soft makeup, and elegant fashion, reflecting MGM’s polished studio image.

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Impressive Posters From the Belle Époque by Adolf Karpellus

Adolf Karpellus (1869–1919) was an Austrian painter and illustrator celebrated for his elegant portrayals of fin-de-siècle life — from fashionable women and garden scenes to luminous landscapes and travel posters that captured the spirit of the Belle Époque.

Born in Mährisch-Weißkirchen (now Hranice, Czech Republic), Karpellus studied at the Academy of Fine Arts in Vienna, where he developed a refined style influenced by both naturalism and the decorative movement of the late 19th century. He became widely known through his illustrations for magazines such as Die Gartenlaube and Illustrirte Zeitung, where his soft color palette and graceful compositions reflected the optimism and sophistication of the age.

In addition to his illustration work, Karpellus produced a series of travel and exhibition posters — notably for Austrian resorts and alpine destinations — that showcased his talent for combining romantic scenery with graphic clarity. His works often evoke a serene and idyllic world, filled with sunlight, elegance, and quiet charm.

These impressive posters by Adolf Karpellus capture the elegance, optimism, and artistic refinement of the Belle Époque — a time when beauty and imagination shaped everyday life.

Kakao Meinl, 1896

Langer & comp. - Fabrik - Photograph - Apparate, 1898

Delicates Aroma, Pekareks Thee, 1899

Pekareks China und Ceylon Thees, 1899

Eislauf und Sprotplatz Cobenzl, circa 1900

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Andy Griffith Posing With His Collection of Early Classic Cars at His Home, 1979

Andy Griffith, best known as the folksy Sheriff Andy Taylor from The Andy Griffith Show and the witty lawyer in Matlock, was also a man who loved classic cars — not for their flash or fame, but for their craftsmanship and nostalgia. His collection reflected the same down-to-earth sensibilities that made him a beloved television icon.

In 1979, Griffith was photographed with his impressive collection of meticulously restored classic cars at his home in Toluca Lake, California, which included a Model T Ford, a 1930 Model A Ford Cabriolet, a 1938 Buick Special, a 1928 Ford Phaeton, a 1938 Buick Convertible Coupe and the car he drives to work each day – a 1934 Ford Model A pickup.

Unlike Hollywood stars who flaunted Ferraris or Lamborghinis, Griffith preferred American classics that evoked his North Carolina roots. He admired vehicles built in the 1930s to 1950s, cars that captured the spirit of the simpler times his characters so often celebrated on screen.

Griffith wasn’t a hands-on mechanic, but he had a deep respect for the art of car building. He loved to talk with restorers about engines, chrome detailing, and original interiors. Each of his vehicles did exactly that, from the roaring chrome of the postwar era to the humble pickup that looked as though it might’ve rolled right out of Mayberry. He often said he preferred “cars with stories,” ones that had been loved and driven, not just displayed.

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25 Glamorous Studio Photos of Jaclyn Smith Posing for the TV Series “Charlie’s Angels” in 1976

Jaclyn Smith portrayed Kelly Garrett in the iconic television series Charlie’s Angels, which originally aired from 1976 to 1981 on ABC. She was the only original “Angel” to remain with the show for its entire five-season run.

Kelly Garrett was known as the smart, stylish, and composed detective, often serving as the heart of the trio. Unlike some of her more impulsive partners, Garrett was portrayed as calm under pressure, intuitive, and emotionally grounded—traits that made her both an excellent investigator and a fan favorite.

Smith’s portrayal helped define the show’s blend of glamour, action, and independence, becoming a cultural touchstone of 1970s television. She also made cameo appearances as Kelly Garrett in the films Charlie’s Angels: Full Throttle (2003) and Charlie’s Angels (2019).

Beyond the show, Smith became one of the era’s best-known TV stars and went on to build a successful business career, notably with her own clothing and home product lines.