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March 19, 2025

20 Vintage Photos of a Very Young Ursula Andress in the 1950s

Ursula Andress, born on March 19, 1936, in Ostermundigen, Switzerland, began her acting career in Europe during the early 1950s. She appeared in minor roles in Italian films such as An American in Rome (1954) and The Sins of Casanova (1955), and La catena dell'odio (1955). She was seen by a Hollywood executive who persuaded her to try her luck in Hollywood.

Andress arrived in Hollywood in late 1955. That spring she was signed to a seven-year contract with Paramount Pictures, starting at $287 a week. The contract brought no acting roles, owing to her reluctance to learn English. “I spent most of my time watching old Marlene Dietrich movies,” she said.

Andress received some publicity for dating James Dean shortly before the actor’s death. She bought herself out of her contract and in 1956 signed with Columbia Pictures. She made no films for them either. She stayed in Hollywood when she married John Derek in 1957. In 1959, it was announced she and Derek would star in a film, High Variety, but no film resulted.

Andress gained international fame in 1962 for her role as Honey Ryder in the first James Bond film, Dr. No. Her iconic scene emerging from the sea in a white bikini became emblematic of the 1960s cinematic allure. This role established her as a “quintessential” Bond girl and opened doors to numerous acting opportunities in the ensuing years.






30 Fabulous Photos of Jacqueline Logan in the 1920s and ’30s

Born 1902 in Corsicana, Texas, American actress Jacqueline Logan was a WAMPAS Baby Star of 1922. She was featured opposite Jane Peters, the future Carole Lombard in the film A Perfect Crime (1921). Peters was only a youth, appearing as a pretty blonde child actress. The same year she played with Mabel Normand in Molly O’ (1921).

Other features she starred in during the early 1920s include Burning Sands (1922), A Blind Bargain (1922), Sixty Cents an Hour (1923), Java Head (1923), and A Man Must Live (1924). Among her co-stars were Thomas Meighan, Milton Sills, Ricardo Cortez, Leatrice Joy, Richard Dix, Lon Chaney Sr., and William Powell. The House of Youth (1924) is described as her “first starring vehicle.”

Logan was selected by Cecil B. De Mille for the role of Mary Magdalene in the classic The King of Kings (1927). The part was much sought after by actresses of the era. The movie broke records for audience attendance. She retired from films entirely after her marriage in 1934.

Logan, at age 80, died in Melbourne, Florida in 1983. Take a look at these fabulous photos to see portraits of young Jacqueline Logan in the 1920s and 1930s.






The Second Floor of the Studebaker Corporation Headquarters Building in 1909

Photos of the second floor of the (Administration Building) Studebaker Corporation Headquarters Building at 635 South Main Street, South Bend, Indiana, USA in 1909. It originally housed a display of the company’s wagons, carriers and automobiles showroom, often called the repository, with evenly spaced spittoons for guest convenience. Most of the vehicles are now in the Studebaker National Museum.



Founded in 1852 and incorporated in 186 as the Studebaker Brothers Manufacturing Company, the firm was originally a coachbuilder, manufacturing wagons, buggies, carriages and harnesses.

Studebaker entered the automotive business in 1902 with electric vehicles and in 1904 with gasoline vehicles, all sold under the name “Studebaker Automobile Company.” Until 1911, its automotive division operated in partnership with the Garford Company of Elyria, Ohio, and after 1909 with the E-M-F Company and with the Flanders Automobile Company. The first gasoline automobiles to be fully manufactured by Studebaker were marketed in August 1912. Over the next 50 years, the company established a reputation for quality, durability and reliability.

After an unsuccessful 1954 merger with Packard (the Studebaker-Packard Corporation) and failure to solve chronic postwar cashflow problems, the ‘Studebaker Corporation’ name was restored in 1962, but the South Bend plant ceased automobile production on December 20, 1963, and the last Studebaker automobile rolled off the Hamilton, Ontario, Canada, assembly line on March 17, 1966. Studebaker continued as an independent manufacturer before merging with Wagner Electric in May 1967 and then Worthington Corporation in February 1968 to form Studebaker-Worthington.

The Saturday Evening Post Covers Illustrated by J. C. Leyendecker in the Early 20th Century

Joseph Christian Leyendecker (1874–1951) was one of the most prominent and financially successful freelance commercial artists in the U.S. He was active between 1895 and 1951 producing drawings and paintings for hundreds of posters, books, advertisements, and magazine covers and stories.

Leyendecker is best known for his 80 covers for Collier’s Weekly, 322 covers for The Saturday Evening Post, and advertising illustrations for B. Kuppenheimer men’s clothing and Arrow brand shirts and detachable collars. He was one of the few known reportedly gay artists working in the early-twentieth century U.S.

His artistic style combined sharp lines, dramatic lighting, and a sense of elegance that defined the “Golden Age” of American illustration. Here are some amazing covers of The Saturday Evening Post illustrated by Joseph Christian Leyendecker in the early 20th century.

The Saturday Evening Post cover, June 3, 1905

"Diamond Merchant", The Saturday Evening Post cover, December 19, 1908

The Saturday Evening Post cover, July 4, 1908

Drop Kicker, study for a cover of the Saturday Evening Post, 1912

The Saturday Evening Post cover, December 11, 1915

30 Amazing Behind the Scenes Photos From the Making of “It’s a Wonderful Life” (1946)

It’s a Wonderful Life is a 1946 American Christmas fantasy drama film produced and directed by Frank Capra. It is based on the short story and booklet “The Greatest Gift,” self-published by Philip Van Doren Stern in 1943, which itself is loosely based on the 1843 Charles Dickens novella A Christmas Carol.

The film was shot at RKO Radio Pictures Studios in Culver City, California, and the 89-acre RKO movie ranch in Encino, where “Bedford Falls” was adapted from Oscar-winning sets originally designed by art director Max Ree for the 1931 epic film Cimarron. Covering 4 acres (1.6 ha), the town consisted of a main street stretching 300 yards (three city blocks) with 75 stores and buildings, and a residential neighborhood. Capra added a tree-lined center parkway, built a working bank set, and planted 20 full-grown oak trees. Pigeons, cats, and dogs were allowed to roam the mammoth set to give the “town” a lived-in feel.

Due to the requirements of filming in an “alternate reality,” as well as different seasons, the exterior set was extremely adaptable. RKO studio’s head of special effects, Russell Shearman, developed a new compound using water, soap flakes, foamite, and sugar to create “chemical snow” for the film. Before then, movie snow was usually made from untoasted cornflakes, which were so loud when stepped on that dialogue had to be redubbed afterwards.

Although the movie is set at Christmastime, production took place in the summer of 1946 during a brutal California heat wave. The cast had to wear winter clothing in temperatures over 90°F (32°C). If you look closely, you can spot beads of sweat on some actors' faces during key scenes.

James Stewart, who played George Bailey, had just returned from serving as a World War II pilot and was dealing with PTSD. His raw emotions in scenes like George’s breakdown at Martini’s bar were genuine. It’s said that Stewart’s heartfelt performance was partly influenced by his struggles adjusting to civilian life.

Lionel Barrymore, who played the greedy Mr. Potter, was actually in a wheelchair in real life due to arthritis. His performance as one of cinema’s most infamous villains was so convincing that audiences often forget he was dealing with severe health issues at the time.

During a scene where Mary (Donna Reed) throws a rock at an abandoned house to break a window, the crew expected to use a stunt double. But Reed, who grew up on a farm, insisted on doing it herself and hit the window on her first try!

Capra was a perfectionist, sometimes reshooting scenes multiple times to get the right emotional impact. For example, in the scene where Uncle Billy drunkenly stumbles offscreen and crashes into trash cans, it wasn’t scripted—the actor, Thomas Mitchell, actually knocked over some props, but Capra loved it and kept it in the film.

Filming started on April 15, 1946, and wrapped on July 27, 1946, exactly on deadline for the 90-day principal photography schedule.

Although it was nominated for five Academy Awards, including Best Picture, It’s a Wonderful Life initially received mixed reviews and was unsuccessful at the box office. Theatrically, the film’s break-even point was $6.3 million, about twice the production cost, a figure it did not come close to achieving on its initial release. Because of the film’s disappointing sales, Capra was seen by some studios as having lost his ability to produce popular, financially successful films. Its copyright in the U.S. expired in 1974 following a lack of renewal and it entered the public domain, allowing it to be broadcast without licensing or royalty fees, at which point it became a Christmas classic.

It’s a Wonderful Life is now considered to be one of the greatest films of all time and among the best Christmas films. It has been recognized by the American Film Institute as one of the 100 best American films ever made.






March 18, 2025

Pan Am Boeing 377 Stratocruiser Crossing a Taxiway Bridge at Idlewild Airport in Queens, New York

These photographs capture an iconic scene from aviation history when a Pan American World Airways Boeing 377 Stratocruiser crossing a taxiway bridge at Idlewild Airport (now John F. Kennedy International Airport) in Queens, New York from between the late 1940s and early 1950s.






The Boeing 377 Stratocruiser was a large long-range airliner developed from the C-97 Stratofreighter military transport, itself a derivative of the B-29 Superfortress. The Stratocruiser’s first flight was on July 8, 1947. Its design was advanced for its day; its relatively innovative features included two passenger decks and a pressurized cabin. It could carry up to 100 passengers on the main deck plus 14 in the lower deck lounge; typical seating was for 63 or 84 passengers or 28 berthed and five seated passengers.

The images show the aircraft moving over one of the airport’s taxiway bridges, an engineering feature designed to facilitate traffic flow by allowing aircraft to pass over roads or other taxiways.

50 Amazing Photos Capture The Beatles’ Members During the “Get Back / Let It Be” Sessions in 1969

The Get Back / Let It Be sessions, which began in January 1969, were an attempt by The Beatles to return to their roots with a focus on live performance and a more rock and roll sound, initially intended as a television special and culminating in a rooftop concert. However, the sessions became infamous for creative tensions, ultimately leading to the band’s breakup a year later.


The Beatles completed the five-month sessions for their self-titled double album in mid-October 1968. While the sessions had revealed deep divisions within the group for the first time, leading to Ringo Starr quitting for three weeks, the band enjoyed the opportunity to re-engage with ensemble playing, as a departure from the psychedelic experimentation that had characterized their recordings since the band’s retirement from live performance in August 1966. Before the White Album’s release, John Lennon enthused to music journalist Jonathan Cott that the Beatles were “coming out of our shell ... kind of saying: remember what it was like to play?” George Harrison welcomed the return to the band’s roots, saying that they were aiming “to get as funky as we were in the Cavern.”

Concerned about the friction over the previous year, Paul McCartney was eager for the Beatles to perform live again. In early October 1968, he told the press that the band would soon play a live show for subsequent broadcast in a TV special. The following month, Apple Corps announced that the Beatles had booked the Roundhouse in north London for 12–23 December and would perform at least one concert during that time. When this plan came to nothing, Denis O’Dell, the head of Apple Films, suggested that the group be filmed rehearsing at Twickenham Film Studios, in preparation for their return to live performance, since he had booked studio space there to shoot The Magic Christian.

The initial plan was that the rehearsal footage would be edited into a short TV documentary promoting the main TV special, in which the Beatles would perform a public concert or perhaps two concerts. Michael Lindsay-Hogg had agreed to direct the project, having worked with the band on some of their promotional films. The project’s timeline was dictated by Harrison being away in the United States until Christmas and Starr’s commitment to begin filming his role in The Magic Christian in February 1969. The band intended to perform only new material and were therefore under pressure to finish writing an album’s worth of songs. Although the concert venue was not established when rehearsals began on January 2, it was decided that the 18th would serve as a potential dress rehearsal day; the 19th and 20th would serve as concert dates.

The Twickenham rehearsals quickly disintegrated into what Apple Corps executive Peter Brown characterized as a “hostile lethargy.” Lennon and his partner Yoko Ono had descended into heroin addiction after their arrest on drugs charges in October and Ono’s subsequent miscarriage. Unable to supply his quota of new songs for the project, Lennon maintained an icy distance from his bandmates and scorned McCartney’s ideas. By contrast, Harrison was inspired by his recent stay in the US; there, he enjoyed jamming with musicians in Los Angeles and experienced a musical camaraderie and creative freedom with Bob Dylan and the Band in upstate New York that was lacking in the Beatles. Harrison presented several new songs for consideration at Twickenham, some of which were dismissed by Lennon and McCartney. McCartney’s attempts to focus the band on their objective were construed as overly controlling, particularly by Harrison.

The atmosphere in the film studios, the early start each day, and the intrusive cameras and microphones of Lindsay-Hogg’s film crew combined to heighten the Beatles’ discontent. When the band rehearsed McCartney’s “Two of Us” on January 6, a tense exchange ensued between McCartney and Harrison about the latter’s lead guitar part. During lunch on January 10, Lennon and Harrison had a heated disagreement in which Harrison berated Lennon for his lack of engagement with the project. Harrison was also angry with Lennon for telling a music journalist that the Beatles’ Apple organization was in financial ruin. According to journalist Michael Housego’s report in the Daily Sketch, Harrison and Lennon's exchange descended into violence with the pair allegedly throwing punches at each other. Harrison denied this in a January 16 interview for the Daily Express, saying: “There was no punch-up. We just fell out.” After lunch on January 10, Harrison announced that he was leaving the band and told the others, “See you round the clubs.” Starr attributed Harrison’s exit to McCartney “dominating” him.

During a meeting on January 15, the band agreed to Harrison’s terms for returning to the group: they would abandon the plan to stage a public concert and move from the cavernous soundstage at Twickenham to their Apple Studio, where they would be filmed recording a new album, using the material they had gathered to that point. The band’s return to work was delayed by the poor quality of the recording and mixing equipment designed by Lennon’s friend “Magic” Alex Mardas and installed at Apple Studio, in the basement of the Apple Corps building at 3 Savile Row. Producer George Martin, who had been only a marginal presence at Twickenham, arranged to borrow two four-track recorders from EMI Studios; he and audio engineer Glyn Johns then prepared the facility for the Beatles' use.

Sessions (and filming) at Apple began on January 21. The atmosphere in the band was markedly improved. To help achieve this, Harrison invited keyboardist Billy Preston to participate, after meeting him outside the Apple building on January 22. Preston contributed to most of the recording and also became an Apple Records artist. McCartney and Lindsay-Hogg continued to hope for a public concert by the Beatles to cap the project.

According to Beatles historian Mark Lewisohn, it is uncertain who thought of a rooftop concert, but the idea was conceived just days before the actual event. In Preston’s recollection, it was John Lennon who suggested it.

Until the last minute, according to Lindsay-Hogg, the Beatles were still undecided about performing the concert. He recalled that on January 30, they had discussed it and then gone silent, until “John said in the silence, ‘F*ck it – let’s go do it.’” The four Beatles and Preston arrived on the roof at around 12:30 pm. When they began to play, there was confusion nearby among members of the public, many of whom were on their lunch break. As the news of the event spread, crowds began to congregate in the streets and on the flat rooftops of nearby buildings.

Police officers ascended to the roof just as the Beatles began the second take of “Don'’ Let Me Down.” The concert came to an end with the conclusion of “Get Back.”

Recording of the project (and filming) wrapped on 31 January.









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