Amazing Photographs of Liam and Noel Gallagher of Oasis Taken by Kevin Cummins in 1994

In 1994, legendary British music photographer Kevin Cummins captured a series of raw, intimate, and now-iconic photographs of Liam and Noel Gallagher. Taken just before and during the release of Oasis’s groundbreaking debut album, Definitely Maybe, these photos defined the visual mythos of the Gallagher brothers and the rise of Britpop. Rather than highlighting their infamous sibling rivalry, Cummins’s early archive emphasizes an unguarded brotherly bond, humor, and a shared, defiant confidence.

“I thought it would ne a nice idea to do their first year, which gives it a good narrative flow,” said Cummins, “I was commissioned by Creation to see how their visual identity would work best, but by the end of the year they were the property of the tabloids.

“Creation thought there wouldn’t be any antagonism if they brought in a photographer who was from Manchester and supported City.”

Shot in their hometown of Manchester right around the time Definitely Maybe hit the shelves, these street portraits capture the duo against everyday urban backdrops. Notable locations included standing outside the historic Peveril of the Peak pub and posing directly on Portland Street.

In one of the most culturally resonant shoots of the era, the Gallagher brothers proudly leaned into their Manchester roots by posing together wearing the official Manchester City 1993/1994 football kits.

“We did some shots inside in the studio, with one behind the other so that you’d have brother reading above theirs heads on the shirt. Then we did some other shots where Liam jumped on Noel's back as if we'd just scored a goal, which is quite rare in these days.

“Then we went outside and they played football in the street and then kicked the ball at Noel. Noel kicked it back at him and they tried to punch each other. We just waited for that to finish and then carried on doing pictures.

“I think it’s an era-defining session that because football wasn't fashionable at the time. Here’s these lads playing football and linking themselves to Man City with brother all over the shirt... everything fell into place really with that session and that picture where Liam is on Noel's back has been on about 200 magazine covers.”

Kevin Cummins (born 1953) is one of Britain’s most celebrated music and portrait photographers. He is best known for creating the definitive visual record of the Manchester music scene and the rise of Britpop. Over a career spanning five decades, his bleak, cinematic, and raw style helped establish the mythos of some of the world's biggest rock bands.

See more»

Two Studio Portraits of Katie Roubideaux, ca. 1898

Katie Roubideaux (1890–1991), also known later in life as Kate “Ta Sina Sapawin” Roubideaux Blue Thunder, was a Brulé Lakota (Rosebud Sioux) woman whose long life spans a profound era of Native American history.

Born on the Rosebud Reservation in South Dakota, she became widely recognized in historical records due to famous studio portraits taken by photographer John Alvin Anderson in 1898, when she was just eight years old. In the photographs, she is depicted wearing a traditional decorated and fringed skin dress, beaded leggings, and moccasins while holding a doll.

She was the daughter of Louis Roubideaux and Adelia Blunt Arrow. Her father was a notable figure on the reservation, serving as the official U.S. interpreter in the late 1880s and at one point acting as the captain of the Indian Police.

Katie lived to be 100 years old, passing away on May 13, 1991. Because her life spanned a full century, she witnessed an extraordinary transition in America and for her people.

Born just fourteen years after the Battle of the Little Bighorn, she grew up during the harsh boarding school era. At age 14, she attended the St. Francis Mission school. Despite living through times when Native languages and traditions were aggressively banned by the government, she held onto her Lakota heritage, keeping songs, stories, and ceremonies alive.

Over her lifetime, she saw the shift from horses to automobiles, lived through both World Wars and the Great Depression, and watched major events like the 1969 moon landing and the 1973 Wounded Knee Occupation.

In her adult life, she was known affectionately to her community as “Granny Kate.” She was married three times, to Henry Knocks Off Two, Phillip Marshall, and later David Blue Thunder, and dedicated much of her life to raising her six children and many grandchildren. She was remembered for living a simple, traditional life, sewing clothes from homemade patterns, and always maintaining a strong Lakota spirit.

40 Behind the Scenes Photographs of Anne Bancroft Preparing for Her Role in the 1962 Film “The Miracle Worker”

To prepare for her iconic, Academy Award-winning role as Annie Sullivan in The Miracle Worker (1962), Anne Bancroft undertook a deeply immersive and physically grueling preparation process. Because she first originated the character in the 1959 Broadway stage production, much of her foundational research took place during that time and seamlessly transferred to her cinematic performance.

Bancroft was determined to authentically capture the psychological and physical realities of navigating the world with severe visual impairment, mirroring the history of Annie Sullivan herself. She spent extended periods completely depriving herself of sight by covering her eyes. She used these exercises to gain insight into how to move, react, and navigate spaces purely through touch, sound, and spatial awareness.

She visited a camp for blind individuals as well as the renowned Perkins School for the Blind, the exact institution where the real Annie Sullivan was educated. While there, she observed disabled children and studied their communication patterns. To communicate authentically with her co-star, she mastered the tactile manual alphabet used by deafblind individuals.

Director Arthur Penn and writer William Gibson decided to give the character an Irish brogue during early theater rehearsals. This vocal choice helped Bancroft mentally separate Annie Sullivan from her previous stage role in Two for the Seesaw, and it ultimately became a defining trait of her performance.

The role of Annie Sullivan was famously violent and exhausting. Bancroft and her 12-year-old co-star, Patty Duke (who played Helen Keller), had to engage in intense, un-choreographed choreography that required immense stamina. For the legendary, multi-minute dining room battle scene, where Annie attempts to teach Helen table manners, both actresses had to wear heavy concealment padding beneath their costumes to minimize severe bruising and injuries from all the slapping, wrestling, and falling.

Bancroft’s intense dedication to finding the “human truth” of the character was famously captured in a 1959 photo essay by Nina Leen for Life magazine, which documented her practicing daily tasks completely blindfolded. Her dedication paid off immensely; she won both a Tony Award for the stage play and the 1962 Academy Award for Best Actress for the film.

See more»

Isabel Sarli: Legendary Sex Symbol of Argentine Cinema

Isabel Sarli (1929–2019), nicknamed “Coca,” was an Argentine actress and model who became one of the most iconic sex symbols of Latin American cinema.

After being crowned Miss Argentina and competing in Miss Universe, Sarli was discovered by director Armando Bó and rose to fame in a series of bold, controversial films during the 1960s and ’70s. Movies such as Thunder Among the Leaves (1958), Carne (1968), Fuego (1969), and Fiebre (1971) made her a major star and a figure of both scandal and fascination.

With her striking beauty and fearless screen presence, Sarli became a cult icon whose work continues to be celebrated for its camp appeal and cultural impact. These vintage photographs capture the beauty, allure, and unforgettable screen presence of Isabel Sarli, a true legend of Argentine cinema.

See more»

30 Photos of a Young and Beautiful Anne Francis in Swimsuits in the 1950s

Anne Francis was a quintessential style icon of the 1950s, frequently bridging the gap between high-fashion elegance and playful Hollywood pin-up culture. Before starring in iconic roles like Forbidden Planet (1956) and TV’s Honey West (1965), she built a thriving modeling career, frequently photographed by legendary fashion photographers like Milton Greene. Her promotional beach shoots and film appearances served as a masterclass in the transformative swimsuit fashion trends of the 1950s.

Francis was celebrated for her athletic yet shapely frame, making her a preferred model for mid-century beach aesthetics. Her vintage photo archives showcase the dynamic evolution of the decade's styles. In several poolside sets, Francis modeled tight, ruched black one-pieces featuring sweetheart bodices and low, square cut bottoms that typified early-to-mid-1950s glamour. Posing on sailboats and beaches, she often donned high-waisted two-piece suits patterned in bold stripes or wild animal textures, striking a balance between girl-next-door playfulness and Hollywood allure.

In her most famous 1950s sci-fi role in Forbidden Planet, Francis wore a legendary, minimalist, short-cut white dress designed by Walter Plunkett. When her character, Altaira, asks the space travelers, “What’s a bathing suit?” it sparked an iconic moment that ironically cemented her as a cinematic beachwear fantasy figure for an entire generation.

See more»

27 Gorgeous Photos Show Lauren Bacall’s Fantastic Legs

Lauren Bacall was the very definition of classic Hollywood glamour, and yes, her legs were legendary. Those long, elegant limbs weren’t just eye candy; they were part of her whole screen presence, lending her a confident, sultry allure that set her apart from other leading ladies of the era. Whether she was walking onto the stage or standing tall beside Humphrey Bogart in To Have and Have Not (1944) or The Big Sleep (1946), her posture and poise made those legs unforgettable.

In the golden age of cinema, actresses like Bacall didn’t just rely on beauty, they owned their space with a unique blend of sophistication and edge. Her legs became a symbol of that cool, effortless sex appeal that could both command attention and inspire admiration. It wasn’t just about how they looked; it was how she carried herself with a smoky voice and piercing gaze, making every scene crackle with magnetism.

So yeah, Lauren Bacall’s fantastic legs were a huge part of her iconic image, but they were just one piece of the puzzle. Together with her talent, charisma, and that unmistakable style, she created a Hollywood legacy that’s still celebrated today.

See more»

Tom Horn Braiding a Rope in the Laramie County Jail Office in Cheyenne, 1902

This haunting, iconic photograph captures Tom Horn sitting calmly in the Laramie County Jail office in Cheyenne, Wyoming, in 1902. While awaiting trial and his subsequent execution, Horn famously pass-coed the time by writing an autobiography and working on traditional cowboy crafts like leatherwork and twisting horsehair ropes (mecates).

Tom Horn was one of the most enigmatic figures of the Old West. Over his life, he was a civilian U.S. Army scout during the Apache Wars, a Pinkerton detective, and a champion rodeo steer roper. Eventually, he became a notorious “range detective,” essentially a high-priced assassin hired by wealthy cattle barons to hunt down and eliminate rustlers and homesteaders who encroached on their land. Horn reportedly boasted that he had killed 17 men during his career.

Despite his suspected trail of bodies, Horn was ultimately convicted of a crime many historians believe he did not commit: the July 1901 murder of 14-year-old Willie Nickell. Willie was the son of a sheep rancher who was feuding with local cattlemen. The boy was ambushed and shot from a distance near Iron Mountain.

Horn was lured into a saloon by Deputy U.S. Marshal Joe LeFors, who got him drunk. Boasting of his skills, Horn made a vague statement about the shooting that LeFors’ hidden stenographer recorded as a full confession.

On November 20, 1903, a day before his 43rd birthday, Horn was executed in Cheyenne. He was hanged using a bizarre, automated contraption known as the “Julian Gallows.” The trapdoor was not sprung by an executioner pulling a lever; instead, the prisoner's own weight activated a valve that caused water to drain into a balancing tank. After roughly 35 seconds of water trickling, the tank tripped the mechanism, dropping Horn through the floor.

Historians continue to debate Horn’s absolute guilt regarding the boy’s death, a mock trial held by modern forensic experts in 1993 even post-humously “acquitted” him based on a lack of direct evidence.

40 Stunning Photos Show Fay Wray’s Glamour Styles From the Late 1920s

In the late 1920s, Canadian-American actress Fay Wray (September 15, 1907 – August 8, 2004) embodied the quintessential classic Hollywood glamour mixed with the youthfully rebellious “flapper” aesthetic. Before rising to ultimate fame in 1933’s King Kong, Wray was a brunette starlet under contract with Paramount Pictures. Her style perfectly captured the transition of the late 1920s (1928–1929), where silhouettes began to shift from the boxy shapes of the mid-20s into more fluid, elongated elegance.

Wray wore classic late-1920s gowns featuring dropped waistlines, delicate silk crepes, satin, and soft pleating. As the decade closed, her wardrobe shifted toward bias-cut gowns that hugged natural curves while maintaining an elongated line.

A staple of her studio portraits, she frequently wore ultra-fitted cloche hats pulled low over the brow, often embellished with fabric flowers or subtle metallic brooches. Her signature dark hair (she went blonde later for King Kong) was styled in tight Marcel waves or slicked close to the head to complement high-collared coats and close-fitting hats.

Paramount studio portraits often styled her in velvet wraps, fur collars, long opera gloves, and Art Deco costume jewelry, such as geometric brooches and layered pearl strands. For off-set photoshoots, she favored tailored day suits with drop-waist pleated skirts, wide-collared blouses, and low-heeled T-strap pumps typical of Hollywood’s “ingénue” studio look.

See more»

Merle Oberon: Exotic Beauty of Classic Hollywood

Merle Oberon (1911–1979) was a glamorous Anglo-Indian actress who became one of the defining beauties of 1930s and 1940s cinema.

Born in Bombay and raised partly in India, Oberon moved to England and was discovered by producer Alexander Korda, who helped launch her career. She rose to international fame in films such as The Private Life of Henry VIII (1933), The Scarlet Pimpernel (1935), and especially as Cathy in William Wyler’s Wuthering Heights (1939).

Known for her striking dark features, porcelain complexion, and sophisticated screen presence, Oberon successfully transitioned to Hollywood and remains remembered as one of the most elegant stars of the Golden Age. These vintage photos capture the exotic beauty, elegance, and timeless glamour of Merle Oberon, a true icon of classic cinema.

See more»

33 Amazing Photographs From the Set of the 1941 Classic Noir Film “The Maltese Falcon”

The Maltese Falcon (1941) is a landmark American film noir that fundamentally birthed the visual and thematic language of the Hollywood detective genre. Directed by John Huston in his brilliant directorial debut, the movie adapted Dashiell Hammett’s 1930 hardboiled novel with razor-sharp fidelity. It transformed Humphrey Bogart into a legendary A-list superstar and remains a definitive cinematic masterpiece.

The story follows a cynical and fiercely independent San Francisco private eye who plunges into a treacherous labyrinth of greed and deception. Private investigator Sam Spade and his partner, Miles Archer, are hired by a mysterious woman named Miss Wonderly. Archer is mysteriously murdered while tailing a man for their new client, leaving Spade as a prime police suspect.

Spade is quickly targeted, bribed, and seduced by an eccentric quartet of international criminals. They are all competing to obtain a priceless, jewel-encrusted 16th-century statuette known as the Maltese Falcon. Spade must navigate a web of dangerous double-crosses, only to discover the object of everyone’s obsession is a worthless lead fake.

Humphrey Bogart’s portrayal of Sam Spade defined the hardboiled detective: cynical, morally ambiguous, yet bound by a strict personal code (“When a man’s partner is killed, he’s supposed to do something about it”). Mary Astor’s Brigid O’Shaughnessy established the deceitful, manipulative heroine who uses vulnerability as a weapon.

The titular falcon serves as Hitchcock’s classic device, an object driving the entire plot that ultimately proves worthless (lead metal disguised as gold). Huston insisted on shooting scenes sequentially and using low-angle shots showing ceilings, creating a claustrophobic, tense atmosphere inside small rooms.

Though Bogart had appeared in over 40 films (often as a secondary villain), The Maltese Falcon launched him into A-list leading-man stardom, paving the way for Casablanca (1942). At age 61, stage veteran Sydney Greenstreet made his screen debut as Kasper Gutman, earning an Academy Award nomination for Best Supporting Actor.

Premiering in New York City on October 3, 1941, the film was an immediate commercial and critical success. It remains widely considered a landmark of the film noir genre, and it is one of the greatest and most influential films of all time. It is frequently cited for its significant contributions to storytelling, character archetypes, and visual style in film noir.

In 1989, the film was among the first 25 films selected by the Library of Congress for preservation in the National Film Registry, recognized as “culturally, historically, or aesthetically significant.”

See more»

Amy Winehouse Photographed by Bryan Adams in April 2007 for Zoo Magazine

The rock musician and acclaimed photographer Bryan Adams famously photographed Amy Winehouse in late April 2007 for Zoo Magazine N°15. The photo shoot took place in Los Angeles, California, right as Winehouse’s landmark album Back to Black was dominating charts worldwide. Adams, who co-founded Zoo Magazine in 2003, captured Winehouse in a series of striking, raw portraits that highlighted her distinct retro style, signature tattoos, and intense emotion. Some of the portraits from their sessions appear in his photography book Exposed (2012) and in later exhibitions.

Adams and Winehouse developed a private friendship around this time. He later invited her to spend the 2007–2008 holiday period with his family on Mustique in an effort to support her during a difficult stretch; he has spoken about trying to help while acknowledging the limits of what anyone could do. Amidst the attempts to keep her grounded, Adams famously tried to give Winehouse driving lessons around the island. He later humorously reminisced, “The concept of braking wasn’t something that Amy could quite grasp.”

Following her tragic passing in 2011, Adams opened up about his feelings regarding his attempts to intervene. In an interview with The Sunday Times, he expressed tremendous admiration for her individuality but realistically noted the limitations of helping someone battling addiction: “Sure, I tried to help her but, you know, it’s got to come from within. I really don’t know what happened with Amy and it is so sad because she was so, so talented... But did I make a difference? I don’t know.”

See more»

Beautiful Jacqueline Bisset on 35mm Color Slides

Jacqueline Bisset (born September 13, 1944) is a British actress. She began her film career in 1965 and came to prominence in 1968 with roles in The Detective, Bullitt, and The Sweet Ride, for which she received a Golden Globe nomination as Most Promising Newcomer. Bisset transitioned from an international sex symbol and screen siren in the late 1960s and 1970s into one of mainstream cinema’s most acclaimed and enduring dramatic actresses by the 1980s.

After breaking into Hollywood in the late 1960s with roles in Bullitt (1968) alongside Steve McQueen and The Sweet Ride (1968), she dominated 1970s cinema across multiple genres. Bisset starred as pregnant flight attendant Gwen Meighen in Airport (1970), one of the highest-grossing films of the decade that launched the 70s disaster film genre. She earned serious critical respect working with European auteur François Truffaut in Day for Night (La Nuit américaine, 1973), which won the Academy Award for Best Foreign Language Film. Her performance as Julie Baker cemented her status in international art cinema.

In The Deep (1977), her opening underwater scene wearing a thin white T-shirt became a global sensation. Newsweek declared her “the most beautiful actress of all time,” and the movie popularized the wet T-shirt trend worldwide, though Bisset often expressed frustration that media focus fixated on her physical appearance rather than her performance. She appeared in Agatha Christie’s star-studded adaptation Murder on the Orient Express (1974) and Who Is Killing the Great Chefs of Europe? (1978), for which she earned a Golden Globe nomination.

In the 1980s, Bisset deliberately shifted toward complex, mature roles that showcased her versatility and dramatic range. She starred opposite Candice Bergen in George Cukor’s final film, Rich and Famous (1981), portraying an ambitious, uncompromising novelist. She delivered a bold performance in Class (1983) as an attractive older woman engaged in an affair with her son’s prep school roommate (played by Andrew McCarthy). She reteamed with director John Huston for Under the Volcano (1984), starring alongside Albert Finney. Her tragic performance as Yvonne Firmin brought critical acclaim.

Recognizing the changing roles available for women in studio films, Bisset took on major television roles, notably starring as Josephine de Beauharnais in the acclaimed miniseries Napoleon and Josephine: A Love Story (1987).

Throughout both decades, Bisset maintained a reputation for privacy and independence, consistently refusing to conform to typical Hollywood studio expectations while balancing American blockbusters with European auteur cinema.

See more»