These cool pics were found by Christian Montone that show yearbook portraits of male students from an unknown American high school in 1973.
November 25, 2018
Amazing Photos of 1949 Delahaye 175 S Saoutchik Roadster, Which Was Owned by English Blonde Bombshell Diana Dors
The most dramatic of all supercars is this 2-seat roadster which was owned by English movie star Diana Dors. Built for the post-war concours circuit, Saoutchik was responsible for its extreme body which borrowed styling cues from other earlier designs.
Using the French curves of the thirties with more modern baroque ornamentation, Saoutchik conveys a sense of drama and movement with this design. With completely enclosed wheels, the car’s best angle is its profile as the front has a confusing mix of elements that look like they came from different sources. At the time, the aggressive use of chrome was revolutionary and an emerging trend that the American manufacturers would go on to master.
Much of this Delahaye’s beauty is also shown in details such as chrome accents that highlight the curves and feature embedded turn signals or the small strips which flank the side and add a sense of speed while hiding the door handles. At the front is a curious nose which was inspired by the Figoni et Falaschi-designed Narval produced just a year earlier. Inside, a two-tone interior is relentlessly busy and features a medley of designs that work together in their excess. Rows of knobs are everywhere and the see-through steering wheel made of lucite is unique.
The car is built upon the first new Delahaye chassis designed after the war. New features for this model included a much larger 4.5 liter engine, a De-Dion rear suspension, Dubbonet front suspension, Lockhead brakes, and novelties such as a radio and heater came standard. When everything worked, the chassis was superb, but many cars suffered from breakdowns, particularly around the complex suspension and fragile drive-line.
The first owner of this car, chassis 815025, was Sir John Gaul of England who brought the car to several European concours, catching the attention of the press and public wherever it went. In 1949, it won top honors at the Grand Castle du Bois de Boulogne in Paris, the Monte Carlo Concours and Coup de l’Automobile in San Remo almost always accompanied by an attractive lady.
By the seventies the roadster had made its way to Colorado where maintenance on the race-spec engine and Dubonnet suspension became a nuisance. The owner then chopped out the entire front section of the chassis to fit a GM Toronado system which was front wheel drive.
For nearly forty years the original engine and car were separated much to the blissful ignorance of everyone who could still appreciate its distinct design. Eventually correct 175 parts were sourced and the owner had Fran Roxas refurbish the massive Delahaye. It made a welcome debut restoration at the 2006 Pebble Beach Concours where it graced the shoreline beside the best examples of the marque. Later, the original engine was sourced and it was offered at Sports & Classics of Monterey by RM Auctions with an estimate of $4,000,000-$6,000,000 USD.
Using the French curves of the thirties with more modern baroque ornamentation, Saoutchik conveys a sense of drama and movement with this design. With completely enclosed wheels, the car’s best angle is its profile as the front has a confusing mix of elements that look like they came from different sources. At the time, the aggressive use of chrome was revolutionary and an emerging trend that the American manufacturers would go on to master.
Much of this Delahaye’s beauty is also shown in details such as chrome accents that highlight the curves and feature embedded turn signals or the small strips which flank the side and add a sense of speed while hiding the door handles. At the front is a curious nose which was inspired by the Figoni et Falaschi-designed Narval produced just a year earlier. Inside, a two-tone interior is relentlessly busy and features a medley of designs that work together in their excess. Rows of knobs are everywhere and the see-through steering wheel made of lucite is unique.
The car is built upon the first new Delahaye chassis designed after the war. New features for this model included a much larger 4.5 liter engine, a De-Dion rear suspension, Dubbonet front suspension, Lockhead brakes, and novelties such as a radio and heater came standard. When everything worked, the chassis was superb, but many cars suffered from breakdowns, particularly around the complex suspension and fragile drive-line.
The first owner of this car, chassis 815025, was Sir John Gaul of England who brought the car to several European concours, catching the attention of the press and public wherever it went. In 1949, it won top honors at the Grand Castle du Bois de Boulogne in Paris, the Monte Carlo Concours and Coup de l’Automobile in San Remo almost always accompanied by an attractive lady.
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| British actress Diana Dors and her 1949 Delahaye 175 S Saoutchik Roadster. (Photo by Popperfoto/Getty Images) |
By the seventies the roadster had made its way to Colorado where maintenance on the race-spec engine and Dubonnet suspension became a nuisance. The owner then chopped out the entire front section of the chassis to fit a GM Toronado system which was front wheel drive.
For nearly forty years the original engine and car were separated much to the blissful ignorance of everyone who could still appreciate its distinct design. Eventually correct 175 parts were sourced and the owner had Fran Roxas refurbish the massive Delahaye. It made a welcome debut restoration at the 2006 Pebble Beach Concours where it graced the shoreline beside the best examples of the marque. Later, the original engine was sourced and it was offered at Sports & Classics of Monterey by RM Auctions with an estimate of $4,000,000-$6,000,000 USD.
November 24, 2018
25 Beautiful Black and White Photos of Audrey Hepburn in Bürgenstock, Switzerland in 1954
First opened in 1873 in the Burgensberf Mountain ridge standing 500m above Lake Lucerne, Bürgenstock was a magnet for the European rich and famous including Hollywood stars during Hollywood’s Golden Age.
Audrey Hepburn married Mel Ferrer in the Bürgenstock chapel in 1954. Bürgenstock resort was also the home of Audrey Hepburn for 14 years! Her neighbor for a few years was Sophia Loren. Sofia Loren and her husband came in the 1960s and became long-term residents in Villa Daniela. And even Sean Connery called it home while filming Goldfinger.
These beautiful photographs below were taken by photographer Hans Gerber and her husband Mel Ferrer in Bürgenstock in August 1954.
Audrey Hepburn married Mel Ferrer in the Bürgenstock chapel in 1954. Bürgenstock resort was also the home of Audrey Hepburn for 14 years! Her neighbor for a few years was Sophia Loren. Sofia Loren and her husband came in the 1960s and became long-term residents in Villa Daniela. And even Sean Connery called it home while filming Goldfinger.
These beautiful photographs below were taken by photographer Hans Gerber and her husband Mel Ferrer in Bürgenstock in August 1954.
Surreal Photography by Bill Binzen in 1972
Surreal photography is pushing the boundaries of what is achievable with a photograph. Photo surrealism is an intellectual and artistic movement that started in the early 1920s in France and is famously known for its astonishing writings, surreal images and artworks.
Bill Binzen (1918-2010) was an American photographer of people and nature, whimsy and pathos, most active from the 1960s to the '90s. After a career as an art director for the advertising agency Ogilvy and Mather in the 1950s, he took his leave from the world of 'Mad Men' in about what would have been its third season, heading instead into full immersion in the world of the photographic image, never to look back.
Binzen established himself as a commercial and magazine photographer, author of more than a dozen children's books, and an artist. His work appeared in magazines such as Life, Esquire, Psychology Today, Sports Illustrated, Time, Holiday, Fortune, the New York Times Magazine, and Parents, as well as in advertising, calendars and cards.
Central to his photographic work are collections from New York City in the '60s, rural New England, and Tuscany; evocative character studies; and experimentation, such as with “doubles” (sandwiching two slides together, pre-Photoshop).
Characteristic of his style is great attention to composition and the evocation of mood. These amazing surreal photographs are part of his work from book DOUBLE TAKE in 1972.
Bill Binzen (1918-2010) was an American photographer of people and nature, whimsy and pathos, most active from the 1960s to the '90s. After a career as an art director for the advertising agency Ogilvy and Mather in the 1950s, he took his leave from the world of 'Mad Men' in about what would have been its third season, heading instead into full immersion in the world of the photographic image, never to look back.
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| Surreal Photography by Bill Binzen in 1972 |
Binzen established himself as a commercial and magazine photographer, author of more than a dozen children's books, and an artist. His work appeared in magazines such as Life, Esquire, Psychology Today, Sports Illustrated, Time, Holiday, Fortune, the New York Times Magazine, and Parents, as well as in advertising, calendars and cards.
Central to his photographic work are collections from New York City in the '60s, rural New England, and Tuscany; evocative character studies; and experimentation, such as with “doubles” (sandwiching two slides together, pre-Photoshop).
Characteristic of his style is great attention to composition and the evocation of mood. These amazing surreal photographs are part of his work from book DOUBLE TAKE in 1972.
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| Electric Sparks Face |
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| Fire Hydrant Snow |
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| Kids In Snow |
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| Man Woman In Masks |
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| Mannequin And Door |
Cool Snaps of a Party in San Diego, California in 1955
A cool photo set was found by Jordan Smith that shows a party taken place at 611 Tenth (probably in San Diego, California) in 1955.
The Tragic Death of Linda Darnell, the Girl With the Perfect Face
Only a real movie buff would remember her name today, but in the forties everyone knew Linda Darnell. Her beauty and talent made her one of the top female stars at Twentieth Century-Fox.
Daughter of a Texas postal clerk, actress Linda Darnell trained to be a dancer, and came to Hollywood’s attention as a photographer's model. Though only 15, Darnell looked quite mature and seductive in her first motion picture, Hotel For Women (1937), and before she was twenty she found herself the leading lady of such 20th Century-Fox male heartthrobs as Tyrone Power and Henry Fonda.
Weary of thankless good-girl roles, Darnell scored a personal triumph when loaned out to United Artists for September Storm (1944), in which she played a “Scarlett O’Hara” type Russian vixen. Thereafter, 20th Century-Fox assigned the actress meatier, more substantial parts, culminating in the much-sought-after leading role in 1947’s Forever Amber.
Director Joseph L. Mankiewicz followed up this triumph by giving Darnell two of her best parts--Paul Douglas’ “wrong side of the tracks” wife in A Letter to Three Wives (1949) and Richard Widmark’s racist girlfriend in No Way Out (1950). When her Fox contract ended in 1952, Darnell found herself cast adrift in Hollywood, the good roles fewer and farther between; by the mid-1960s, she was appearing as a nightclub singer, touring in summer theatre, and accepting supporting roles on television.
On April 10, 1965, Darnell died from burns she received in a fire at the house of her former secretary. Ironically, she had been watching Star Dust (1940) on television, which was one of the films that set her career in motion, when the house caught fire. She was trapped on the second floor of the home by heat and smoke, as the fire had started in the living room.
The women urged the young girl to jump from the second-floor window. After her daughter had jumped, Darnell’s secretary stood on the window ledge, calling for help. She had lost track of Darnell and insisted the firefighters rescue her before she was taken from the window ledge. Darnell was found next to the burning living room sofa; she was transferred to the burn unit at Chicago’s Cook County Hospital with burns to 80% of her body.
After her death, a man who said he was Darnell’s fiancé identified her body. A coroner’s inquest into her death ruled that Darnell’s death was accidental and that the fire had begun in or near the living room sofa and was caused by careless smoking; both adult women were smokers.
Darnell’s body was cremated; she had wanted her ashes scattered over a ranch in New Mexico, but because of a dispute with the landowners that was not done. After being in storage for ten years her daughter asked they be interred at the Union Hill Cemetery, Chester County, Pennsylvania, in the family plot of her son-in-law.
She had appeared in a total of 46 films. Often described as the “girl with the perfect face,” Linda Darnell died at the age of 41. For her contribution to the motion picture industry, Linda Darnell has a star on the Hollywood Walk of Fame at 1631 Vine Street.
Daughter of a Texas postal clerk, actress Linda Darnell trained to be a dancer, and came to Hollywood’s attention as a photographer's model. Though only 15, Darnell looked quite mature and seductive in her first motion picture, Hotel For Women (1937), and before she was twenty she found herself the leading lady of such 20th Century-Fox male heartthrobs as Tyrone Power and Henry Fonda.
Weary of thankless good-girl roles, Darnell scored a personal triumph when loaned out to United Artists for September Storm (1944), in which she played a “Scarlett O’Hara” type Russian vixen. Thereafter, 20th Century-Fox assigned the actress meatier, more substantial parts, culminating in the much-sought-after leading role in 1947’s Forever Amber.
Director Joseph L. Mankiewicz followed up this triumph by giving Darnell two of her best parts--Paul Douglas’ “wrong side of the tracks” wife in A Letter to Three Wives (1949) and Richard Widmark’s racist girlfriend in No Way Out (1950). When her Fox contract ended in 1952, Darnell found herself cast adrift in Hollywood, the good roles fewer and farther between; by the mid-1960s, she was appearing as a nightclub singer, touring in summer theatre, and accepting supporting roles on television.
On April 10, 1965, Darnell died from burns she received in a fire at the house of her former secretary. Ironically, she had been watching Star Dust (1940) on television, which was one of the films that set her career in motion, when the house caught fire. She was trapped on the second floor of the home by heat and smoke, as the fire had started in the living room.
The women urged the young girl to jump from the second-floor window. After her daughter had jumped, Darnell’s secretary stood on the window ledge, calling for help. She had lost track of Darnell and insisted the firefighters rescue her before she was taken from the window ledge. Darnell was found next to the burning living room sofa; she was transferred to the burn unit at Chicago’s Cook County Hospital with burns to 80% of her body.
After her death, a man who said he was Darnell’s fiancé identified her body. A coroner’s inquest into her death ruled that Darnell’s death was accidental and that the fire had begun in or near the living room sofa and was caused by careless smoking; both adult women were smokers.
Darnell’s body was cremated; she had wanted her ashes scattered over a ranch in New Mexico, but because of a dispute with the landowners that was not done. After being in storage for ten years her daughter asked they be interred at the Union Hill Cemetery, Chester County, Pennsylvania, in the family plot of her son-in-law.
She had appeared in a total of 46 films. Often described as the “girl with the perfect face,” Linda Darnell died at the age of 41. For her contribution to the motion picture industry, Linda Darnell has a star on the Hollywood Walk of Fame at 1631 Vine Street.
November 23, 2018
30 Outstanding 80s Hairstyles That You Can Almost Smell the Aqua Net Hairspray
In the 1980s, people were into big hair because the celebs had big hair. And it wasn’t all that hard to get big hair, either. You just needed to make sure that you grew your hair out, and then you permed them and teased them. Hair spray was a crucial tool, along with the ubiquitous mousse.
With the aid of bottles of Aqua Net hair spray, and cans of mousse, both men and women in the ’80s achieved gravity-defying feats of hairstyling prowess. All you needed was a 1/2 can of Aqua Net, and you could achieve any style, any height! Perfect for a tight perm to blow out bangs to the ceiling. Required 2 shampooings to remove and still left white "glue-like" substance in hair, the build-up made it easier to get skyscraper bangs next styling!
With the aid of bottles of Aqua Net hair spray, and cans of mousse, both men and women in the ’80s achieved gravity-defying feats of hairstyling prowess. All you needed was a 1/2 can of Aqua Net, and you could achieve any style, any height! Perfect for a tight perm to blow out bangs to the ceiling. Required 2 shampooings to remove and still left white "glue-like" substance in hair, the build-up made it easier to get skyscraper bangs next styling!
