Bring back some good or bad memories


September 26, 2019

Charming Photos of Yvonne Arnaud in the 1910s

Born 1890 in Bordeaux, Gironde, French pianist, singer and actress Yvonne Arnaud was well known for her career in Britain, as well as her native land.


After beginning a career as a concert pianist as a child, Arnaud acted in musical comedies. She switched to non-musical comedy and drama around 1920 and was one of the players in the second of the Aldwych farces, A Cuckoo in the Nest, a hit in 1925.

Arnaud also had dramatic roles and made films in the 1930s and 1940s, and continued to act into the 1950s. She occasionally performed as a pianist later in her career. The Yvonne Arnaud Theatre was named in her memory in Guildford, Surrey.

Arnaud died in 1958 in Guildford, Surrey, England, aged 67.

Take a look at these charming photos to see the beauty of young Yvonne Arnaud in the 1910s.










33 Found Snaps That Show Daily Life of Edwardian Women

Back when life was so simple. A found photo set from gt_hawk63 that shows what daily life of Edwardian women looked like.

All together

A bright sunny day

A day out on the C & B steamer

A lady and her horse

A well dressed lady in her prime





40 Hot Photos of a Young and Beautiful Heather Locklear in the 1980s

Back in the late 1980s and early ’90s, Heather Locklear’s blinding smile and blonde hair were at the centre of Hollywood and the small screen, her all-American charm helping her to carve a career in an industry notoriously hard to crack.


With starring roles in Dynasty, Melrose Place, T. J. Hooker, Spin City, Heather Locklear’s name became synonymous with Hollywood royalty, her career revered, her fame all-consuming.

It was in 1993 that she started appearing in the TV series Melrose Place, one of the most significant works of her career. Along with her career on television, she ventured into films as well and appeared in movies such as the romantic comedy The Perfect Man.

Locklear attracted controversy in September 2008, when she got arrested on suspicion of drunk driving. However, no alcohol or narcotics were detected in her blood test, and it was stated later that her medications for anxiety and depression were impacting her ability to drive.










When Muhammad Ali Stopped a Man From Jumping Off a Ledge in Los Angeles, 1981

Without a doubt, Muhammad Ali is the most influential boxer of all time. Everywhere you go, people are always throwing one of his quotes around. Everyone knows he’s a caring individual. But most people don’t know about one fateful day of January 19, 1981, when Ali saved a young man from jumping off a ledge.

Muhammad Ali (right) leans out of a window of a high-rise building on Jan. 19, 1981, in Los Angeles and talks with a man, later identified by reports as Joe, who threatens to jump. (Boris Yaro/Los Angeles Times)

“I’m no good,” the 21-year-old man shouted, leaning out over a ledge nine floors above Wilshire Boulevard in Los Angeles. “I'm going to jump!”

No one in the crowd below knew his name on that day, Jan. 17, 1981. But that didn’t stop some in the crowd from shouting for him to jump, to give everyone the show they wanted. He’d been up there for hours, shouting that the Viet Cong were coming for him, resisting all police efforts to bring him down.

And then, in what must have seemed like a dream to the man on the ledge, Muhammad Ali appeared at a nearby window.

“It’s really you!” the man said in disbelief.

The most famous man on the planet, Ali knew a little something about venturing out on ledges. Knew what it was like to have the Vietnam War twist you up inside, even if this particular man was too young to have served. Knew what it was like to have hostile crowds screaming for your blood.

He’d been nearby on business, and when his manager told him of the standoff, Ali drove his Rolls Royce the wrong way down Los Angeles streets, flashing his headlights all the way. When he arrived at the scene, Ali ignored the crowd of onlookers shouting his name, and sprinted into the building to get to the man's side. Police feared he had a gun, and Ali led off with that.

“I’m coming out,” Ali shouted. ”Don’t shoot me!”

“I won’t shoot you,” the man said. “I don’t even have a gun.”

Ali then began the delicate work of bringing the man in off the ledge. “I’m your brother,” Ali shouted. “I love you and I wouldn’t lie to you ... I want to help you.”

The man told Ali that he couldn’t find a job, that no one loved him. “Why do you worry about me?” the man shouted to Ali. “I’m a nobody.”

The former heavyweight champ replied that to him, the man wasn’t a nobody.

Ali and the man spoke for 20 minutes, and on more than one instance, it appeared that even Ali’s gift for inspiration wasn’t enough. But give Ali six rounds and he could wear down anyone. He convinced the man to open the door to the fire escape, then embraced the man and pulled him inside. Ali later escorted the man to the Sawtelle VA Hospital, and promised to get him the help he needed.

“I’m your brother. I love you and I wouldn’t lie to you” – Muhammad Ali on January 19, 1981 stopping a young man from suicide. (Boris Yaro/Los Angeles Times)

Ali was at the time just two days past his 39th birthday and three months removed from his worst loss ever, a brutal beating at the hands of Larry Holmes. Ali’s speech had begun to slur and his hands had begun to shake, the earliest signs of the neurological damage that would soon ravage him. Ali fought just once more, losing to Trevor Berbick at the end of 1981. But that moment a hundred feet above Wilshire Boulevard showed more of Ali's heart than any of his final fights.

“I’m going to help him go to school and find a job, buy him some clothes,” Ali told reporters afterward. “I’m going to go home with him to meet his mother and father. They called him a nobody, so I’m going home with him. I’ll walk the streets with him and they’ll see he’s big.”

Whether Ali followed through on his pledge has been lost to history, though Ali would often support those in need without seeking the spotlight. Bottom line, though: Ali gave the man a second chance at life.

“No doubt about it,” a police official said at the scene that day. “Ali saved that man’s life.”




September 25, 2019

“I’m not a bad girl! You’re a bad mommy!” – 17 Strange Vintage Laxative Adverts for Fletcher’s Castoria From the 1940s

These adverts for Fletcher’s Castoria date from 1939-1941 and feature a lot of finger pointing, angry parents, threats of spanking, and constipated children. There’s also lot of talk about how sensitive a child’s constitution is, but a good whack with a slipper was obviously fine!

But fear not, by the end of the adverts everyone is smiling and opening their bowels all over the place.










Hollywood During WWII: Rare and Stunning Color Photos of Classic Beauties in the 1940s

By the 1940s, Hollywood's effects specialists had over a decade of studio experience. Technicolor had been especially challenging but faster film introduced in 1939 began to make Technicolor a viable option for studio production.

Color portrait photos of the 1940s classic beauties

Rear projection in color remained out of reach until Paramount introduced a new projection system in the 1940s. New matte techniques, modified for use with color, were for the first time used in the British film The Thief of Bagdad (1940). However, the high cost of color production in the 1940s meant most films were black and white.

These stunning color photos captured portraits of classic actresses from the 1940s.

Ann Miller, circa 1944

Barbara Stanwyck, circa 1941

Bette Davis, circa 1942

Betty Grable, circa 1942

Claudette Colbert, circa 1945





Publicity Photos of Marilyn Monroe Playing With a Ukulele For ‘Some Like It Hot’ in 1959

In 1959, near the end of her extraordinary career, Marilyn Monroe starred in Some Like It Hot, widely considered one of the greatest film comedies of all time.


Monroe played the role of Sugar Kane, the singer and ukulele player for Sweet Sue and her Society Syncopators and the object of romantic pursuit by Tony Curtis and Jack Lemmon’s characters, musicians disguised as women.

In one of the film’s Roaring Twenties-inspired musical numbers, Monroe energetically sings, dances and strums the ukulele, adding mastery of the diminutive instrument to her formidable repertoire of skills.












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