Yesteryear

Gourmet, The (1987)

by editor@creativeunderworld.com | Yesteryear | 0 Comments

This intriguing and unsettling 47-minute made-for-television movie was produced by Skreba Productions for Channel 4, based on a play written by Kazuo Ishiguro. Notorious gourmet Manley Kingston (Charles Gray) has spent his life travelling the world, searching for the strangest experiences on offer to the palate. In London, he plans to carry out the crowning […]

Glenda Jackson: A Fearless Force in Art and Politics

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Glenda Jackson (1936–2023) was a rare and towering figure who achieved elite status in two completely different fields: acting and public service.

Renowned for her “tense portrayals of complex women,” Jackson became a global star in the 1970s, winning two Academy Awards for Best Actress for her roles in Women in Love and A Touch of Class. She is a recipient of the “Triple Crown of Acting,” having also earned three Emmy Awards, notably for her definitive portrayal of Queen Elizabeth I in Elizabeth R, and a Tony Award for Three Tall Women.

In 1992, at the height of her fame, Jackson made a “decisive break” from acting to enter politics, serving as a Member of Parliament for the Labour Party for 23 years. After retiring from the House of Commons in 2015, she made a triumphant return to the stage, famously playing the title role in King Lear.

Known for her fierce intellect and unwavering work ethic, Jackson remains a symbol of integrity and raw talent on both the world stage and the political floor.

Cameron Diaz’s First-Ever Audition for “The Mask”, 1993

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In 1993, Cameron Diaz was a 21-year-old model with zero professional acting experience when she walked into the audition for The Mask. Her casting is widely considered one of the greatest “happy accidents” in Hollywood history, as she was originally only looking for a minor background role.

The production team had been searching for months to find the perfect “Tina Carlyle.” Director Chuck Russell had initially considered several established names and even met with Anna Nicole Smith, but he felt something was missing.

According to Russell, he saw Diaz’s 8×10 headshot in a pile on the casting director’s desk. Despite being told she was just a model with no credits, he insisted on bringing her in. He later remarked that she was the only person who had the right “instant likeability” and “intelligence” for the role.

Because she was an unknown, the studio (New Line Cinema) was extremely hesitant to cast her. Diaz had to go through a grueling process. She was called back roughly a dozen times over several weeks to prove she could handle the role. She was eventually paired with Jim Carrey for a screen test. Russell noted that Carrey actually performed better during his scenes with Diaz, confirming their immediate chemistry. Diaz later admitted that the stress of the process was overwhelming. She told Entertainment Weekly that she was so nervous she couldn’t eat or sleep and actually developed an ulcer during the audition period.

Director Chuck Russell was so convinced that Diaz was the only one for the part that he reportedly threatened to quit the film if the studio didn’t hire her. The studio finally relented just seven days before filming began.

American Houses in the Early 1900s: A Transition in Style and Comfort

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The early 1900s represented a pivotal transition in style and comfort for the American home, as the ornate, compartmentalized Victorian designs gave way to more open and functional living spaces. This era saw the rise of the Craftsman bungalow, which rejected industrial mass-production in favor of handcrafted woodwork, low-pitched roofs, and deep front porches that invited a closer connection to the outdoors.

Simultaneously, the widespread availability of “kit houses” from companies like Sears, Roebuck & Co. revolutionized the housing market, making high-quality architectural designs affordable for the burgeoning middle class.

This period successfully bridged the gap between 19th-century tradition and 20th-century innovation, leaving behind a legacy of sturdy, soulful homes that define many American neighborhoods to this day.

Patti Smith and Robert Mapplethorpe Photographed by Norman Seeff in the Kitchen of Chelsea Hotel, 1969

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Norman Seeff, a South African who had recently arrived in New York, met the young, unknown Patti Smith and Robert Mapplethorpe while hanging out at Max’s Kansas City, a popular downtown club for artists and musicians. He thought they “looked cool” and asked them to do a photo session. The session took place at a friend’s apartment and studio space on 72nd and Amsterdam on the Upper West Side, not a formal commercial studio.

The most iconic images from the session were actually taken after the formal shoot was done, when the three were just “hanging out.” This informal atmosphere allowed for a poignant and intimate engagement among the two artists and the camera, capturing a genuine moment in time.

Seeff was struck by “the depth of love the two had for each other.” The photos capture the end of their romantic relationship but the beginning of their lifelong artistic partnership. In one image, Smith is wearing the now-famous skull necklace she made for Mapplethorpe as a birthday present, a detail she mentions in her memoir Just Kids.

“We wanted, it seemed, what we already had, a lover and a friend to create with, side by side,” said Smith. “To be loyal, yet be free.”

For Seeff, these images were exactly what he was looking for: authenticity and emotional depth, capturing the spirit of two artists in their formative years. At the time, Mapplethorpe had not yet begun his own serious photography work (which he started the following year with a Polaroid camera). The photos offer a rare glimpse of the pair as they were just beginning their respective journeys to becoming icons of New York’s art scene.

30 Amazing Photos of a Very Young Bob Weir of the Grateful Dead in the 1960s

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Bob Weir, the rhythm guitarist and co-founder of the Grateful Dead, died at the age of 78 on January 10, 2026.
According to a family statement, Weir passed away peacefully surrounded by loved ones. He had been diagnosed with cancer in July 2025 and successfully underwent treatment but ultimately succumbed to underlying lung issues.

In the 1960s, Weir was the “kid” of the Grateful Dead – a fresh-faced, often clean-shaven teenager surrounded by older, shaggier musicians. While Jerry Garcia was the band’s spiritual center, he was its high-energy engine, evolving from a self-described “spaced-out” kid into one of rock’s most unique rhythm guitarists.

Bobby’s passing marks the end of an era for the Grateful Dead community. Having joined the band at just 16 years old, he spent over six decades on the road. In true Bobby fashion, he spent his final months performing. His three-night run at Golden Gate Park in August 2025, celebrating the band’s 60th anniversary, now stands as a final gift to his hometown fans.

With the loss of Phil Lesh in October 2024 at age 84 and now Bobby, Bill Kreutzmann, 79, remains the sole surviving founding member of the original 1965 lineup.

Erwin Blumenfeld: The Surrealist Visionary of Fashion Photography

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Erwin Blumenfeld (1897–1969) was a German-American photographer who fundamentally redefined the aesthetics of fashion and beauty during the mid-20th century.

Deeply rooted in the Dada and Surrealist movements, Blumenfeld treated the camera not merely as a recording device, but as a laboratory for avant-garde experimentation. During his legendary tenure at Vogue and Harper’s Bazaar, he introduced groundbreaking techniques such as solarization, multiple exposures, color filtration, and extreme cropping to create images that were both eerie and ethereal. His most famous work, the 1950 “Doe Eye” cover for Vogue, remains a masterpiece of minimalism, reducing the human face to its most essential, graphic elements.

Beyond the glamour of high fashion, Blumenfeld’s work was characterized by a lifelong obsession with the female form and a complex psychological depth born from his experiences surviving two World Wars. Today, he is remembered as a pioneer who bridged the gap between commercial photography and fine art, proving that a fashion image could be as intellectually challenging as a painting.

Mrs. Schuyler Watts in pink silk chiffon dress and make-up by Germaine Monteil, photo by Erwin Blumenfeld, Harper’s Bazaar, January 1942

Woman with camellias, photo by Erwin Blumenfeld, 1943

“Le Poudrier”, a study for an advertisement, photo by Erwin Blumenfeld, 1944

Goddess of New York, photo by by Erwin Blumenfeld, 1944

Model in raincoat, photo by Erwin Blumenfeld, 1944

Double Trouble: The Strange Mugshots of Harris Lyons, 1893

by editor@creativeunderworld.com | Yesteryear | 0 Comments

The photos of Harris Lyons were taken by the police in Newark, New Jersey. They are carte de visite, also known as CDVs, meaning they are small photos mounted on card stock about the size of playing cards. CDVs were popular for non-criminal portrait photos too! In the case of mugshots, they usually had pre-printed labels on the back side with spaces for the police to write in details about the subject’s appearance and arrest.

What initially intrigued about the CDV mugshots of Harris is that he was photographed twice. He has a scruffy beard in one photo, and in the other, he’s clean-shaven. His beard was minimal. It doesn’t hide his mouth, chin or jaw line to any extent. Both photos were taken of him in exactly the same position. So why take two photos?

To answer that question we need to delve a bit deeper into the story. Harris and a criminal pal named James Goughty were arrested in New York City on December 8, 1893 for a “sneak thief” robbery in Newark, New Jersey, according to an article that appeared on December 9th in The Evening World (New York, NY). The article stated that Emma Zillaux, the storekeeper of the business that was robbed, identified the men after she saw their photos in the New York City Rogues’ Gallery. As you can see by reading the back of his cards, Harris was not photographed in Newark until two weeks after his arrest in New York. This detail explains why two photos were taken of him.

In between the New York arrest on the 8th and the taking his photo in New Jersey on the 22nd, he’d likely been held in jail and been unable to shave. Assuming he was normally clean-shaven, the police wanted his mugshot to show him like that. But it’s interesting that they also photographed him with the stubble. Maybe they took that photo first, then realized their mistake, shaved him and took another photo. It’s interesting that they kept both photos.

Since the New York City police also had his mugshot, it will come as no surprise that Harris Lyons had a long and interesting criminal career; one that even included stealing silver from a descendant of Alexander Hamilton. Cath Giesbrecht, his great grandniece, has researched Harris and written a fascinating story about him. Here’s a link to her Substack article about her Uncle Harris.

(via Captured and Exposed)

Josep Renau: The Architect of Visual Resistance

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Josep Renau (1907–1982) was a visionary Spanish artist, theorist, and political activist who revolutionized the use of graphic design as a tool for social change.

As a master of photomontage, Renau drew heavy influence from the Berlin Dadaists, using cut-out imagery to create sharp, satirical critiques of capitalism, fascism, and war. During the Spanish Civil War, he served as the Director General of Fine Arts for the Republic, famously commissioning Pablo Picasso to paint Guernica for the 1937 Paris World’s Fair and orchestrating the daring rescue of the Prado Museum’s masterpieces from nationalist bombings. His most iconic personal project, the series The American Way of Life, produced during his exile in Mexico, remains a powerful indictment of Cold War consumerism.

Renau’s work is characterized by its vibrant colors, bold structural layouts, and an unwavering belief that art should not merely reflect the world, but actively work to transform it.

Harina Malteada SOS, circa 1929

Baleares, La isla de las maravillas, 1929

Buster Keaton (Pamplinas), circa 1930

Gran Feria de Valencia, 1931

Las Arenas Balneario, Valencia, 1932

30 Photos of Rod Stewart in the 1980s

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Sir Roderick David Stewart (born January 10, 1945) is a British singer and songwriter. Known for his distinctive raspy singing voice, Stewart is among the best-selling music artists of all time, having sold more than 120 million records worldwide.

In the 1980s, Stewart was a fascinating study in survival. While many of his 1970s rock peers struggled to stay relevant, he leaned into the era’s glossy production, synthesizers, and music videos. He transitioned from a gritty “blues-rocker” to a full-blown “pop superstar,” though this came at the cost of significant critical backlash.

Stewart started the 1980s moving away from the disco controversy of 1978’s “Da Ya Think I’m Sexy?” by embracing New Wave and Synth-Pop. He found huge success with Tonight I’m Yours (1981). The hit single “Young Turks” is arguably his most iconic 80s track, perfectly blending his signature raspy vocals with a driving synth beat. This was his most “pop” period.

He leaned heavily on outside songwriters and high-gloss production. Albums like Body Wishes (1983) and Camouflage (1984) produced hits like “Baby Jane” and “Some Guys Have All the Luck,” but critics often panned them for being “disposable.” He staged a major artistic comeback with the album Out of Order (1988). He moved back toward a more soulful, rootsy sound with hits like “Forever Young” and his famous Tom Waits cover, “Downtown Train” (1989).

Rod Stewart’s look in the 1980s was the epitome of the decade’s excess. He was a constant fixture in tabloids and on MTV. His famous spiky blonde mullet became even more exaggerated, often defying gravity. He was known for flamboyant stage outfits, including leopard-print spandex, brightly colored suits with rolled-up sleeves, and silk scarves.

He maintained a high-profile “playboy” image, famously dating models (like Kelly Emberg) and living a lavish lifestyle in Los Angeles, which fueled the perception of him as a jet-set celebrity rather than a serious musician.