Because Murray and Chevy Chase were the film’s two biggest SNL stars, executive producer Jon Peters realized midway through shooting that they didn’t have a single scene together. Ramis wrote a brief setup where Chase’s character, Ty Webb, accidentally plays a golf ball into Carl’s dilapidated shack at night. Murray and Chase ad-libbed the entire exchange in one evening shoot, creating the famous scene where Carl offers Ty a drink of “a hybrid of bluegrass, Kentucky bluegrass, feathertex and northern California sinsemilla.”

The production of Caddyshack was famously chaotic, fueled by heavy drug use, late-night partying, and erratic weather. Murray was known for staying in character between takes, wandering around the golf course harassing real country club members, driving groundskeeping equipment into water hazards, and playing pranks on the cast and crew.

The Short Tail Gang, also known as the Short Tails for their distinctive short-tailed jacket coats, were an 1880s–1890s Irish gang located in the Corlear’s Hook section of the Lower East Side, on Rivington Street in the vicinity of Mangin and Goerck Streets of Manhattan, in New York City. The Eastman Gang was also headquartered around Corlear’s Hook and may have had its beginnings as a breakaway gang of the Short Tail Gang.

The Short Tails, along with rival gangs the Daybreak Boys, the Patsy Conroy Gang, the Swamp Angels, and the Hook Gang, worked the New York City waterfront, plundering ships of their cargo on the East River. The Short Tail Gang was photographed in 1887, under a pier by noted photographer Jacob Riis, being one of the few 19th-century New York gangs to allow its members to be photographed. In fear of being identified and arrested by the law, usually individual police mug shots were the only criminal pictures known to exist.

Captured by photographer Alan Ballard, who was tasked with creating a bold, cinematic visual inspired by Western films and Clint Eastwood’s “Man with No Name” outlaw persona. Instead of traveling to the American Southwest, the record company opted for a cost-effective location nearby. The band was taken to a quarry in Barnet on a sunny day in 1980.

The band donned leather jackets, bullet belts, leather trousers, cowboy boots, and wide-brimmed hats—with “Fast” Eddie wearing a poncho to complete the Sergio Leone Spaghetti Western look. To accentuate the desert feel, the sky was enhanced and airbrushed to deepen the blue tones and bring out the contrast against the pale sand, making the overcast British sky look like arid canyon heat.

Lemmy later recalled in interviews that no one believed the photograph was taken in England due to the rare, uncharacteristically perfect blue sky. It was so convincing that Anthrax guitarist Scott Ian famously admitted he thought Motörhead was a heavy Latino band from the American Southwest for the first couple of years he listened to them.

The resulting image effortlessly paired with the album’s cowboy-themed tracks like “Shoot You in the Back,” cementing one of the most recognizable and enduring images in heavy metal history.

Photographers utilized structured arrangements to create balanced, visually appealing compositions for trios. Studio photographers frequently arranged three subjects in a pyramid or triangular shape, typically positioning one individual standing central in the background while two others sat in front, or placing the central figure on a higher chair.

To convey familial ties or intimacy while keeping everyone within the sharp focal plane of large-format lenses, subjects were often posed close together, resting a hand on a chair back or a sibling’s shoulder.

Due to long exposure times (especially in the mid-to-late 19th century using daguerreotypes, ambrotypes, or cabinet cards) and early photographic etiquette, subjects rarely smiled, maintaining neutral, serious facial expressions to prevent blurring.

In the 18th century, childbirth remained a harrowing and often deadly experience. Across Europe, countless women and infants died due to the absence of medical knowledge and skilled care. Against this backdrop, Angélique Marguerite Le Boursier du Coudray emerged as a bold and transformative figure.

Born in 1712, she became one of France’s most respected midwives at a time when few women had access to formal education. But rather than limit her work to private practice, du Coudray made it her mission to train others, aiming to bring safe childbirth techniques to the most underserved corners of the country.

With the support of King Louis XV in 1759, du Coudray embarked on a nationwide campaign to educate rural midwives and surgeons. For over two decades, she traveled from village to village, teaching practical childbirth skills through demonstrations and lectures. Most revolutionary of all was her invention of a life-sized birthing mannequin, crafted from fabric and leather, which allowed students to practice procedures in a realistic yet safe setting. This innovation marked one of the earliest uses of simulation in medical training and dramatically improved the quality of maternal care.

Her influence was both immediate and lasting. Du Coudray’s teachings helped reduce maternal and infant deaths, and her 1773 publication, Abrégé de l’Art des Accouchements, became a foundational text for generations of midwives. Though largely forgotten in popular history, she stands as a pioneer in medical education, a champion of women’s health, and a figure who reshaped childbirth practices with compassion, intellect, and ingenuity.

She signed with RCA Records in 1971 after leaving Dunhill. Her self-titled 1972 album Cass Elliot, along with The Road Is No Place for a Lady (1972), showcased a refined, vocal-focused pop and cabaret style. Also in 1971, she partnered with Traffic guitarist Dave Mason to release the collaborative album Dave Mason & Cass Elliot, featuring tracks like “Too Much Truth, Too Much Love.”

Elliot became a fixture on prime-time American television. She hosted her own TV specials, frequently co-hosted The Tonight Show Starring Johnny Carson, and made appearances on The Julie Andrews Hour, The Carol Burnett Show, and The Muppet Show pilots. Unlike her disastrous 1968 Las Vegas solo debut, her early 1970s live nightclub and cabaret performances, particularly at the London Palladium in July 1974, were critical and commercial triumphs.

On July 29, 1974, at age 32, Elliot died in her sleep from heart failure in London, immediately following a sold-out, two-week engagement at the London Palladium. A persistent urban legend claimed she choked on a ham sandwich, but official pathology reports confirmed her death was caused by heart failure brought on by chronic obesity and cardiovascular strain.