Yesteryear
Mary Jane “Mae” West (August 17, 1893 – November 22, 1980) was an American actress, singer, comedian, screenwriter, and playwright whose career spanned more than seven decades. Recognized as a prominent sex symbol of her time, she was known for portraying sexually confident characters and for her use of double entendres, often delivering her lines in a distinctive contralto voice. West began performing in vaudeville and on stage in New York City before moving on to film in Los Angeles.
West was already performing on the vaudeville stage as a teenager. By the mid-1910s, she was appearing in New York vaudeville houses under the stage name “Baby Mae.” Even as a very young performer, she had a reputation for a flirtatious, witty, and confident stage presence—traits that later defined her Hollywood image. She often sang popular songs and did comedic routines that hinted at the sexual innuendo she became famous for.
In 1911, she made her Broadway debut in the revue A La Broadway. Through the decade, she appeared in revues and musical comedies, including Vera Violetta (1911) and Sometime (1918).
In the 1910s, Mae West looked quite different from the platinum-blonde screen goddess we remember. She was brunette with soft features, petite (around 5 feet tall), and already experimenting with glamorous fashion and figure-enhancing styles.
By the end of the 1910s, Mae West was carving out her niche as a daring performer—still years away from the film roles of the 1930s, but already laying the groundwork for her persona as America’s queen of double entendre.
Amazing Covers of Science and Invention Magazine During the 1920s
Science and Invention was an American popular science and technology magazine founded by Hugo Gernsback in 1920. Originally launched as Electrical Experimenter in May 1913, the magazine was renamed Science and Invention and became one of the earliest periodicals to blend scientific curiosity with futuristic imagination.
The magazine featured articles on new inventions, do-it-yourself projects, and speculative ideas about technology’s role in the future. It was also known for its colorful, often visionary cover art that captured the excitement of progress and innovation.
Although it ceased publication in August 1931, Science and Invention left a lasting influence on science fiction and popular interest in technology. Here is a collection of amazing covers from Science and Invention magazine during the 1920s.
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| Science and Invention magazine cover, September 1920 |
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| Science and Invention magazine cover, January 1921 |
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| Science and Invention magazine cover, March 1921 |
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| Science and Invention magazine cover, October 1921 |
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| Science and Invention magazine cover, February 1922 |
Unseen Behind the Scenes Photos of Robert De Niro Practicing in Front of the Mirror From the Film “Taxi Driver” (1976)
Robert De Niro has shared the backstory behind one of the most unforgettable moments in Martin Scorsese’s 1976 masterpiece, Taxi Driver, revealing that the iconic scene was partially improvised. “Some of the best stuff, not always, is when it’s improvised.”
In the film, De Niro’s portrayal of disturbed cabbie Travis Bickle birthed one of the most memorable scenes in cinema history: standing in front of a mirror, Bickle talks to himself and points a gun at his reflection as he imagines facing off with a foe.
“You talkin’ to me? You talkin’ to me? You talkin’ to me? Then who the hell else are you talkin’ to?” De Niro, as Bickle, famously demands of his invisible adversary. “You talkin’ to me? Well, I’m the only one here. Who the f*ck do you think you’re talking to?”
“The producer [of the film] … said on some show that Marty had said it was all improvised,” the actor shared. “We had something [on the page], I forget exactly but Marty remembers a lot better than I do.”
“It seemed right,” De Niro added, reflecting on the moment. “It was done spontaneously. You don’t know what’s going to [happen]. That’s the fun of working, especially with someone like Marty Scorsese. It’s nice to be able to go here and there, go off, following the scene or the thrust of the story, but you can go here and there. You never know when that stuff is usable.”
What most people don’t know is that the interiors of Travis’s apartment and Iris’s room hallways were actually shot in the very same building, 586 Columbus Avenue. The building was condemned and it has long since been demolished.
De Niro’s performance in Taxi Driver earned him an Academy Award nomination for Best Actor. In 2003, Bickle was ranked as the 30th greatest movie villain in movie history by the American Film Institute in their “AFI 100 Years…100 Heroes & Villains” list.
Tristan Rogers (1946–2025): The Superspy Who Taught Daytime How to Feel
By Sprite Gravier, Creative Underworld Tristan Rogers didn’t just play Robert Scorpio. He was Robert Scorpio. And through that...
The Irish Rose of Hollywood: 22 Vintage Photos of a Very Young and Beautiful Maureen O’Hara in the Late 1930s
“Being an Irishwoman means many things to me. An Irishwoman is strong and feisty. She has guts and stands up for what she believes in… She’s not above a sock in the jaw if you have it coming.” — Maureen O’Hara
Maureen O’Hara (born Maureen FitzSimons, August 17, 1920 – October 24, 2015) was an Irish-born naturalized American actress who became successful in Hollywood from the 1940s through to the 1960s. She started acting as a child and by the age of 14, she had joined the Abbey Theatre company. While there, she was “discovered” by the American actor Harry Richman, who recommended her for a screen test in London.
Charles Laughton, an actor and producer, was intrigued by O’Hara’s screen test, despite what she considered an unsatisfactory costume and makeup. He signed her to a seven-year contract with his company, Mayflower Pictures, and changed her name from FitzSimons to O’Hara.
Her earliest credited screen role was in Jamaica Inn (1939), directed by Alfred Hitchcock and produced by Laughton. Though a supporting role, it put her on the international map. Laughton then brought her to Hollywood to star alongside him in The Hunchback of Notre Dame (1939), where she played the gypsy Esmeralda. This was her major breakthrough — she was only 19 at the time.
In the late 1930s, O’Hara was known for her striking red hair, porcelain complexion, and expressive eyes (though her films were still in black-and-white, her looks made a lasting impression). She quickly earned the nickname “The Queen of Technicolor” in the 1940s, but even in her earliest roles, her strong-willed characters and passionate performances stood out.
Paul Himmel’s Fashion Photography From the Late 1940s and ’50s
Paul Himmel (1914–2009) was an American photographer known for his striking fashion, portrait, and dance photography. Working primarily in the 1940s through the 1960s, he contributed to publications such as Vogue and Harper’s Bazaar, often blending elegance with a sense of movement and abstraction.
His dance photographs, in particular, are celebrated for capturing the grace, rhythm, and emotional intensity of performance. Later in life, Himmel stepped away from photography to focus on psychotherapy, but his work remains influential for its bold composition and artistic vision.
Take a look at these striking fashion photos by Paul Himmel from the late 1940s and ’50s.
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| Model wearing a green Bates poplin dress under white eyelet with plain green sash by Carolyn Schnurer, photo by Paul Himmel, Harper’s Bazaar, June 1948 |
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| Barbara Mullen in scimitar-slim dress of hammered satin woven with Enka rayon by Herbert Sondheim, photo by Paul Himmel at French & Co., Harper’s Bazaar, October 1948 |
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| Lisa Fonssagrives in brown and white checked crêpe dress tied with a bow at the neck by Nantucket Naturals, straw boater by John Frederics, photo by Paul Himmel, Harper’s Bazaar, April 1948 |
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| Lisa Fonssagrives in crêpe and rayon dress with lace insert by Paul Parnes, mink stole by Fredrica, photo by Paul Himmel at the Plaza, Harper’s Bazaar, December 1948 |
40 Fascinating Photos of Chicago Street Scenes in the 1990s
Chicago in the 1990s was a vibrant mix of cultural revival, architectural growth, and urban transformation. The city’s skyline continued to expand with iconic additions like the Harold Washington Library Center, while neighborhoods experienced waves of redevelopment and gentrification.
Street scenes in this era capture a city alive with energy and change — bustling sidewalks, elevated trains rattling overhead, colorful storefronts, and the mix of old architecture with emerging modern touches. From downtown’s busy Loop to the character-filled neighborhoods, these moments reflect a decade when Chicago balanced its rich history with a wave of cultural and urban transformation.
These fascinating photos, taken by Steven Martin, showcase the vibrant street life of Chicago in the 1990s — from bustling downtown to the charm of its diverse neighborhoods.
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| Budweiser ad featuring Harry Caray near Wrigley Field, Chicago, July 1990 |
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| Chicago skyline from John F. Kennedy Expressway, 1990 |
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| Erie Street at Rush, Chicago, March 1992 |
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| Grant Park and skyline, Chicago, March 1992 |
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| Grant Park, Chicago, March 1992 |
Photos of a Very Young Madonna Taken by Boyfriend Mark Dolengowski in the 1970s
Madonna and Mark Dolengowski (sometimes spelled Dolenwoski) had a short-lived relationship in the mid-1970s when she was still living in Michigan, before she left for New York City in 1978.
Dolengowski was a hairstylist and hobbyist photographer in Ann Arbor/Detroit. He briefly dated Madonna and photographed her in 1976–77, producing some of the earliest known images of her. These pictures were casual but striking, showing her natural charisma before she became famous.
Their relationship didn’t last long; Madonna soon moved on to pursue her dance and theater studies at the University of Michigan, and then made her big move to New York. Dolengowski faded from the public spotlight, but his photos gained attention decades later as rare glimpses into Madonna’s pre-stardom life.
Beautiful Portraits of Ingrid Thulin in the 1950s and ’60s
Ingrid Thulin (1926–2004) was a Swedish actress celebrated for her intense, often emotionally complex performances in both Swedish and international cinema. Born in Sollefteå, Sweden, she trained at the Royal Dramatic Theatre School in Stockholm before joining the Royal Dramatic Theatre itself.
Thulin became one of director Ingmar Bergman’s most frequent collaborators, appearing in several of his most acclaimed films, including Wild Strawberries (1957), The Magician (1958), Winter Light (1963), and Cries and Whispers (1972). Her portrayals were often marked by a deep psychological realism, exploring themes of isolation, passion, and existential struggle.
Thulin’s career was not confined to Sweden, she also worked extensively in European cinema, particularly in Italy, where she appeared in films by directors such as Luchino Visconti and Mauro Bolognini. In 1964, she won the Best Actress Award at the Cannes Film Festival for her role in The Silence (1963), another Bergman masterpiece.
Known for her elegance, poise, and artistic integrity, Thulin remains a towering figure in Scandinavian cinema. Her performances continue to captivate audiences, standing as a testament to her extraordinary talent and dedication to the craft of acting. Take a look at these beautiful portraits to see a young Ingrid Thulin during the 1950s and ’60s.
Photos of LIFE Photographer Alfred Eisenstaedt and His Wife in Times Square on August 14, 1945
Photos of LIFE photographer Alfred Eisenstaedt with his wife Kathy in Times Square in New York City when the news is announced of the surrender of Japan on August 14, 1945.
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| LIFE Photographer Alfred Eisenstaedt in Times Square on August 14, 1945. In his hands is the camera he used to take the famous photograph of a US sailor kissing a young woman that day. |
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| Alfred Eisenstaedt with his wife Kathy in Times Square on August 14, 1945. |
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| Alfred Eisenstaedt kissing his wife Kathy in Times Square on August 14, 1945. |
As one of LIFE magazine’s star photographers, Eisenstaedt was sent to Times Square specifically to capture the mood of the crowd. He described the scene as chaotic, electric, and filled with emotion—people were hugging strangers, dancing, waving flags, climbing lampposts, and kissing in celebration.
That day, Eisenstaedt captured what would become his most famous image, often referred to as “V-J Day in Times Square” or “The Kiss.” The photograph shows a U.S. Navy sailor bending down to kiss a woman in a white nurse’s uniform amidst the jubilant crowd. He snapped four frames of the moment, with the third becoming iconic.
Eisenstaedt never got the names of the sailor and nurse, because he was focused on shooting as many moments as possible in the fast-moving crowd. He later recalled that he didn’t stage anything, he was simply documenting what he saw unfold. He considered it one of his luckiest photographs, since it so perfectly captured the spirit of joy and relief that day.





































