Yesteryear

Rarely Seen Photos of a Very Young Whitney Houston in Her Modeling Days in the Early 1980s

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Before Whitney Houston (August 9, 1963 – February 11, 2012) became the world-famous singer we know today, she spent several years working successfully as a teenage fashion model in the early 1980s.

Discovered for modeling around age 16, Houston signed with the Wilhelmina Agency in New York. She quickly appeared in teen and fashion magazines like Seventeen, Glamour, Cosmopolitan, and Young Miss. In 1981, she even became one of the first Black women to appear on the cover of Seventeen—a major milestone at the time.

While Houston possessed a “girl-next-door” charm, she also had what one photographer called a “million dollar smile” and a “personality that absolutely came alive whenever the camera focused in on her.” Her look was fresh and radiant, with natural makeup, bright smiles, and often sporty or preppy outfits that were popular in early-1980s fashion spreads. She modeled alongside well-known faces such as Robyn Crawford (her close friend) and occasionally in ads for brands like United Colors of Benetton and Canada Dry.

These modeling years not only gave her poise and camera confidence but also put her in the orbit of photographers, stylists, and eventually music producers—helping pave the way for her 1983 record deal with Arista and the launch of her music career in 1985.

Stunning 1960s Fashion Photography by Alexis Waldeck

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Born 1942 as Baron Ernst Alphons Maria Vincenz Franz Anton von Gecmen-Waldeck in Prague, photographer Alexis Waldeck was active in the 1960s, and his work appeared in magazines like Vogue, and his work was included in a major exhibition called “Chronorama: Photographic Treasures of the 20th Century” at the Helmut Newton Foundation.

Waldeck photographed a number of models and personalities, including Marisa Mell, Liza Minnelli, Anne Tysen, and Donna Mitchell. He was married to Victoire, Princesse de Bourbon-Parma. These stunning photos are part of Alexis Waldeck’s fashion portrait series, capturing classic beauties from the late 1960s.

Marisa Mell wearing a long red chiffon gown with woven golden flowers by Richard Tam with many gold bangle bracelets on her arm, photo by Alexis Waldeck, Vogue, September 15, 1967

Birgitta af Klercker wearing a gray and white Norwegian fox fur vest over a red-dyed calfskin dress with tasseled cuffs, both by Maximilian, thigh-high black leather boots by Palmroth Finland boots, photo by Alexis Waldeck, Vogue, November 1, 1967

Britt Ekland in black crêpe coat trimmed with black feathers by Jean Muir, photo by Alexis Waldeck, Vogue, November 15, 1967

Donna Mitchell (l) and Moyra Swan in broadcloth shirts with the fit spelled out in black and white stitching by Country Shirt, felt cloches by Halston, photo by Alexis Waldeck, Vogue, August 15, 1967

Donna Mitchell wearing wide-brimmed hat by Halston, shirt with lace jabot by Kay Busang for Alice Stuart, photo by Alexis Waldeck, Vogue 1967

Selk’nam Woman Carrying Her Child on Her Back, 1923

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This powerful and rare photograph shows a Selk’nam (Ona) woman carrying her child on her back, wrapped in a guanaco fur cloak. It was taken in Tierra del Fuego, at the southernmost tip of South America, where the Selk’nam people lived for thousands of years.

The Selk’nam, also known as the Ona, were indigenous to the island of Tierra del Fuego, shared today by Chile and Argentina. They were hunter-gatherers, living a nomadic life in extremely cold climates, relying on guanaco (a wild relative of the llama) for clothing and food. Their society was rich with oral traditions, elaborate rites of passage, and a worldview centered on harmony with the land.

The Selk’nam were victims of a brutal genocide in the late 19th and early 20th centuries, especially during European colonization and the gold rush era. Ranchers and settlers saw them as obstacles to development and often hunted them for bounties.

Missionaries attempted to “civilize” them by forcibly relocating survivors and assimilating them, leading to the loss of language and culture. By the mid-20th century, the Selk’nam people were functionally extinct as a distinct community.

This photograph remains one of the last surviving records of a people nearly erased by colonial violence. The mother’s and child’s expressions carry both the sorrow of loss and the strength of survival. Today, efforts to revive and preserve Selk’nam identity continue, challenging historical silence with cultural resilience.

Vintage Suzuki Motorcycle Ads From the 1970s

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The 1970s was a period of significant change for Suzuki motorcycles, marked by a shift from two-stroke to four-stroke dominance. The decade began with the highly successful GT series, known for its powerful two-stroke engines, with the GT750 “Water Buffalo” being a standout liquid-cooled model.

In a bold move, Suzuki also experimented with the Wankel rotary engine in the unique RE5. The most pivotal moment came in the latter half of the decade with the introduction of the GS series. The GS750 became Suzuki’s first four-cylinder, four-stroke superbike, establishing the company as a major contender in the global motorcycle market and setting the stage for future performance machines.

Here is a collection of vintage photos showcasing Suzuki motorcycle ads from the 1970s.

Suzuki GT-185 Adventurer

Suzuki GT-185K Adventurer

Suzuki GT-250 Hustler

Suzuki GT-250K Hustler

Suzuki GT-250L Hustler

Amazing Photographs Capture Esther Williams and Fagan the Lion in 1951

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In 1951, MGM was filming the movie Fearless Fagan. The film’s star was not a human, but a real-life lion named Fearless Fagan. To promote the movie, a series of publicity photos were taken featuring the lion and various MGM stars. One of the most famous of these photos was with the studio’s “aquabelle,” Esther Williams.

The lion was owned by Floyd C. Humeston, who raised Fagan from a cub. In the early 1950s, Humeston was drafted into the Army and couldn’t find a suitable caretaker for his pet lion. He first raised suspicions when he requested an emergency 14-day furlough to take care of his giant pet. Without a permanent home for Fagan, Humeston then asked to bring his pet with him to training at California’s Fort Ord. The request denied, Fagan lived briefly at the Monterey Humane Society before being placed in a circus.

The trials and tribulations of Fagan and his 24-year-old owner were chronicled in LIFE magazine in 1951. MGM producer Sidney Franklin Jr. read the story and saw an opportunity for a movie. The film version of Humeston’s story, starring Fagan himself, was released in 1952.

While Esther Williams did not star in the movie Fearless Fagan, her involvement in the photos, taken by photographer Loomis Dean, helped create a memorable moment in Hollywood history.

20 Candid Photographs Capture Everyday Life of the Rising Star Dustin Hoffman in 1969

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In 1969, John Dominis photographed a 31-year-old Dustin Hoffman for LIFE magazine, capturing the actor at a pivotal moment in his rising career. These photographs came shortly after Hoffman’s breakout performance in The Graduate (1967), which had catapulted him to stardom.

John Dominis, known for his intimate and candid photojournalism, documented Hoffman in a variety of natural and relaxed settings. The series of photos shows Hoffman both at work and at home, offering a look into the life of a young, unconventional Hollywood actor navigating newfound fame.

At the time, Hoffman was starring in and directing the play Jimmy Shine in New York City, and was also filming the movie John and Mary with Mia Farrow. Many of the photos here captured Hoffman with his first wife, Anne Byrne, and her daughter, Karina, as he was just beginning to achieve widespread fame after the success of The Graduate and Midnight Cowboy. The article in the July 11, 1969, issue of LIFE quotes Hoffman saying, “I don’t think at 50 you should be doing what you did when you were 30,” and expressing a desire to become a director. He also admitted, “I don’t know many actors who enjoy the work of acting. I like the adulation, the money, the whole gimmick of it, but I don’t think I’m a natural actor.”

These images reflected the countercultural shift of the late 1960s. Hoffman’s non-traditional looks and quirky charm stood in contrast to the classic Hollywood leading men of previous decades. Dominis used natural light and close framing to emphasize Hoffman’s expressive features and unique charisma.

Dustin Hoffman, 1969.

Dustin Hoffman with his stepdaughter Karina, 1969.

Dustin Hoffman signs autographs outside the theater where he starred in the play (which he also directed), Jimmy Shine, New York City, 1969.

A Gallery of 50 Stunning Black and White Portraits of Sylvia Sidney in the 1930s

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Sylvia Sidney (born Sophia Kosow; August 8, 1910 – July 1, 1999) was an American stage, screen, and film actress whose career spanned 70 years. She rose to prominence in dozens of leading roles in the 1930s. She was nominated for the Academy Award for Best Supporting Actress for her performance in Summer Wishes, Winter Dreams in 1973. She later gained attention for her role as Juno, a case worker in the afterlife, in Tim Burton’s 1988 film Beetlejuice, for which she won a Saturn Award for Best Supporting Actress.

Sidney was one of the most striking and talented actresses of the 1930s. Known for her delicate beauty, soulful eyes, and emotionally resonant performances, she was a major star of the Depression-era screen. In her 1930s heyday, Sidney was constantly cast as the victim of circumstance, hovering at the very bottom of the economic ladder, mixed up in crime and usually winding up in or near jail. “I was paid by the tear,” Sidney joked later, and that knowing comment is a measure of just how different she was from her on-screen persona.

Sidney’s filmography in the 1930s is a testament to her success and versatility, even while being typecast in tragic roles. She worked with some of the most acclaimed directors of the time. Her career took off with films that explored social issues. She starred in Rouben Mamoulian’s City Streets (1931), An American Tragedy (1931) directed by Josef von Sternberg, and King Vidor’s Street Scene (1931). These roles often cast her as a young woman dealing with poverty and crime.

Sidney starred in two major thrillers by master directors: Alfred Hitchcock’s Sabotage (1936) and Fritz Lang’s Fury (1936) and You Only Live Once (1937). These films showcased her dramatic range and cemented her legacy. She appeared opposite leading men like Gary Cooper, Spencer Tracy, Henry Fonda, and Cary Grant, solidifying her status as a major Hollywood star.

Despite her on-screen persona of a meek, suffering woman, Sylvia Sidney was known off-screen for being witty, sharp-witted, and reputedly difficult to work with. She was one of the highest-paid actresses in the industry, earning as much as $10,000 a week at the time of filming Sabotage (1936). While she grew tired of being typecast, her work in the 1930s made her an enduring symbol of the Depression-era film industry.

Marilyn Maxwell: A Leading Lady in Hollywood of the 1940s and ’50s

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Marilyn Maxwell (1921–1972) was an American actress and singer whose career spanned film, radio, and television. Born Marvel Marilyn Ehlers, she began her career as a singer, performing with big bands before being discovered and signed by Metro-Goldwyn-Mayer (MGM) in the early 1940s.

Maxwell quickly became a popular fixture in Hollywood, often cast in lively and glamorous roles. Some of her most notable film credits include the wartime comedy Swing Fever (1943), the musical Du Barry Was a Lady (1943), and the comedy The Lemon Drop Kid (1951), where she starred alongside Bob Hope. Her association with Bob Hope was significant; she toured extensively with him on USO shows to entertain American troops during World War II and the Korean War, earning her a reputation as a beloved entertainer and pin-up girl.

In addition to her acting, Maxwell maintained a successful singing career. She recorded several popular songs and was a regular on radio programs. She transitioned to television in the 1950s, appearing in various sitcoms and dramatic series. Despite a career that showcased her talents as both a performer and a captivating personality, she tragically passed away at the age of 51.

Take a look at these gorgeous photos to see the beauty of a young Marilyn Maxwell from the 1940s.

Before She Was Glinda the Good Witch, 30 Vintage Postcards of a Very Young and Beautiful Billie Burke From the 1900s

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Silent movie star Billie Burke once said of Hollywood, “To survive there, you need the ambition of a Latin-American revolutionary, the ego of a grand opera tenor and the physical stamina of a cow pony.” She had an almost six-decade career in show business, was the highest-paid star in silent movies for a while, and had a turbulent marriage as the second wife of Broadway impresario Florenz Ziegfeld, but she is mostly remembered as Glinda the Good Witch in The Wizard of Oz.

She was born Mary William Ethelbert Appleton Burke in Washington, D.C. on August 7, 1884. Her father was a singer and clown for the Barnum & Bailey Circus, and she toured with her family in the United States and Europe. The family eventually settled in London, where Burke made her stage debut at age 18 in The School Girl (1903). She went on to appear in other London shows, including The Duchess of Dantzic (1903) and The Blue Moon (1904).

Burke returned to the United States in 1907 and became a star on Broadway. Her first starring role on Broadway was in Love Watches in 1908. She went on to have leading roles in other Broadway musical comedies during this period, including Mrs. Dot, Suzanne, The Runaway, and The “Mind the Paint” Girl. In 1910, she purchased a lavish estate in Hastings-on-Hudson, New York, which she named Burkeley Crest.

In 1914, she married theatrical producer Florenz Ziegfeld, Jr., and they had one daughter, Patricia, in 1916. Burke started her film career in 1915 with the silent film Peggy. She was an immediate success and became one of the highest-paid actresses of the silent film era. After a period away from Hollywood to focus on the stage and raising her daughter, she returned to film following the 1929 stock market crash, which had a negative impact on her family’s finances.

Her comeback came in 1932 with A Bill of Divorcement, where she played Katharine Hepburn’s mother in Hepburn’s debut film. Her husband, Florenz Ziegfeld, passed away during the production of the film. Burke went on to have a successful career in sound films, often typecast as a “ditzy, feather-brained upper-class matron.” Her most famous role is Glinda the Good Witch in The Wizard of Oz (1939). She received her only Academy Award nomination for her performance in the film Merrily We Live (1938).

In addition to her film work, Burke also had a career on radio and television. She had her own radio program, The Billie Burke Show, from 1943 to 1946, and a television talk show, At Home with Billie Burke, from 1951 to 1952. She made her final screen appearance in the film Sergeant Rutledge in 1960. Billie Burke died on May 14, 1970, at the age of 85.

Neues Palais: The Timeless Interior Beauty in Late 19th-Century Photos

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The Neues Palais, or “New Palace,” in Darmstadt, Germany, was the last grand urban residence of the House of Hesse. Built in the Neo-Renaissance style between 1862 and 1865, it served as the home for Grand Duchess Alice of Hesse and her husband, Grand Duke Louis IV.

The palace was particularly significant due to its royal connections, as Grand Duchess Alice was a daughter of Queen Victoria of the United Kingdom. Sadly, the Neues Palais was almost completely destroyed in a bombing of Darmstadt during World War II. The remaining ruins were eventually demolished, and the building no longer exists today. Its memory and historical significance are preserved through archival photographs and historical accounts.

These rare photos will take you back to the interiors of the Neues Palais in the 1890s.

Darmstadt, Neues Palais. Balcony room, 1891

Darmstadt, Neues Palais. Bedroom of ‘Princess Ludwig of Battenberg’ (born Princess Victoria of Hesse and by Rhine, later Lady Mountbatten, 1863-1950), 1891

Darmstadt, Neues Palais. Bedroom of Princess Alix, 1891

Darmstadt, Neues Palais. Bedroom of the ‘Highest Majesties,’ 1891 (Grand Duchess Alice of Hesse and by Rhine, born Princess of Great Britain, and Grand Duke Louis IV), 1891

Darmstadt, Neues Palais. Dining hall, 1891