She grew up listening to a wide range of genres, including her father’s Spanish-language albums, country and western, top 40, blues, and gospel. She has stated that she doesn’t record any type of music she didn’t hear in her family’s living room by the time she was 10, highlighting the profound influence of her early musical environment.

In her early teens, around age 14, Linda began performing in local clubs and pizza parlors with her older brother Pete and sister Suzie. They formed a folk trio, sometimes billing themselves as “the Union City Ramblers” or “the Three Ronstadts,” and even recorded themselves as “the New Union Ramblers.” Their repertoire included folk, country, bluegrass, and Mexican music.

By 1964, at the age of 18, Ronstadt decided to pursue music professionally. She briefly attended the University of Arizona but left after a couple of months to move to Los Angeles. There, she teamed up with Tucson native Bob Kimmel and Kenny Edwards to form the folk-rock band The Stone Poneys in 1964. This marked the true beginning of her professional career, leading to their signing with Capitol Records in 1966 and their breakthrough hit “Different Drum” in 1967.

Below are some photographs of Ronstadt from the 1950s and early 1960s, as she wasn’t famous yet:

In the film, Presley’s makeup was used to make him look like a believable boxer, particularly after fights. Makeup artists created the appearance of cuts, bruises, and swelling to convey the physicality of his character. Specifically, makeup was used to create a gash across his cheek and swollen lips to depict the results of his boxing matches in the film.

“He looks like an electric mixer had been working on his face,” columnist Dorothy Manners reported. “One eye is puffed and closed, there’s an ugly gash across his cheek, and his lips are swollen out of shape. From the looks of him, Kid Presley must lose every fight in the script.”

Makeup could make Presley’s face look the part, but to make the rest of his physique fit would take a lot of work. Producer David Weisbart brought in former junior welterweight champion Mushy Callahan as a technical adviser to get Presley in shape for his role and teach him how to box. For 25 years Callahan had taught actors, including Wayne Morris in the original Kid Galahad film in 1937, how to handle themselves in the ring. The 56-year-old Callahan put Elvis on a rigorous training schedule to get him ready for his fight scenes. After the film was released, Elvis claimed he lost 12 pounds under Callahan’s regimen. Every morning he ran miles along the roads near Idyllwild in Southern California, where much of Kid Galahad was filmed. Every afternoon he worked the light and heavy bags and boxed with his trainer.

While Elvis was sheltered from the press, Mushy made himself available to anyone who cared to listen. Outgoing by nature, he always had something to say about his special pupil. “I try to break a script down and train him according to what the story calls for,” he explained to UPI writer Joseph Finnigan. “We work out routines that Elvis has to do in the ring and he catches on pretty good. He’s not afraid to get hit. Of course, he doesn’t want to get his teeth knocked out.”

As the training progressed, Mushy revealed that coaching Elvis was difficult for an unusual reason. “I’m having an awful time with Elvis because he looks too GOOD. He’s supposed to be a clumsy fighter in the film, but he looks and moves like a champ. So my job is to destroy his natural coordination and teach him to look bad. It’s a little like being a jockey and having to rein in ‘Man of War.’ It’s kind of hard to do.”

Two professional fighters who squared off with Elvis in Kid Galahad were also impressed. Welterweight Orlando de la Fuente indicated, “He is very, very strong. He was very interested. He watched me very carefully so he could learn the body movements.” Orlando’s brother, Ramon, a light heavyweight agreed. “Elvis hit me pretty hard. There was one scene there where we kept on fighting after the bell rang. He caught me a good right hand on the jaw. It wasn’t in the script but they left it in, it was such a good scene.”

Wain began his career as an illustrator, contributing to publications like The Illustrated London News. In 1886, he created his first famous cat drawing for a Christmas issue of The Illustrated London News, titled “A Kittens’ Christmas Party,” which featured anthropomorphized cats in festive human-like scenarios. This illustration launched his reputation as a cat artist.

Wain’s early cat drawings were naturalistic but quickly evolved into anthropomorphic depictions—cats wearing clothes, playing instruments, attending parties, and acting like humans. These images were charming and humorous, and they appealed to a wide audience.

As his career progressed, his style became increasingly colorful, complex, and abstract. Some of his later works featured kaleidoscopic patterns, vibrant colors, and heavily stylized cats that bordered on the psychedelic. These later pieces have fascinated art historians and psychologists due to their potential reflection of Wain’s deteriorating mental health.

Wain was diagnosed with schizophrenia later in life, and he spent his final years in mental institutions. His later cat paintings—often cited as visual reflections of his mental state—have been studied in psychology and art circles for how they appear to represent the progression of his illness.