Yesteryear

Bob Rogers Show, The

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1 9 6 9 – 1 9 7 3 (Australia) 75 minute episodes Fresh from a spot as a judge on Australia’s version of New Faces, veteran Sydney radio broadcaster Bob Rogers took the desk on his own Tonight show Premiering on Wednesday 27 August 1969, the show was originally broadcast live until 1971, when […]

Gordon Chater Show, The

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1 9 6 8 (Australia) 60 minute episodes The Gordon Chater Show – produced by ATN-7 in Sydney – premiered on Monday 5 August 1968 (though it was broadcast the following Thursday in Melbourne). The one-hour comedy/variety show was broadcast live with a studio audience, and Chater’s special guest-cum-co-host for the series was Miriam “Mim” Karlin […]

Lee Radziwill and Jackie Kennedy Onassis Photographed by Cecil Beaton for Vogue at a Debutante Ball, 1951

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In 1951, the photographer Cecil Beaton captured an iconic series of portraits of the Bouvier sisters, Jacqueline (the future Jackie Kennedy Onassis) and Lee (the future Princess Lee Radziwill), for Vogue. Jackie was around 22 and Lee around 18 at the time.

The photos were staged to evoke the atmosphere of a debutante ball, marking the sisters’ official “coming out” into high society. While Jackie had already been named “Debutante of the Year” in 1947, this 1951 shoot for Vogue magazine served as a high-fashion introduction of the sisters as a duo.

Jackie wore a white silk organdie gown with a red faille sash, while Lee wore yellow and white tulle with yellow roses. The dresses were originally credited to Elizabeth Arden, but contemporary fashion historians often attribute the designs to Ann Lowe, the Black couturier who later designed Jackie’s wedding dress.

Beaton used an elaborate set with “extras,” couples in formal evening wear dancing in the background, to create a sense of movement and aristocratic glamour.

Beautiful Photos Capture Everyday Life of a Family in the U.S in 1960

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The early 1960s in the United States represented a unique chapter of American life, caught between the disciplined postwar domesticity of the 1950s and the radical cultural shifts that would define the later half of the decade.

Everyday life for a typical family during this period was centered around the suburban ideal, a world of manicured lawns, station wagons, and the warm glow of the television set. These candid photos, from Jane’s Album, capture the quiet, unscripted moments of that era.

28 Photographs Show Lee Radziwill’s Style in the 1960s and 1970s

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Lee Radziwill (March 3, 1933 – February 15, 2019), Jackie Kennedy’s younger sister, was one of the most stylish figures of her era, often considered even more daring and fashion-forward than her famous sibling. While her sister Jackie defined the “American Queen” look, Lee was often considered the more avant-garde and fashion-forward of the two. Her style evolved from the rigid, structured elegance of the 1960s into a more relaxed, “bohemian-aristocrat” aesthetic in the 1970s.

In the 1960s, Lee embraced the sleek, mod minimalism that defined the decade. She was a devoted client of Givenchy and Christian Dior, favoring clean A-line silhouettes, shift dresses, and structured coats. She wore bold geometric prints, low heels with pointed toes, and kept her accessories refined — simple drop earrings and structured handbags. Her hair was typically a polished bouffant or a sleek, short crop, very much in the Audrey Hepburn mold. She moved effortlessly between European couture and American chic.

In the 1970s, her style evolved with the times but never lost its elegance. She gravitated toward Halston, whose fluid, minimalist cuts suited her slim frame perfectly, as well as Valentino. She adopted wide-leg trousers, wrap dresses, and luxurious fabrics like silk and cashmere. Her look became more relaxed but still deeply sophisticated: tousled hair, oversized sunglasses, and an easy glamour that felt very jet-set. She was a fixture at Studio 54 and in the social circles of Truman Capote and Andy Warhol.

Lee Radziwill’s style was defined by edit. She famously hated clutter, both in her homes and on her person. She believed in “quality over quantity,” a philosophy that led to the “quiet luxury” movement we see today. Unlike many socialites of her time, she never let the clothes wear her; she was always the focal point.

25 Stunning Photos of Teenage Jean Harlow in the Late 1920s

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It’s a common misconception that Jean Harlow (March 3, 1911 – June 7, 1937) burst onto the scene as the “Blonde Bombshell” and “Platinum Blonde” we know today. In the late 1920s, she was actually a struggling extra and bit-player, often unrecognizable from her later iconic image.

Before she was Jean Harlow, she was Harlean Carpenter, a teenage runaway and socialite from Chicago who moved to Los Angeles. In the late 1920s, her hair wasn’t yet that blinding “Platinum” white. It was more of a natural ash blonde or sandy color, styled in the tight, finger-waved bobs popular during the flapper era. Her eyebrows were thin, but they hadn’t yet reached the dramatic, high-arched pencil lines she sported in the 1930s.

Harlow spent the tail end of the silent era as an “extra.” She famously didn’t want to be an actress; she was essentially dared into it and took jobs to please her mother (“Mother Jean”). She appeared in several Laurel and Hardy shorts. Her most famous early moment was in Double Whoopee (1929), where her dress gets caught in a taxi door. She was mostly a background player in silent films like Moran of the Marines (1928). Because she was still learning the craft, her performances were often stiff.

By the very end of 1929, her trajectory changed forever. Howard Hughes was re-filming his epic Hell’s Angels to add sound. He needed a blonde with a specific “magnetic” presence to replace the original lead, Greta Nissen. She signed with Hughes, and by the time the film premiered in 1930, she was no longer an extra, she was a sensation.

Harlow actually tried to quit acting several times in 1928 and 1929, but casting directors kept calling her back because her screen presence was undeniable, even when she was just standing in the background.

Rhonda Fleming: The Radiant Queen of Technicolor

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Known as the “Queen of Technicolor,” Rhonda Fleming (1923–2020) was one of the most radiant stars of Hollywood’s Golden Age. Her vivid red hair, striking green eyes, and flawless complexion made her a favorite of cinematographers during the transition to color film. She shot to stardom in the 1940s after being discovered by legendary producer David O. Selznick, making a memorable impact in Alfred Hitchcock’s psychological thriller Spellbound (1945).

Throughout the 1950s, Fleming’s versatile talent allowed her to transition effortlessly between genres, from noir classics like Out of the Past to lavish musicals and rugged Westerns. She was also a gifted singer who performed on stage in Las Vegas and released her own album, Rhonda.

A dedicated philanthropist in her later years, Fleming co-founded the Rhonda Fleming Mann Clinic for Women’s Comprehensive Care, leaving behind a legacy that combined cinematic glamour with a deep commitment to women’s health. Experience the breathtaking beauty of the Golden Age with these classic portraits and film stills of Rhonda Fleming.

Executive One: When U.S President Richard Nixon Traveled on a Regularly Scheduled Commercial Flight in 1973

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On December 26, 1973, President Richard Nixon, his family, staff, and Secret Service detail flew United Airlines flight 55 from Washington Dulles International Airport to Los Angeles International Airport. In doing so, President Nixon became the ONLY sitting President to fly a public commercially scheduled flight. The event was kept secret until the presidential party arrived for their flight. It was reported that not even the pilot knew until half an hour before departure. No passengers were bumped from their seats to accommodate the presidential party.

During the flight, President Nixon walked the aisles of the DC-10 aircraft, meeting and talking with other passengers. By foregoing the use of Air Force One, he intended to draw attention to the energy crisis and demonstrate his confidence in the commercial airlines industry.

The President’s party used 13 first class one‐way tickets at $217.64 each and 12 coach seats at $167.64 each. The total cost was $4,841, which, according the Bureau of Labor Statistics inflation calculator, is about $34,033.70 today.

The presidential party returned to Washington in January by flying on a military aircraft from Palm Springs, CA to Andrews AFB, MD, via a refueling stop at Tinker AFB, OK.

Art Deco Elegance: Stunning 1930s Posters by William P. Welsh

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William P. Welsh (1889–1984) was a highly accomplished American illustrator and painter whose work defined the sophisticated visual style of mid-20th-century advertising and media.

A master of composition and color, Welsh was renowned for his ability to blend classical fine art techniques with the bold, graphic demands of commercial illustration. His portfolio was incredibly diverse, ranging from evocative travel posters for the Pullman Company and South Africa Tourism to elegant covers for prestigious magazines like Vogue and Woman’s Home Companion.

Welsh’s artistic versatility was one of his greatest strengths, he was equally comfortable creating large-scale, powerful murals as he was painting delicate, intimate portraits. During the Art Deco era, his work often featured streamlined forms and a sense of monumental dignity, yet it always maintained a warm, human touch.

Step back into the era of streamlined design and travel glamour. These impressive posters, created by William P. Welsh during the 1930s, showcase his mastery of Art Deco composition and his ability to turn commercial advertisements into timeless works of art.

Spring, 1931

Summer, 1931

Autumn, 1931

Winter, 1931

Andante, 1932

Fabulous Photos of Jennifer Jones on the Set of “Portrait of Jennnie” (1948)

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In Portrait of Jennie (1948), Jennifer Jones delivers a performance that is widely considered one of the most ethereal and haunting in classic cinema. She plays Jennie Appleton, a mysterious girl who appears to a struggling artist (played by Joseph Cotten) in Central Park.

The most challenging aspect of Jones’s role was that she had to portray Jennie at multiple stages of life, from a young schoolgirl to a mature woman, over the span of just a few months in the film’s timeline. Despite being 29 at the time of filming, Jones successfully captured a wide-eyed, Victorian-era innocence in the early scenes. As the artist paints her, she “grows up” rapidly between their meetings. Jones shifted her voice, posture, and gaze to reflect this supernatural maturation.

The film was a “prestige project” produced by David O. Selznick (who was obsessed with Jones and later married her). He ensured she looked otherworldly through several cinematic techniques. She is often filmed through heavy diffusion filters to give her a glowing, ghost-like aura. Her presence is anchored by a recurring, haunting theme song that adds to her melancholic charm. Her wardrobe shifts from 1910s-era children’s clothing to elegant, timeless gowns, emphasizing that she is a “woman out of time.”

While the film’s pacing was polarizing upon release, Jones was praised for her ability to ground a high-concept supernatural romance with genuine emotion.

“Jones manages to make the impossible believable. She isn’t just a ghost; she is a memory coming to life.”