Yesteryear

Mathias Rust, a West German Teenager Who Landed His Cessna in Moscow’s Red Square in 1987

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On May 28, 1987, 19-year-old West German amateur pilot Mathias Rust flew a Cessna 172 from Helsinki, Finland, and landed on a bridge near Red Square in Moscow. He bypassed Soviet air defenses, landing in the heart of the Soviet capital to deliver a message of peace, and was subsequently arrested. The incident was a massive embarrassment for the Soviet military and led to the dismissal of hundreds of officers, including the Minister of Defense.

West German teenager Mathias Rust standing next to his Cessna 172 airplane after landing in Red Square, Moscow, Soviet Union, on May 28, 1987.

Rust, with only about 50 hours of flying experience, flew his small plane from Helsinki, navigating through a massive gap in Soviet air defenses. His flight path was tracked, but military officials did not authorize an attack, fearing a potential incident with a civilian aircraft or a potential public relations disaster.

He landed on the Bolshoy Bridge, next to Red Square, rather than on the square itself because it was too crowded. He then taxied his plane to a stop on the square.

Rust stated his mission was to build an “imaginary bridge” for peace between East and West and to deliver a message to Soviet leader Mikhail Gorbachev. The stunt was inspired by the failed Reykjavik disarmament summit in 1986.

“I got my private pilot’s license in autumn 1986,” Rust told The Guardian. “I was 19 and very political. I was interested in relations between East and West, particularly the Reykjavik meeting between Gorbachev and Reagan. I realized that the aircraft was the key to peace. I could use it to build an imaginary bridge between East and West. I didn’t tell anybody about my plan because I was convinced my family or friends would stop me. I didn’t think much about what would happen afterwards. My main focus was on my mission to get there and land. I believed that something would work out.”

“My plan was to land in Red Square, but there were too many people and I thought I’d cause casualties,” he added. “I had thought about landing in the Kremlin, but there wasn’t enough space. I wanted to choose somewhere public, because I was scared of the KGB. I approached Red Square three times, trying to find somewhere to land, before discovering a wide bridge nearby. I landed there and taxied into Red Square. As it turned out, the day I chose – May 28 – was the holiday of the border patrol. I suspect that’s how I got away with it.”

Rust was arrested, and the Soviet Union’s Supreme Court sentenced him to four years in a labor camp for violating border crossing and air traffic regulations. He served 14 months before being released and returned to West Germany.

“My landing caused plenty of confusion,” he said. “People came up and surrounded the plane and soon the police arrived to take me away. The defense and air defense ministers were both replaced and more than 2,000 officers lost their jobs. I was sentenced to four years in a labour camp, but spent my time in the interrogation prison because the KGB couldn’t guarantee my safety.”

The incident exposed significant weaknesses in the Soviet air defense system, leading to the dismissal of numerous high-ranking military officials.

Mathias Rust next to the plane in the aero club, 1985-1986.

Rust’s rented Reims Cessna F172P (serial #F17202087), registered D-ECJB, was sold to Japan where it was exhibited for several years. In 2008 it was returned to Germany and was placed in the German Museum of Technology in Berlin.

Because Rust’s flight seemed harmful to the authority of the Soviet regime, it was the source of numerous jokes and legends. For a while after the incident, Red Square was referred to jokingly by some Muscovites as Sheremetyevo-3 (Sheremetyevo-1 and -2 being the two terminals at Moscow’s international airport). At the end of 1987, the police radio code used by law enforcement officers in Moscow was allegedly updated to include a code for an aircraft landing.

Scientific American: A Legacy of Curiosity and Discovery

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Scientific American is one of the world’s most respected and long-running science publications, first established in 1845 in New York City. Over its long history, the magazine has served as a bridge between the world of scientific discovery and the general public, presenting complex ideas in a clear, accessible, and engaging way.

From early articles on the telegraph and steam power to groundbreaking reports on space exploration, genetics, and artificial intelligence, Scientific American has chronicled nearly two centuries of human progress. Its contributors have included many of the greatest scientific minds — among them Albert Einstein, who published an article on relativity in its pages in 1950.

Blending rigorous reporting with thoughtful commentary, the magazine continues to explore how science shapes society, technology, and our understanding of the universe. Today, Scientific American remains a trusted source for readers who seek not just information, but insight — a publication where curiosity and discovery never cease.

Here’s a beautiful collection of Scientific American magazine covers from the 1920s — a visual record of how the world once imagined the future.

Scientific American cover, April 3, 1920

Scientific American cover, January 10, 1920

Scientific American cover, July 24, 1920

Scientific American cover, May 1, 1920

Scientific American cover, November 13, 1920

Harry Delf Posing Outside a Theatre in Detroit, Michigan, ca. 1915

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Four photographs of actor and comedian Harry Delf, aged about twenty-three, wearing a bellhop costume for a vaudeville routine, posing outside a theatre in Detroit, Michigan, ca. 1915.

Harry Delf (28 August 28 1892, New York City – 7 February 1964, New York City), American comedian and actor who performed in vaudeville and on Broadway. He was also a playwright, theatrical producer, screen writer and director of short films, and lyricist/composer for stage musicals. He is best remembered as the author of the 1925 play The Family Upstairs which was twice staged on Broadway and adapted into a film three times.

Educated at Columbia University, he began his career as a comedian in vaudeville, specializing in Jewish humor – it is said that he taught Fanny Brice how to speak with a Yiddish accent – and he performed on all of the major vaudeville circuits during his career. He also appeared on Broadway, sometimes in plays and musicals that he had, himself, written.

In addition, he wrote sketches for prominent revues and, beginning in the late 1920s, he wrote and directed several short films. For a time dean of the New York Friars Club, in 1957 he was instrumental in helping the organization to acquire their permanent headquarters, the historic Martin Erdmann House (sold in 2024).

(via Gods and Foolish Grandeur)

45 Amazing Behind the Scenes Photos of Tim Curry Becoming Pennywise for the ABC Miniseries “It” (1990)

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It (also known as Stephen King’s IT) is a 1990 ABC two-part psychological horror drama miniseries directed by Tommy Lee Wallace and adapted by Lawrence D. Cohen from Stephen King’s 1986 novel of the same name. The story revolves around a predatory monster that can transform itself into its prey’s worst fears to devour them, allowing it to exploit the phobias of its victims. It mostly takes the humanoid form of Pennywise, an Eldritch clown. The protagonists are The Lucky Seven, or The Losers Club, a group of outcast kids who discover Pennywise and vow to kill him by any means necessary. The series takes place over two different time periods, the first when the Losers first confront Pennywise as children in 1960, and the second when they return as adults in 1990 to defeat him a second time after he resurfaces.

Behind the scenes of Curry’s iconic performance as Pennywise in It was a mix of terrifying intensity and on-set conviviality. The actor’s powerful portrayal and the minimalist makeup made for a genuinely frightening monster, both on and off-screen.

Curry initially refused the role due to his previous negative experience with heavy prosthetics as the Lord of Darkness in the film Legend. Wallace negotiated a compromise with a less cumbersome makeup design, ultimately proving that Curry’s performance was the true source of horror.

The child actors of the Losers’ Club, including Seth Green and Brandon Crane, have confirmed that Curry was so convincing that they largely avoided him on set. To help elicit authentic fear, Curry reportedly stayed in character between takes, chain-smoking and showing his yellowed teeth if the children came too close. He developed a new voice for the character, giving Pennywise a “Brooklyn accent” reminiscent of an “old-time Catskills comic.” This added a unique layer of unsettling playfulness to the monstrous clown.

The makeup designed by Bart Mixon prioritized Curry’s facial expressions over heavy prosthetics, using only a few pieces to shape his brow, nose, cheeks, and chin. Despite the lighter prosthetics, the makeup was not quick to apply. Curry’s transformation required about three hours of application each day, which proved to be a difficult process for the actor. The yellowed, unsettling teeth were custom-made from polymorph plastic, which was shaped directly onto the actor’s teeth.

Director Tommy Lee Wallace described Curry as a professional who was always prepared and easy to work with. Wallace believed his role was simply to “give Tim the stage and not get in his way too much.”

In contrast to his terrifying on-screen persona, Curry was known to be warm and humorous with the cast and crew. During long theater scenes, he once entertained child extras by leading them in sing-alongs, most of whom had no idea who he was.

Jean Newington: An Elegant Face of Late 1950s Haute Couture

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Jean Newington emerged in the late 1950s as one of the elegant faces of high-fashion photography, particularly in Paris and London. She is credited in vintage fashion archives and online image boards as the model in numerous couture editorials.

Her presence in images from L’Officiel and other couture publications of 1958-59 marks her out as part of the transitional world of late-1950s fashion — where formal elegance meets emerging modern style. Her portraits convey a quiet sophistication, perfectly in tune with the graceful lines and tailored silhouettes of the era.

Through these vintage photos, Jean Newington continues to embody the quiet sophistication and effortless beauty of 1950s couture.

Jean Newington in blue wool blouson dress, buttoned throughout bodice and skirt, by Jean Patou, handbag by Lucienne Offenthal, photo by Philippe Pottier, 1959

Jean Newington in roomy red wool coat with ocelot collar by Manguin, ocelot fur hat by Marie Christiane, photo by Philippe Pottier, 1959

Jean Newington in beautiful printed silk cocktail dress in shades of blue and purple by Lucile Manguin, photo by Philippe Pottier, 1959

Jean Newignton in wool suit with elongated jacket and mink collar by Maggy Rouff, mink hat by Jean Barthet, photo by Philippe Pottier, 1959

Jean Newington in blue and green print taffeta evening gown with blue taffeta circular stole, by Grès, jewelry by Van Cleef & Arpels, photo by Philippe Pottier, 1959

35 Glamorous Fashion Portraits of Anne Campion in the Early 1950s

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Born 1929 in Brussels, Belgian actress Anne Campion is known for several film roles during the post-World War II period, appearing in Les Maudits (1947), Femmes de Paris (1953), Agence matrimoniale (1952), among others.

Campion was also a fashion model active in the early 1950s, regularly appeared in haute-couture photographs and magazine spreads, modeling work by designers such as Givenchy, Balmain, Jean Dessès, and Jacques Griffe. Many of these images were made by noted fashion photographers of the period (for example, Philippe Pottier and Seeberger) and were published in outlets like L’Officiel.

These portraits showcase Anne Campion’s elegance and poise, capturing the essence of early 1950s haute couture.

Anne Campion in bright green wool dress with fitted bodice and wide pleated skirt, by Jacques Fath, photo by Philippe Pottier, 1951

Anne Campion in elegant brown and white check suit covered with short jacket lined in velvet by Jeanne Lafaurie, photo by Philippe Pottier, 1951

Anne Campion in wool suit with large sheared beaver collar which gives it a bolero effect by Jacques Heim, photo by Philippe Pottier, 1951

Anne Campion in a beautiful evening dress in emerald green velvet with a beaded bodice by Christian Dior, photo by Seeberger, Vogue, Paris, October 1951

Anne Campion in Balenciaga’s flamenco inspired evening gown of black velvet and white tulle, photo by Philippe Pottier, 1951

The Story of Fred Finn, the World’s Most-Traveled Concorde Passenger

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Fred Finn, an English businessman, holds a unique place in aviation history as the world’s most-traveled man and, more specifically, the most frequent passenger on the iconic Concorde. His story is a testament to the golden age of air travel and the incredible efficiency of supersonic flight.

Fred Finn was recognized by Guinness World Records in 1983 for having flown more miles than any other person in history. He has since logged over 15 million miles, which he calculates is about 31,000 hours in the air—an hour for every day he’s been alive.

His most impressive record is the one that can never be broken: 718 passenger flights on Concorde. He was on the very first Concorde flight from Washington to London in 1976 and the last commercial flight from New York to London in 2003.

For Finn, Concorde wasn’t a luxury joyride; it was a business tool. As an executive who dealt with technology transfers from the U.S. and Britain to other countries, he found that the speed of Concorde allowed him to be incredibly efficient. He could leave London in the morning, arrive in New York with a full workday ahead of him, and even fly back and forth multiple times in a single day. On one occasion, he completed three round trips between London and New York in a 12-hour period.

He always requested seat 9A. The reason? It was the seat where the refreshment service started, ensuring he was the first to be served. This habit became so well-known that the flight crews would often hold the seat for him.

Finn’s Concorde habit was not cheap. It’s estimated that his flights cost around £2 million over the years. However, he often emphasizes that the time saved was more valuable to his company than the cost of the ticket.

Concorde’s small cabin and regular clientele fostered a unique sense of community. Finn became a part of this “Concorde family,” forging close friendships with pilots, crew members, and fellow frequent flyers. He flew with celebrities like Paul McCartney, Johnny Cash, and Bruce Springsteen, and the enclosed environment often led to fascinating conversations and impromptu performances.

Finn described Concorde not as a smooth luxury liner but as a “sports car.” He recalled the feeling of the afterburners kicking in and the aircraft’s high, bouncy taxiing. He said that the experience was all about the exhilarating speed and the sound and feel of the aircraft itself.

After the retirement of Concorde, Finn has continued to be a globe-trotter. He has since become an official ambassador for the aircraft’s legacy, often giving talks and lectures about his experiences and the unique era of supersonic travel. His autobiography, Sonic Boom, details his adventures and his special connection to the “Queen of the Skies.”

35 Elegant Photos That Defined Edwardian Women’s Fashion Styles

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Edwardian women’s fashion reflected elegance, refinement, and a sense of opulence that defined the era. This was a time when society embraced luxury, sophistication, and a move away from the rigid austerity of the Victorian period. Women’s clothing emphasized a graceful silhouette, often referred to as the “S-curve,” created by corsets that pushed the chest forward and the hips back, resulting in a flowing, swan-like posture.

Daywear typically included high-necked blouses with lace or embroidery, paired with long, flowing skirts that flared at the hem. Walking suits became fashionable, offering practicality for the increasingly active lifestyles of women. Light fabrics, pastel shades, and elaborate trimmings like ribbons, lace, and ruffles were highly popular, giving the outfits a sense of delicacy and charm.

Evening gowns were designed to dazzle, featuring luxurious fabrics such as silk, satin, and chiffon, often adorned with beads, sequins, and lace. These gowns usually had lower necklines and short sleeves, with long flowing skirts that created a sense of drama and sophistication.

Hats were essential accessories in Edwardian fashion. Large, wide-brimmed hats decorated with feathers, flowers, ribbons, and sometimes entire bird specimens were considered indispensable for completing a stylish ensemble. Gloves, parasols, and delicate jewelry further emphasized the elegance of the look.

Edwardian fashion was not only about beauty but also about status and femininity. It celebrated curves, luxury, and decorative detail, capturing a fleeting moment of splendor before the First World War ushered in more practical and simplified styles.

These photos highlight the elegance and sophistication that made Edwardian women’s fashion one of the most graceful styles in history.

Photographs of 17-Year-Old Catherine Zeta-Jones Posing in a Street in London’s West End, 1987

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In 1987, Catherine Zeta-Jones was still a teenager on the brink of the breakthrough that would launch her career in the West End. Fresh out of her hometown of Swansea, Wales, she moved to London at just 17 to chase a life on stage. She had already been a gifted singer and dancer since childhood—her parents encouraged her early love for musicals, sending her to a local dance school and community theatre productions. By her mid-teens she had appeared in Annie and toured in The Pajama Game, but London was a far bigger gamble.

Once in London, Zeta-Jones worked her way into the chorus of the hit musical 42nd Street at the Theatre Royal Drury Lane. At first she was simply one of the dancers, but she stood out for her poise, charisma, and stamina. The show itself was a glittering tap-dance extravaganza about a young ingénue named Peggy Sawyer, a character whose story—small-town girl gets her big break—uncannily mirrored Catherine’s own.

In 1987, opportunity struck. The lead actress playing Peggy Sawyer fell ill during a performance, and the understudy wasn’t available. Catherine, still just a chorus member, was asked to step in with only a few hours’ notice. She not only knew the choreography but delivered the role with such energy and charm that audiences and producers alike took notice.

She soon became the regular Peggy Sawyer, effectively leaping from ensemble dancer to West End star overnight.

That pivotal year in London gave Zeta-Jones both her first taste of stardom and the professional confidence to continue. From 42nd Street she moved on to other West End shows, and by the early 1990s she was appearing on British television (The Darling Buds of May), which later paved her way to Hollywood.

40 Wonderful Photos of a Young Heather Locklear Taken by Harry Langdon in the 1980s

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In the 1980s, Heather Locklear became one of television’s most recognizable faces, and photographer Harry Langdon played a key role in defining her glamorous public image. Langdon, known for his crisp, luminous celebrity portraits, frequently photographed rising stars in Hollywood, and his sessions with Locklear perfectly captured the blend of California beauty and polished sophistication that made her an ’80s icon.

At the time, Locklear was skyrocketing to fame with her roles on two hit TV series: Dynasty (1981–1989), where she played the scheming Sammy Jo Carrington, and T.J. Hooker (1982–1986) opposite William Shatner. Langdon’s portraits often highlighted her golden blonde hair, flawless skin, and sparkling blue eyes, presenting her as both the wholesome “girl next door” and a high-fashion starlet. The photos—typically shot in his Los Angeles studio—featured soft, diffused lighting, pastel backdrops, and subtle styling that emphasized her natural allure while nodding to the bold makeup trends of the decade.

These sessions weren’t just promotional headshots; they were career-defining images used for magazine covers, TV Guide spreads, and publicity campaigns that helped cement Locklear’s status as one of the decade’s most photogenic stars. Langdon’s ability to bring out a warm yet glamorous quality in his subjects made the portraits timeless, contributing to Locklear’s reputation as one of the ultimate faces of 1980s television.