Yesteryear

Vintage Photos Show Commercial Airplanes Used Wicker Chairs for Passenger Seating in the 1920s and 1930s

Vintage Photos Show Commercial Airplanes Used Wicker Chairs for Passenger Seating in the 1920s and 1930s

In the early 20th century, commercial airplanes used wicker chairs for passenger seating because the lightweight, durable, and ventilated material was ideal for early aircraft design. These simple wicker seats, often with leather linings for easier cleaning, were common until the late 1930s, when more comfortable, padded, and lighter aluminum seats began to replace them.
Early aircraft had less powerful engines and smaller payloads. Wicker was an extremely lightweight material, which helped keep the overall weight of the plane down and allowed it to carry more passengers or mail.
Flying was a novel and expensive activity, appealing to the wealthy who were accustomed to fine home furnishings. Wicker furniture was a common, stylish choice for patios and sunrooms of the era, and its inclusion gave airplane cabins the feel of a flying parlor or living room.
The use of basic wicker chairs began to change as aircraft design and air travel evolved. In the late 1920s, airlines began adding leather lining and padding to the wicker seats to increase passenger comfort and make them easier to clean.
As early as 1930, the Aluminum Company of America created a lightweight aluminum-framed passenger seat. With the introduction of the iconic Douglas DC-3 in 1936, rubber-covered foam seats became the industry norm, replacing wicker entirely.
While early wicker chairs were sometimes simply placed in the cabin, they were eventually fastened to the floor to prevent them from moving around during turbulence.

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35 Studio Portraits Show Men’s Styles From the Mid-19th Century

35 Studio Portraits Show Men’s Styles From the Mid-19th Century

Men from the mid-19th century lived during a period of rapid change marked by industrialization, social shifts, and cultural transformation. Their fashion often included tailored suits, waistcoats, high-collared shirts, and top hats, which reflected formality and social status. Beards, mustaches, and carefully styled hair were also fashionable, giving men of the era a distinguished appearance.

Portraits from this time capture not only their personal style but also the values of discipline, respectability, and tradition that shaped 19th-century society. Take a look at these studio portraits to see how men presented themselves in the mid-19th century.

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The Marriage of 22-Year-Old Charlie Johns and 9-Year-Old Eunice Winstead in 1937

The Marriage of 22-Year-Old Charlie Johns and 9-Year-Old Eunice Winstead in 1937

On January 19, 1937, 22-year-old tobacco farmer Charlie Johns married his 9-year-old neighbor, Eunice Winstead. The couple was joined by Baptist preacher Walter Lamb in Sneedville, Hancock County. Johns offered Lamb a dollar (equivalent to $22 in today) to perform the marriage. To get to the wedding without her parents’ knowledge, Winstead told them she was going out to get a doll.

Johns falsified Winstead’s age in order to obtain their marriage license. At the time of their marriage, the state of Tennessee had no minimum age for marriage. Winstead’s mother had married at the age of sixteen, and her sister Ina married at thirteen. Though the mothers of Johns and Winstead initially believed that Eunice was too young to marry, they ultimately decided to approve of the marriage.

Johns and Winstead’s marriage was discovered by the press approximately ten days after the wedding. It was then widely covered by American newspapers and magazines. The union was reported by The Times and Life magazines, along with The New York Times. It also inspired the 1938 film Child Bride. Johns avoided media attention, accusing reporters of making things up, and he did not allow any photographs to be taken of his wife and children.
A 1937 piece published by Life about the case displayed a picture of Winstead and Johns at their home in Sneedville. In a news article published that year, The Knoxville Journal reported that “The Winstead family seems complacent over the future of the 9-year-old bride because Charlie, the bridegroom, owns 50 acres of mountain land, several mules and he’s a good farmer.” Another article in Newsweek portrayed Winstead sitting on Johns’ knees.
Reactions to the marriage triggered a change to the law in Tennessee, forbidding marriage of individuals under the age of 16, even if they have parental consent. It provided for exceptions in cases such as pregnancy.

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Walter McClintock’s Powerful Photos of Blackfeet Life

Walter McClintock’s Powerful Photos of Blackfeet Life

Walter McClintock (1870–1949) was an American photographer, writer, and ethnologist best known for documenting the culture and traditions of the Blackfeet (Niitsitapi) people. Beginning in the late 19th century, he spent years living among the Blackfeet in Montana, where he was adopted into the tribe and given the name “White Weasel Moccasin.”

McClintock’s photos captured portraits, ceremonies, and everyday life, preserving invaluable visual records of Native American heritage during a period of rapid cultural change. In addition to his photography, he published books and articles that combined ethnographic study with a deep respect for the people he lived with.
Today, his work is regarded as an important historical archive, offering both artistic and anthropological insight into early 20th-century Native American life. Below is a collection of powerful photos taken by Walter McClintock, documenting the traditions of the Blackfeet people.

Blackfeet inner-circle

Black buffalo tipi

Blackfeet tribal camp with grazing horses

Blackfeet war tipi

Blue tipi, or home of the thunder

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Studio Portraits of a Young Keanu Reeves Taken by Aaron Rapoport, 1987

Studio Portraits of a Young Keanu Reeves Taken by Aaron Rapoport, 1987

In 1987, Keanu Reeves was photographed by Aaron Rapoport, a Los Angeles–based photographer best known for his work with musicians and rising actors of the 1980s. At the time, Reeves was just beginning to make a name for himself in Hollywood. He had appeared in River’s Edge (1986), a dark indie drama that gave him credibility as a serious young actor, and was starting to get cast in bigger studio projects.

Rapoport’s session with Reeves captured him at this transitional stage: still relatively unknown to mainstream audiences but already showing the brooding, offbeat charm that would become his signature. The photographs show a lean, boyish Reeves with tousled hair, casual clothes, and an introspective expression, projecting both vulnerability and quiet confidence.
1987 was also a pivotal year for Reeves’ career. He appeared in Babes in Toyland (a TV movie with Drew Barrymore), The Night Before (a quirky teen comedy), and had just wrapped Permanent Record (1988), where he played a teenager dealing with a friend’s suicide. These roles showcased his versatility and made him a young actor to watch.
Rapoport’s photos contributed to shaping Reeves’ early public image: not just another Hollywood “teen star,” but someone with depth, mystery, and individuality. Looking back, they offer a fascinating snapshot of Keanu right before his breakout in Bill & Ted’s Excellent Adventure (1989), the film that launched him to stardom.

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18 Publicity Photos of Salma Hayek as Rita Escobar in “Wild Wild West” (1999)

18 Publicity Photos of Salma Hayek as Rita Escobar in “Wild Wild West” (1999)

Wild Wild West is a 1999 American steampunk Western comedy film directed by Barry Sonnenfeld and written by S. S. Wilson and Brent Maddock alongside Jeffrey Price and Peter S. Seaman, based on a story conceived by Jim and John Thomas. Loosely adapted from The Wild Wild West, a 1960s television series created by Michael Garrison, it is the only production in the franchise since the television film More Wild Wild West (1980).

In the film, Salma Hayek plays Rita Escobar, a spirited and resourceful character who becomes entangled with the two eccentric government agents, Captain James West (Will Smith) and Artemus Gordon (Kevin Kline).
Rita is searching for her missing father, the brilliant scientist Professor Escobar, who has been kidnapped by the film’s villain, the deranged ex-Confederate inventor Dr. Arliss Loveless (Kenneth Branagh). While West and Gordon are assigned to stop Loveless’ plot to divide the United States using his giant mechanical spider and advanced weaponry, Rita joins forces with them, motivated by her personal quest.
Her character provides a mix of charm, wit, and a touch of romantic tension—particularly with James West—though she ultimately proves to be more independent than the agents expect. Despite being portrayed in a somewhat traditional “damsel-in-distress” light, Rita’s boldness and persistence give her a presence that stands out in the film.
Visually, Hayek’s costumes in the film emphasized both glamour and the Old West aesthetic, with elaborate gowns, corsets, and dramatic colors that matched the movie’s over-the-top steampunk style.

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30 Amazing Photos Capture New York Street Scenes in the Early 1940s

30 Amazing Photos Capture New York Street Scenes in the Early 1940s

In the early 1940s, New York City was alive with energy despite the uncertainty of wartime.

The streets were filled with men in military uniforms alongside office workers in sharp suits and women in smart dresses and hats. Streetcars and yellow taxis wove through busy avenues, while neon signs and theater marquees lit up the night in Times Square.
From bustling marketplaces to quiet residential blocks, the city reflected both resilience and style at the dawn of a new decade. Below is a collection of vintage photos capturing street scenes of New York in the early 1940s.
Amsterdam, New York, October 1941. (Photo by John Collier)

Collier’s House at PEDAC, exterior from below, New York, July 15, 1940. (Photo by Gottscho-Schleisner)

Looking south along west side of Greenwich Street toward Battery over elevated structure (demolished Fall), New York, September 7, 1940. (Photo by Stanley P. Mixon for the Historic American Buildings Survey)

Broadway from Bowling Green, New York, December 1941. (Photo by Arthur Rothstein)

Children of Dan Sampson, who moved out of the Pine Camp expansion area in August, waiting in the family car for the school bus near South Rutland, New York, October 1941. (Photo by Jack Delano)

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45 Fascinating Photos of a Beautiful Yvonne De Carlo From the 1950s

45 Fascinating Photos of a Beautiful Yvonne De Carlo From the 1950s

Yvonne De Carlo (September 1, 1922 – January 8, 2007) was a prominent Canadian-American actress, dancer, and singer who became an international film star in the 1940s and 1950s. After her initial rise to fame in the 1940s as “Universal’s Queen of Technicolor,” De Carlo’s career continued to thrive in the 1950s. She became an international star, appearing in films not only in Hollywood but also in Britain and Italy.

In the 1950s, she starred in a number of adventure and historical epics, including Buccaneer’s Girl (1950), Tomahawk (1951), and The San Francisco Story (1952). These films reinforced her reputation as a swashbuckling heroine or Western frontierswoman.
De Carlo also appeared in lighter films such as Scarlet Angel (1952), and in dramas like Shotgun (1955). She balanced glamour roles with more grounded performances. One of her biggest successes of the decade was Cecil B. DeMille’s biblical epic The Ten Commandments (1956), where she played Sephora, the wife of Moses (Charlton Heston). This role gave her a chance to step away from the pin-up image and show her dramatic range.
Yvonne De Carlo in the 1950s embodied Hollywood glamour: dark hair, striking features, and an elegant yet sensual presence. She frequently appeared in magazines, both as a starlet and as a respected actress. She became a favorite in Technicolor films, where her vivid looks stood out against lush backdrops.
By the end of the decade, De Carlo’s career was evolving toward character roles, but she remained one of the recognizable stars of Hollywood’s Golden Age.

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35 Glamorous Portraits of Eva Gerney From the Early 1950s

35 Glamorous Portraits of Eva Gerney From the Early 1950s

Eva Gerney was a fashion model of the 1950s who appeared frequently in leading magazines such as Vogue and Harper’s Bazaar. She was photographed by renowned photographers including Erwin Blumenfeld, John Rawlings, Horst P. Horst, Nina Leen, and Clifford Coffin.

Gerney’s images captured the elegance and diversity of 1950s fashion—from tweed suits and Balenciaga gowns to Jacques Fath taffeta dresses and refined European-American styles. One iconic example is her appearance in the August 1, 1950 issue of Vogue, wearing a blue tweed suit with a deep-blue nutria fur coat, a white toréador hat, and exquisite jewelry, embodying the refined postwar elegance of the era.
Here’s a collection of vintage fashion photos featuring Eva Gerney at the height of 1950s style.

Eva Gerney wearing a strapless dress with an elongated torso inclined at the waist, a short full sashed skirt, in silk taffeta by Norman Norell, veiled cap by Mr. John, photo by John Rawlings, Vogue, February 1, 1950

Eva Gerney in pale whipcord topcoat worn with straight wool skirt and silk foulard blouse by Traina-Norell, photo by John Rawlings, Vogue, February 1, 1950

Eva Gerney in beautiful evening gown of striped Celanese satin with unusual sleeve-stole by Ceil Chapman, Vogue, November 1, 1950

Eva Gerney in a tweed suit trimmed in white ermine and rhinestone buttons by Capri, plush felt hat by Sally Victor, photo by Nina Leen, 1950

Eva Gerney in dress and jacket in two tones of brown wool, photo by Constantin Joffé, Vogue, August 15, 1950

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A Group of 13-Year-Old Girls Camping in Ruidoso, New Mexico, at the Time of the Manhattan Project’s Trinity Test in 1945

A Group of 13-Year-Old Girls Camping in Ruidoso, New Mexico, at the Time of the Manhattan Project’s Trinity Test in 1945

On July 16, 1945, a group of thirteen-year-old girls went camping near Ruidoso, New Mexico, spending their days swimming in a quiet river. At the front of the group stood Barbara Kent. None of them knew that, just miles away, history’s first nuclear bomb had just been detonated.

The blast was part of the Manhattan Project’s “Trinity” test—conducted at 5:29 a.m. from a 100-foot steel tower, 40 miles away in the Jornada del Muerto valley. The site had been chosen for its supposed isolation, yet thousands of people lived within a 40-mile radius, some as close as 12 miles. No one was warned, evacuated, or protected as radioactive fallout drifted for days.
“We were all just shocked … and then, all of a sudden, there was this big cloud overhead, and lights in the sky,” Kent later recalled. “It even hurt our eyes when we looked up. The whole sky turned strange. It was as if the sun came out tremendous.”
A few hours later, white flakes began to fall from above. Excited, the girls put on their bathing suits and, amid the flurries, began playing in the river. “We were grabbing all of this white, which we thought was snow, and we were putting it all over our faces,” Kent said. “But the strange thing, instead of being cold like snow, it was hot. And we all thought, ‘Well, the reason it’s hot is because it’s summer.’ We were just 13 years old.”
Years later, Kent learned that the “snow” the young students played in was actually fallout from the first nuclear test explosion in the United States (and, indeed, the world), known as Trinity. Of the 12 girls that attended the camp, Kent is the only living survivor. The other 11 died from various cancers, as did the camp dance teacher and Kent’s mother, who was staying nearby.
Diagnosed with four different types of cancers herself, Kent is one of many people in New Mexico unknowingly exposed to fallout from the explosion of the first atomic bomb. In the years following the Trinity test, thousands of residents developed cancers and diseases that they believe were caused by the nuclear blast.
The Trinity test’s victims were not only in Japan—they also lived and died in the American Southwest. Similar tragedies played out elsewhere, such as Maralinga in Australia, where nuclear tests exposed Aboriginal communities to lethal radiation, leading to untold deaths from cancer—losses still rarely spoken of.
Even some scientists, like Dapo Michaels, were blindsided by the long-term consequences. Overcome with guilt after realizing the devastation his work had helped unleash, Michaels suffered a breakdown, was institutionalized, and died there.
The legacy of these tests is not only a story of scientific achievement but also of silent, unacknowledged suffering.
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