Yesteryear

Photographs of Eric Clapton Hanging Out With Jimi Hendrix in London in the 1960s

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Eric Clapton had earned a reputation as “God” in the mid-1960s for his virtuosic guitar work in R&B-inspired British bands like the Yardbirds and John Mayall’s Bluesbreakers. Then an unknown American named Jimi Hendrix hit London in 1966 and changed the game entirely.

Hendrix’s unparalleled playing and explosive style forged a new genre and redefined what it meant to be a guitarist — and sent the British boys back to the woodshed. Clapton’s status as London’s top axe-man had been challenged, but their rivalry was mostly a friendly one. Clapton was in awe of Hendrix’s talent and the pair bonded over music and mutual admiration.

The famous story of their first meeting involves Hendrix sitting in with Cream at a gig. Hendrix’s performance, particularly his incendiary rendition of “Killing Floor,” reportedly “blew away” Clapton, leading him to walk off stage in astonishment and exclaim something to the effect of, “You never told me he was that f***ing good!”

“It was funny, in those days anybody could get up with anybody if you were convincing enough that you could play,” said Eric Clapton. “He got up and blew everyone’s mind. I just thought ‘Ahh, someone that plays the stuff I love in the flesh, on stage with me.’ I was actually privileged to be (on stage with him)… it’s something that no one is ever going to beat; that incident, that night, it’s historic in my mind but only a few people are alive that would remember it.”

Despite this initial shock, which some interpret as a challenge to Clapton’s perceived supremacy, they quickly became friends. Clapton himself has spoken about how Hendrix’s playing impacted him, making him feel that “the game was up for all of us.” This wasn’t a bitter rivalry but rather a profound recognition of Hendrix’s revolutionary talent.

They would often hang out in London, jamming in clubs and having deep conversations beyond music. Clapton deeply admired Hendrix’s innovative approach and musical imagination. “It was amazing,” said Clapton, “and it was musically great, too, not just pyrotechnics.”

Tragically, their friendship was cut short by Hendrix’s untimely death in 1970. Clapton was reportedly devastated by the news and had even purchased a rare left-handed Fender Stratocaster as a gift for Hendrix shortly before his passing.

30 Beautiful Photos of Jean Seberg in the Late 1950s and ’60s

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Jean Seberg was an American actress and style icon best known for her work in both Hollywood and French New Wave cinema. She gained international fame for her role as Patricia in Jean-Luc Godard’s Breathless (À bout de souffle, 1960), where her pixie haircut, effortless chic, and cool demeanor made her a defining face of 1960s cinema.

Born 1938 in Iowa, Seberg was launched into stardom at age 18 when Otto Preminger cast her as Joan of Arc in Saint Joan (1957). Though her early Hollywood career was uneven, she found greater success in Europe, where she became a muse for avant-garde directors and a symbol of modern femininity.

Off-screen, Seberg was politically active and supported civil rights causes, which drew the attention of the FBI. She was subjected to intense surveillance and psychological pressure as part of COINTELPRO, which contributed to her mental health struggles.

Her life ended tragically in 1979 in Paris, in what was officially ruled a suicide. Despite her short life, Jean Seberg remains an enduring icon of cinema and fashion, remembered for her intelligence, vulnerability, and timeless style. Take a look at these beautiful photos to see portraits of Jean Seberg in the late 1950s and 1960s.

The Treadmill Crane, a Human Powered Hoisting and Lowering Device

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The treadwheel crane (Latin: magna rota), also known as a walking wheel crane, is one of the most iconic lifting devices from ancient and medieval times. It operated using human power, where a person would walk inside a giant wheel (similar to a hamster wheel) to generate rotational force, lifting heavy loads via a system of pulleys and ropes.

The origin of the treadwheel crane dates back to Ancient Roman times (around the 1st century AD), where it was used in the construction of large structures like temples and aqueducts. Its widespread use re-emerged in medieval Europe, especially between the 12th and 19th centuries.

These cranes were commonly used in harbors, church construction sites, and castles. In major ports like Gdańsk (Poland), Strasbourg (France), and Bruges (Belgium), the treadwheel crane played a key role in loading and unloading ships. Some cranes were even built permanently atop stone towers or large wooden structures.

One or two people would walk inside the wheel, much like climbing stairs. Their movement turned a drum that wound up a rope to lift heavy cargo. Depending on the wheel’s size and human effort, the crane could lift tons of weight.

With the rise of steam engines in the 19th century, treadwheel cranes became obsolete, replaced by more efficient and powerful machinery. However, several of these historic cranes still survive today as monuments and engineering heritage sites.

30 Vintage Photos Capture Young Women Rocking Dynamic 1950s Fashion

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The 1950s was a decade of vibrant change, not only in culture and technology, but also in the way young women expressed themselves through fashion. Moving away from the somber tones of the war years, postwar fashion burst with energy — full skirts, nipped waists, bold patterns, and bright colors came to define the era.

But more than just pretty silhouettes, 1950s fashion for young women was dynamic — it reflected a newfound sense of confidence, individuality, and freedom. From circle skirts that swayed with every step to capri pants that signaled a break from tradition, women were beginning to dress for movement, for expression, and for life beyond the rigid social norms of earlier generations.

These vintage photos capture young women not just wearing 1950s fashion — but rocking it. Whether striking a pose on the streets, dancing at a jukebox joint, or smiling under the sun in gingham and cat-eye sunglasses, they exude style and spirit. Their looks were not only trendy — they were alive with personality.

26 Amazing Photos of Shelley Duvall Holding a Cigarette

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Shelley Duvall (July 7, 1949 – July 11, 2024) was known to be a smoker, having started on the set of Thieves Like Us (1974). She continued to smoke throughout her career and even became known for her on-screen smoking, particularly during her role in The Shining (1980). There are numerous photos and even mentions of her smoking habits from that period.

Like many actors of that era, smoking was both a personal habit and often part of on-screen roles, reflecting the norms of the time. According to Shelley Duvall Archive, she’s tried to quit many times, but it must be said that a cigarette dangling between her long fingernails arguably became her motif on screen and even off. A pack of Parliaments were Shelley’s favorite brand in her later years.

A Very Young Ringo Starr in the Photo Booths in the Early 1960s

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In the early 1960s, before Beatlemania swept the world, Ringo Starr was often captured in fun and candid moments — one iconic example being photo booth pictures. These images typically show him goofing around, pulling faces, or simply posing with his signature mop-top haircut and youthful charm.

Ringo (born Richard Starkey) officially joined The Beatles in August 1962, replacing Pete Best. Around this time, the group was still performing in clubs like The Cavern in Liverpool and in Hamburg, Germany. His first official performance as a Beatle was on August 18, 1962, at a Horticultural Society dance.

Ringo’s steady, reliable, and unique drumming style became a crucial element of The Beatles’ distinctive sound. He was seen as an equal part of the Fab Four, contributing to the band’s emotional stability and good humor. While not a primary songwriter, he often sang lead vocals on at least one song per album, such as “Boys” (1963) and “Honey Don’t” (1964).

The early 1960s saw The Beatles achieve massive success, first in the UK and then internationally, leading to Beatlemania. Ringo was an integral part of this phenomenon, performing in iconic concerts like the one at Shea Stadium in 1965 and appearing in The Beatles’ films like A Hard Day’s Night (1964) and Help! (1965), which also showcased his acting talents. In 1965, he and the other Beatles were made Members of the Order of the British Empire (MBE).

35 Amazing Photos of the Old Country Houses of the Old Glasgow Gentry in 1878

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Step back in time to the year 1878, when the outskirts of Glasgow were still dotted with the grand country estates of the city’s wealthy merchant class — the Old Glasgow Gentry. These stately homes, set amid sweeping lawns, walled gardens, and ancient trees, stood as symbols of prosperity, taste, and architectural ambition in the 18th and 19th centuries.

These amazing photos, captured by Scottish photographer Thomas Annan (1829–1887), offer a rare visual archive of these once-celebrated houses — many now vanished, repurposed, or hidden beneath modern developments.

Tollcross, Glasgow, Scotland, 1878

Aikenhead, Glasgow, Scotland, 1878

Auldhouse, Glasgow, Scotland, 1878

Bardowie, Glasgow, Scotland, 1878

Barlanark, Glasgow, Scotland, 1878

A Young Steven Tyler Photographed by Ron Pownall, ca. 1970s

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Ron Pownall is a photographer known for his work with Aerosmith, particularly Steven Tyler. He captured many iconic photos of the band during the 1970s, including Steven Tyler performing and in various candid moments. Here’s a very young Steven Tyler captured by Pownall in the 1970s:

Pownall’s career commenced in 1968 when he was hired by the Chicago Tribune to photograph the Democratic National Convention protests. This experience ignited his passion for capturing live music performances, leading him to photograph iconic artists such as Jimi Hendrix, Janis Joplin, and Cream.

In 1970, Pownall relocated to Boston, immersing himself in the city’s vibrant music scene. He established enduring relationships with bands like Aerosmith, Boston, and the J. Geils Band, documenting their rise to fame. His work extended to photographing legends like Elton John, Queen, and The Rolling Stones, contributing to publications such as Rolling Stone, Creem, and Circus.

Pownall’s photography is characterized by its ability to capture the raw energy and emotion of live performances. His images are not merely snapshots but narratives that convey the spirit of the era. For instance, his photograph of Steven Tyler leaping off the drum riser during a 1978 Aerosmith concert in St. Paul encapsulates the fervor of rock music.

Today, Ron Pownall’s work is celebrated in galleries and collections, including Rock Paper Photo and the San Francisco Art Exchange. His legacy endures as a testament to the power of photography in chronicling cultural history.

Elegant 1950s Fashion Designs by Paul Parnes

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Paul Parnes was a notable American fashion designer active during the mid-20th century, particularly recognized for his elegant and accessible ready-to-wear collections. Emerging from a family rooted in the garment industry—his father, Louis Parnes, established a clothing business in Manhattan in the late 19th century—Paul continued and elevated the family tradition in fashion design.

In the 1920s and 1930s, Paul Parnes began making a name for himself by designing stylish, well-tailored women’s suits and dresses that balanced sophistication with practicality. He initially worked under other labels and partnerships before establishing his own brand. By the 1950s, the Paul Parnes label had become known for its refined and wearable garments, often sold in upscale department stores and featured in fashion magazines like Vogue and Harper’s Bazaar.

Though not as widely remembered today as some of his contemporaries, Paul Parnes contributed to the development of American ready-to-wear fashion, offering garments that embodied grace, structure, and understated luxury.

Cherry Nelms in short evening dress in navy blue silk satin spattered with lily pads of Venise lace and blue paillettes by Paul Parnes, photo by Kay Bell, Harper’s Bazaar, October 1950

Dorian Leigh in figure-hugging suit with side-button detail by Paul Parnes, Vogue, September 1950

Evelyn Tripp in white linen suit with belt buckle closings and brown and white check detachable collar and cuffs by Paul Parnes, white piqué hat by Betmar, photo by Horst P. Horst, Vogue, April 1, 1950

Jean Patchett in Hockanum worsted suit, piped in black and belted by Paul Parnes, worn with white silk crêpe scarf by Sally Gee, photo by Frances McLaughlin, Vogue, February 1, 1950

Dovima in imported Irish linen sheath worn under short-sleeved polka-dot jacket by Paul Parnes, photo by Wenczel, Vogue, May 1, 1951

Before First Lady of the United States, 30 Portraits of Young Nancy Davis as a Hollywood Actress in the 1940s and 1950s

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Nancy Davis Reagan (born Anne Frances Robbins; July 6, 1921 – March 6, 2016) was an American film actress who was the first lady of the United States from 1981 to 1989, as the second wife of President Ronald Reagan.

In 1940, a young Davis had appeared as a National Foundation for Infantile Paralysis volunteer in a memorable short subject film shown in movie theaters to raise donations for the crusade against polio. The Crippler featured a sinister figure spreading over playgrounds and farms, laughing over its victims, until finally dispelled by the volunteer. It was very effective in raising contributions.

Following her graduation from college, Davis held jobs in Chicago as a sales clerk in Marshall Field’s department store and as a nurse’s aide. With the help of her mother’s colleagues in theatre, including ZaSu Pitts, Walter Huston, and Spencer Tracy, she pursued a professional career as an actress. She first gained a part in Pitts’ 1945 road tour of Ramshackle Inn, moving to New York City. She landed the role of Si-Tchun, a lady-in-waiting, in the 1946 Broadway musical about the Orient, Lute Song, starring Mary Martin and a pre-fame Yul Brynner. The show’s producer told her, “You look like you could be Chinese.”

After passing a screen test, she moved to California and signed a seven-year contract with Metro-Goldwyn-Mayer Studios Inc. (MGM) in 1949; she later remarked, “Joining Metro was like walking into a dream world.” Her combination of attractive appearance—centered on her large eyes—and somewhat distant and understated manner made her hard at first for MGM to cast and publicize. Davis appeared in eleven feature films, usually typecast as a “loyal housewife,” “responsible young mother,” or “the steady woman.” Jane Powell, Debbie Reynolds, Leslie Caron, and Janet Leigh were among the actresses with whom she competed for roles at MGM.

Davis’ film career began with small supporting roles in two films that were released in 1949, The Doctor and the Girl with Glenn Ford and East Side, West Side starring Barbara Stanwyck. She played a child psychiatrist in the film noir Shadow on the Wall (1950) with Ann Sothern and Zachary Scott. She co-starred in 1950’s The Next Voice You Hear…, playing a pregnant housewife who hears the voice of God from her radio. In 1951, Davis appeared in Night into Morning, her favorite screen role, a study of bereavement starring Ray Milland.

MGM released Davis from her contract in 1952; she sought a broader range of parts, but also married Reagan, keeping her professional name as Davis, and had her first child that year. She soon starred in the science fiction film Donovan’s Brain (1953). In her next-to-last movie, Hellcats of the Navy (1957), she played nurse Lieutenant Helen Blair, and appeared in a film for the only time with her husband.

After her final film, Crash Landing (1958), Davis appeared for a brief time as a guest star in television dramas, such as the Zane Grey Theatre episode “The Long Shadow” (1961), where she played opposite Ronald Reagan, as well as Wagon Train and The Tall Man, until she retired as an actress in 1962.

During her career, Davis served for nearly ten years on the board of directors of the Screen Actors Guild. Decades later, Albert Brooks attempted to coax her out of acting retirement by offering her the title role opposite himself in his 1996 film Mother. She declined in order to care for her husband, and Debbie Reynolds played the part.