Bringing You the Wonder of Yesterday – Today
1960 was the pinnacle of the Wagon Era.
Who else remembers piling as many kids as we could into the old wagon and watching a movie at the drive-in? No seat belts, no stress, just playing games and waving at the people in the other cars!
If you are over 40, you definitely remember driving around in a station wagon like these!
Remember when seeing a girl with a tattoo was a shocking thing? “OMG she has a tattoo!” was a frequent statement. It was a very rebellious thing to do at one time in North America. These bad ass tattooed women got inked as a way to “take control of their body”!
A tattoo is a form of body modification, made by inserting indelible ink into the dermis layer of the skin to change the pigment, and it officially appeared in 18th century. At that time, the tattooed people were mostly men, until the late 19th to early 20th centuries it first started becoming popular with women.
Here, below are some of amazing vintage photos of tattooed ladies who were known as the most earliest tattooed women.
Tina Louise (born Tina Blacker, 1934) is an American actress, singer, and author. She began her career on stage during mid-1950s, before landing her breakthrough role in 1958 drama film God’s Little Acre for which she received Golden Globe Award for New Star of the Year.
Louise had starring roles in a number of Hollywood movies, including The Trap, The Hangman, Day of the Outlaw, and For Those Who Think Young. From 1964 to 1967, she starred as the movie star Ginger Grant in the CBS television situation comedy, Gilligan’s Island. Louise later returned to film, appearing in The Wrecking Crew, The Happy Ending, and The Stepford Wives.
Tina Louise has been widely known as beautiful redhead Ginger of the middle 1960s. Before becoming a star, these are 29 glamorous portrait photos of Louise in the mid-late 1950s, the beginning days of her career.
Emil Mayer was a Viennese photographer who did most of his work with a hand-camera on the streets of Vienna around the 1910s. Although he was a lawyer by profession, his greatest passion was for photography: he was the long-time president of one of Vienna’s most prominent camera clubs, and by the time of his death was internationally known for his work in photography.
Mayer’s photographs document a short-lived period of stability and prosperity in Austria’s history. The Viennese writer Stefan Zweig recalled this time in his autobiography: “Everything had its norm, its definite measure and weight. … Every family had its fixed budget, and knew how much could be spent for rent and food, for vacations and entertainment… In this vast empire everything stood firmly and immovably in its appointed place, and at its head was the aged emperor; and were he to die, one knew (or believed) another would come to take his place, and nothing would change in the well-regulated order.”
Mayer died in June, 1938—he committed suicide along with his wife, soon after the Nazi occupation of Vienna—and we know that the Gestapo entered his apartment soon afterwards, with the result that his entire personal collection of photographs was almost certainly destroyed.
Virginia Clara Jones was born on November 30, 1920 in St. Louis, Missouri, the daughter of a newspaper reporter and his wife. The family had a rich heritage in the St. Louis area: her great-great-great-grandfather served in the American Revolution and later founded the city of East Saint Louis, Illinois, located right across the Mississippi River from its namesake. Virginia was interested in show business from an early age. Her aunt operated a dance studio and Virginia began taking lessons at the age of six. After graduating from high school in 1937, she became a member of the St. Louis Municipal Opera before she was signed to a contract by Samuel Goldwyn after being spotted by an MGM talent scout during a Broadway revue. David O. Selznick gave her a screen test, but decided she wouldn’t fit into films. Goldwyn, however, believed that her talent as an actress was there and cast her in a small role in 1943’s Jack London (1943). She later had a walk-on part in Follies Girl (1943) that same year. Believing there was more to her than her obvious ravishing beauty, producers thought it was time to give her bigger and better roles. In 1944 she was cast as Princess Margaret in The Princess and the Pirate (1944), with Bob Hope and a year later appeared as Ellen Shavley in Wonder Man (1945). Her popularity increasing with every appearance, Virginia was cast in two more films in 1946, The Kid from Brooklyn (1946), with Danny Kaye, and The Best Years of Our Lives (1946), with Dana Andrews, and received good notices as Andrews’ avaricious, unfaithful wife. Her roles may have been coming in slow, but with each one her popularity with audiences rose. She finally struck paydirt in 1947 with a plum assignment in the well-received The Secret Life of Walter Mitty (1947) as Rosalind van Hoorn. That same year she married Michael O’Shea and would remain with him until his death in 1973 (the union produced a daughter, Mary Catherine, in 1953). She got some of the best reviews of her career in James Cagney’s return to the gangster genre, White Heat (1949), as Verna, the scheming, cheating wife of homicidal killer Cody Jarrett (Cagney). The striking beauty had still more plum roles in the 1950s. Parts in Backfire (1950), She’s Working Her Way Through College (1952) and South Sea Woman (1953) all showed she was still a force to be reckoned with. As the decade ended, Virginia’s career began to slow down. She had four roles in the 1960s and four more in the following decade. Her last role was as Janet Wilson in 1990’s Evil Spirits (1990). She died on January 17, 2005.
Take a look at these glamorous photos to see the beauty of Virginia Mayo in the 1940s and early 1950s.
Photography revolutionized crime investigations. Beginning in the mid 1800s, police photographed the faces of known criminals. Called “mug shots” (after the British slang word “mug” meaning “face”) these images replaced drawings and descriptions on wanted posters. Scientists even studied mug shots to see if physical traits could predict criminal behavior.
The Nebraska State Penitentiary used photography beginning in 1867 to record the likeness of the state’s most infamous residents. The Omaha police photographed suspects when arrested. Whether the people depicted were guilty or innocent, behind every photograph is a human story. This glimpse back at some of the thousands of photographs in the Nebraska State Penitentiary and Omaha Police Court Collections at the Nebraska State Historical Society and their accompanying tales offer insights into how earlier Nebraskans ran afoul of the law, and how some attitudes about crime and punishment may have changed.
(Via Nebraska State Historical Society)
(Photos via Shorpy)
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Pattie Boyd was the face of the ’60s. Her blonde hair, deep bangs, long legs, and perfect pout got her on magazine covers and snared her a bit part in the Beatles’ first film, A Hard Day’s Night. She met George Harrison on the very first day of filming, and he asked her out—thinking that she looked exactly like Brigitte Bardot.
She married the quiet Beatle, living a rarified life that few of us will ever experience. Boyd not only is famous for her iconic beauty, but for introducing the Fab Four to Maharishi Mahesh Yogi and also for leaving Harrison for his best friend Eric Clapton and inspiring some of rock’s most heart-torn classics like Harrison’s “Something,” “I Need You,” and Clapton’s “Layla” and “Wonderful Tonight.”
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