Wonderful Slides of a New Year’s Eve Costume Party in the 1950s

A 1950s New Year’s Eve costume party would mix retro humor with vintage charm. Guests might dress in quirky, playful outfits like oversized bow ties, silly versions of 1950s stars, or exaggerated pin-up looks.

Men could don comical “nerd” glasses with slicked-back hair or dress as eccentric rock ‘n’ roll characters. Women might wear humorous takes on the classic housewife look, like aprons over glamorous dresses. The atmosphere would be lighthearted and full of laughs, with guests enjoying a night of fun, cocktails, and lively music.

These wonderful slides were found by phrena that show a rowdy bunch had an annual New Year’s Eve costume party in 1953.

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30 Amazing Behind the Scenes Photos of ‘General Lee’ Cars Used During the TV Series “The Dukes of Hazzard”

The General Lee is an orange 1969 Dodge Charger driven in the television series The Dukes of Hazzard by the characters the Duke boys, Bo and Luke, along with cousins Coy and Vance (in season 5). It is known for its signature horn, its police chases, stunts—especially its long jumps—and for having its doors welded shut, leaving the Dukes to climb in and out through the windows. The car appears in every episode but one (“Mary Kaye’s Baby”). The car’s name is a reference to Robert E. Lee, general of the Confederate States Army during the American Civil War. It bears a Confederate battle flag on its roof, and also has a horn which plays the first 12 notes of the song “Dixie.”

Over seven seasons, the General Lee went airborne more than 150 times. Although it seemed fine on screen, the General rarely survived a jump. Warner Brothers totaled an average of two Dodge Chargers per episode. By the time filming ended, an estimated 300 Chargers had starred as the General Lee. What happened to all those cars?

Warner Brothers salvaged the most beat-up vehicles. Mechanics saved the doors, the rebel-flagged roof, and engine parts, which were cannibalized by future Generals. The car’s wrecked remains were then sent to a junkyard crusher, where it was crumpled beyond recognition. An estimated 75 to 220 Chargers went to the car yard in the sky this way.

Chargers that weren’t as badly damaged often became props, called “bucks.” Mechanics rebuilt and repainted the battle-scarred autos, which reappeared as town or chase cars. By the end of each season, these Chargers also retired to a car graveyard.

When Dukes’ Nielsen ratings sunk in 1986, CBS pulled the show. Warner Brothers abandoned 18 General Lees at the set, and the cars gathered dust for five years. In 1991, Warner Brothers sold 17 of those cars to private owners.

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Did You Know That Hollywood Starlet Ava Gardner Was a Corgi Lover?

Ava Gardner loved animals and had several different pets over the years. The famous American film actress, who was considered one of the most beautiful women of her day, loved corgis and as she never had children she considered her Pembroke Welsh corgis her “babies.” Frank Sinatra gave Ava her first corgi, Rags, as a birthday present on Christmas Eve 1953 and after that she was never without a corgi.

When Ava was away shooting films, she would ask her corgis’ caretaker to read out letters she had written to them and would send them gifts. In the Ava Gardner Museum, there is a little dog sweater that belonged to one of Ava’s corgis on display, and the label reads Saks 5th Avenue.

Gardner established a trust in 1986, and named The Animal Health Trust in London as one of its beneficiaries. The Animal Health Trust closed during the COVID pandemic, but its trustees now support St. Jude Children's Hospital.

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45 Elegant Studio Portrait Photos of Young Women in the 1940s

Fashion for young women in the 1940s was influenced by both the wartime era and the emerging post-war style. During World War II, fabric rationing and practical needs led to more conservative and functional clothing. Dresses were often knee-length with simple, structured cuts, and skirts were fuller or A-line. Shoulder pads became popular, creating a more angular silhouette. The iconic “utility” style emerged in the UK, characterized by minimalist, streamlined designs.

In the U.S., young women embraced the “Victory” look, wearing tailored suits, high-waisted trousers, and the famous “Rosie the Riveter” look—coveralls or work shirts for those in industrial jobs. Accessories were practical but stylish, with scarves, berets, and hats commonly worn.

After the war, fashion shifted to more feminine and luxurious styles. Christian Dior’s “New Look” (1947) with its full skirts, narrow waists, and soft shoulders revolutionized post-war fashion, signaling a return to glamour and elegance. Young women eagerly adopted this more romantic and opulent style, reflecting the optimism and new freedoms of the post-war period.

Take a look at these studio portrait photos to see what young women looked like in the 1940s.

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Debbie Reynolds Photographed by Richard C. Miller, 1960

Debbie Reynolds was indeed photographed by Richard C. Miller, a renowned photographer known for his vivid color photography and portraits, during the mid-20th century. Miller’s work from the 1960s captures the charm and elegance of Hollywood stars like Reynolds, reflecting the era’s classic glamour.

In 1960, Debbie Reynolds was at the height of her career and already a well-established Hollywood star. Known for her radiant smile and charismatic performances, she had achieved great fame for roles in films like Singin’ in the Rain (1952), Tammy and the Bachelor (1957), and The Catered Affair (1956).

In 1960, she starred in the romantic comedy The Gazebo alongside Glenn Ford. Around this time, Reynolds was also balancing her career with motherhood, as she was raising her two children, Carrie and Todd Fisher, from her marriage to singer Eddie Fisher (which had ended in 1959).

Reynolds was a fashion icon of the era, often photographed wearing elegant gowns or stylish casual outfits, perfectly embodying the glamour of 1960s Hollywood. Her wholesome image and enduring charm made her a favorite among fans and photographers alike.

30 Vintage Ad Posters of Toiletries in the Early 20th Century

Advertising for toiletries in the early 20th century was a fascinating blend of emerging mass media, evolving social norms, and the development of consumer culture. They often featured ornate, eye-catching designs influenced by Art Nouveau, with flowing lines and stylized images of women surrounded by nature. These ads emphasized purity, luxury, and hygiene.

Brands like soaps, perfumes, and toothpaste promoted cleanliness and beauty through elegant visuals and catchy slogans. In the 1910s and 1920s, the focus shifted more to health and personal care, with products marketed as essential for good hygiene and well-being.

Here below is a set of vintage posters that shows toiletry advertisements from the early 20th century.

Arrículos de tocador Luxor, Fray Mocho magazine, circa 1900s

Aurich Glycerin Soap, circa 1900s

Ayer's Hair Vigor for the Toilet, circa 1900s

Tualyetnoye Myilo, A. M. Zhukov, St. Petersburg (Ad for Zhukov toilet soap), circa 1900s

Alaiska, Crème-Toilette-Puder, R. Lindner, Wien, 1902

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Tom Thumb, the First American-Built Steam Locomotive to Operate on a Common-Carrier Railroad

Tom Thumb was the first American-built steam locomotive to operate on a common-carrier railroad. It was designed and constructed by Peter Cooper in 1829 to convince owners of the newly formed Baltimore and Ohio Railroad (B&O) (now CSX) to use steam engines; it was not intended to enter revenue service. It is especially remembered as a participant in a legendary race with a horse-drawn car, which the horse won after Tom Thumb suffered a mechanical failure. However, the demonstration was successful, and the railroad committed to the use of steam locomotion and held trials in the following year for a working engine.

The first railroads were little more than tracks on roads; horses pulled wagons and carriages with their wheels modified to ride on the rails. Trains could not be moved by steam power until the steam engine could be mounted on wheels. The first steam locomotives were built in England, the birthplace of steam power, and the first locomotives in America were imported from England. Soon, however, Americans began to plan their own locomotives.

Tom Thumb was designed by Peter Cooper as a four-wheel locomotive with a vertical boiler and vertically mounted cylinders that drove the wheels on one of the axles. The “design” was characterized by a host of improvisations. The boiler tubes were made from rifle barrels  and a blower was mounted in the stack, driven by a belt to the powered axle. The engine was fueled by anthracite coal.

Cooper’s interest in the railroad was by way of substantial real estate investment in what is now the Canton neighborhood of Baltimore. Success for the railroad was expected to increase the value of his holdings.

Construction was carried out in the machine shop of George W. Johnson, where the 18-year-old James Millholland was apprenticed. Millholland would later become a prominent locomotive designer in his own right.

Testing was performed on the first section, built in 1829, of the company’s future main track line to Wheeling, Virginia (now West Virginia). The first section linked Baltimore and Ellicott Mills (now Ellicott City, Maryland), along the upper branch of the Patapsco River Valley. Cars were pulled by horses. Two tracks had been constructed, which led the owners of Stockton and Company, a local stagecoach line providing passenger and freight service, to challenge the new locomotive to a race over the 8 miles (13 km) between the Relay House and Baltimore. It is probable that the race took place on August 28, 1830.

The challenge accepted, Tom Thumb was easily able to pull away from the horse until the belt slipped off the blower pulley. Without the blower, the boiler did not draw adequately and the locomotive lost power, allowing the horse to pass and win the race. Nonetheless, it was recognized that the locomotive offered superior performance. The B&O stopped using horses in 1831.

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