The Appearance of Pink Christmas Trees in the Mid-20th Century

During the 1950s and 1960s, American culture was obsessed with the future, science, and progress. Traditional green trees felt “old-fashioned” to many homeowners who had just moved into brand-new suburban houses with sleek, Mid-Century Modern furniture. Pink, teal, and silver were seen as high-fashion, “futuristic” colors that matched the streamlined decor of the era.

The pink tree trend is most closely linked to the Aluminum Christmas Tree (famously the “Evergleam”), which debuted in 1959. These were the first non-green trees to be commercially successful on a mass scale. While 75–80% of aluminum trees were silver, manufacturers like the Aluminum Specialty Company produced a limited number in pink.

Paradoxically, the decline of these trees was also caused by their fame. In the 1965 special A Charlie Brown Christmas, Lucy van Pelt famously asks Charlie Brown to get a “big, shiny aluminum tree... maybe even painted pink.” The special used the pink aluminum tree as a symbol of the commercialization and “fakeness” of Christmas. The show was so influential that it actually helped end the trend; within a few years of its airing, sales of aluminum and brightly colored trees plummeted as people shifted back toward “natural” green trees.

Pink was a “power color” in the 1950s – think Mamie Eisenhower’s pink dresses, pink bathrooms, and pink kitchen appliances. Carrying this color over to the Christmas tree was a natural extension of the era’s interior design palette, which favored cheerful pastels and bold, “atomic” contrasts.

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Here’s What Computer Class Looked Like in 1972!

In 1972, computer classes often used mainframe computers and early minicomputers. Mainframes were large, powerful machines that required dedicated spaces, while minicomputers were smaller and more affordable, making them suitable for educational institutions.

Students in computer classes in 1972 typically learned programming languages like BASIC and FORTRAN. These languages were foundational in the early days of computing and provided the building blocks for software development.

 Students interacted with computers in 1972 through computer terminals. These terminals were equipped with cathode-ray tube (CRT) monitors and allowed students to input code and receive output from the mainframe computer, which was often located in a separate room.

Access to computers was limited, and debugging code was a challenging and time-consuming process. Additionally, the absence of modern tools and the need to work with physical punch cards or paper tape made programming more cumbersome compared to today’s standards.

Students relied on textbooks and printed manuals as their primary resources for learning about computers. There was no internet or search engines to access information, so knowledge acquisition was largely book-based.

The computer class experience of 1972 played a pivotal role in shaping the future of technology and education. It introduced students to the world of computing and programming, fostering a sense of innovation and curiosity that would fuel the digital revolution in the decades to come.

Computer education has evolved significantly since 1972. Advances in technology have led to more accessible and user-friendly interfaces, online resources, and a wider range of programming languages. Computer literacy has become a fundamental skill in today’s digital age.

28 Amazing Photos of Iran Air Flight Attendants Before the 1979 Revolution

Before the 1979 Revolution, Iran Air (known as the “Homa”) was one of the fastest-growing and most prestigious airlines in the world. Its flight attendants were the “face” of a modernizing, cosmopolitan Iran, and the role was considered a highly coveted, elite career for young Iranian women.

During the 1960s and 70s, Iran Air stewardesses were international fashion icons. Their look reflected the “Jet Age” glamour seen in Western carriers like Pan Am or Air France. Uniforms typically featured knee-length skirts, tailored blazers, and pillbox hats. Many uniforms were designed by high-end fashion houses to ensure a chic, professional appearance. There were strict standards for hair (often styled in bouffants or sleek bobs), makeup, and poise. Before 1979, there was no requirement for the hijab; stewardesses wore their hair uncovered.

Becoming a flight attendant for Iran Air was extremely competitive, often requiring a high level of education and fluency in multiple languages. Many attendants were educated in Europe or the U.S. and spoke English, French, and Persian fluently. They were trained to provide world-class “Persian hospitality.” During this era, Iran Air was famous for its luxury, particularly on its non-stop flights between Tehran and New York. Stewardesses were viewed as ambassadors of Iranian culture and modernization. They traveled the world, which was a rare privilege and a sign of significant social mobility.

The airline used the Homa (a mythical Persian griffin) as its symbol, and the flight attendants were central to this branding. On long-haul flights (using the then-cutting-edge Boeing 747SPs), attendants served gourmet meals and fine wines, mirroring the lifestyle of the Iranian upper class of the time.

After the 1979 Revolution, the role changed overnight. Uniforms were replaced with modest tunics and headscarves (hijabs), and the cosmopolitan, “Westernized” image of the Homa stewardess was officially dismantled to align with the new Islamic Republic’s values.

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Edwige Fenech: The Radiant Queen of Italian Genre Cinema

Edwige Fenech is a French-born Italian actress and film producer who became one of the most iconic figures of European cinema in the 1970s. Renowned for her breathtaking beauty and magnetic charm, she became the definitive face of the Giallo (Italian thriller) and Commedia sexy all’italiana genres.

With her striking dark hair and expressive eyes, Fenech starred in cult classics such as All the Colors of the Dark (1972) and Your Vice Is a Locked Room and Only I Have the Key (1972). Beyond her status as a screen siren, she later transitioned into a highly successful career as a film and television producer, proving her formidable talent both in front of and behind the camera.

Fenech remains a celebrated symbol of Italian elegance and cinematic daring. Take a look at these vintage photos to see the beauty of a young Edwige Fenech in the 1970s.

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45 Beautiful Photos Show What a Wedding Looked Like in the 1950s

A wedding in the 1950s was the ultimate celebration of tradition, etiquette, and post-war glamour. Unlike the bohemian or modern styles of later decades, a 1950s ceremony was defined by a very specific. Brides typically favored “New Look” silhouettes, featuring cinched waistlines and voluminous tea-length or floor-length skirts made of heavy satin or delicate Chantilly lace. The iconic birdcage veil or a lace-edged cathedral veil was the accessory of choice, often paired with a modest high-neck bodice.

Beyond the fashion, the atmosphere was one of sophisticated simplicity. Receptions were often held in church halls or family gardens, where guests toasted with champagne punch and enjoyed multi-tiered fruitcakes adorned with buttercream flowers.

These beautiful photos from Jay Phillips show exactly what a wedding looked like in the 1950s, serving as a nostalgic reminder of mid-century romance.

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Photographs of Norma Jeane (Later Known as Marilyn Monroe) Playing at the Beach With Her Dog Ruffles, 1947

In 1947, photographer Joseph Jasgur captured a series of iconic photographs of Marilyn Monroe (then still establishing her career) playing at the beach with her dog, a Cocker Spaniel named Ruffles.

Monroe had a lifelong love for animals, often finding comfort in her pets during the pressures of her career. Ruffles was one of her earliest companions, frequently appearing in candid early-career photo sessions. Jasgur was a significant figure in Monroe’s early career, taking some of the first professional “test shots” of her when she was still Norma Jeane Dougherty in 1946 before continuing to document her rise in 1947.

These photos are celebrated for showing a more private, grounded side of Monroe before she became a global phenomenon. While often identified as Zuma Beach in Malibu, some historians and archives suggest the 1947 session may have taken place along old Malibu Road with the Malibu Colony visible in the background.

For decades, Jasgur was involved in legal battles to regain the rights to these early negatives. Following his death in 2009, a bankruptcy court finally ordered the auction of his vast collection, including the Ruffles beach series, in 2011 to settle his estate.

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Klaus Kinski Clutching at the Throat of Director Werner Herzog During the Filming of “Cobra Verde” (1987)

The relationship between director Werner Herzog and actor Klaus Kinski reached a volatile peak during the filming of Cobra Verde (1987), which marked their fifth and final collaboration.

Tensions frequently escalated into physical or psychological threats. In one well-documented moment, Kinski held a machete to Herzog’s throat to supposedly heighten a scene’s realism. On other occasions, Kinski reportedly attempted to attack Herzog with a rock and was photographed attempting to throttle him in front of extras.

Kinski’s “perpetual torrent of verbal abuse” led the film’s original cinematographer, Thomas Mauch, to walk out on the project. Herzog was forced to replace him with Viktor Růžička. The pair often spoke of wanting to kill one another. Herzog later claimed that during a particularly bad argument where Kinski threatened to quit, Herzog threatened to kill Kinski and then himself.

Disputes began as early as pre-production, with Kinski disagreeing with Herzog over filming locations. Herzog often used a “gray rock” method, remaining calm and unresponsive, to prevent Kinski’s explosive rages from completely derailing the production.

This would be Kinski’s last collaboration with Herzog – he’d die four years after its release, having made only two films, both nearly unwatchable (Nosferatu in Venice and Paganini). It seems to have gone about as well as the preceding four, going by Klaus’s comments.

Kinski’s later writings about the film were filled with vitriol, even comparing Herzog’s methods to those of “Adolf Hitler” due to how Herzog managed the large crowds of extras. He said: “I wish Herzog would catch the plague, more than ever. He was even more helpless, more stupid and at the same time more persistent against me, than he was in the last four films, I shot with him. Although he urgently needed my help, and pretended, he would kiss my ass for that, he did the opposite behind my back. The people from Ghana are friendly and peaceful. Herzog knew, how to use them for his purpose. I knew his criminal and enslaving methods since Peru, where he always went for the most helpless and where I eventually called him Adolf Hitler. In Ghana he excelled himself.”

Herzog’s opinions of Kinski are deeply explored in his 1999 documentary retrospective, My Best Fiend (Mein liebster Feind), in which he examines their unique friendship, the associated hatred, and the legacy that both qualities were responsible for. The filming of Cobra Verde and the relationship of Herzog and Kinski was also the subject of a 1987 Swiss documentary film titled Location Africa.