36 Amazing Photos From the Set of “American Graffiti” (1973)

Directed by George Lucas and produced by Francis Ford Coppola, American Graffiti (1973) stands as one of the most influential coming-of-age films in cinema history. Before Lucas took us to a galaxy far, far away with Star Wars, he captured a deeply nostalgic, grounded look at American youth culture on the precipice of change.

Set over the course of a single night in late August 1962 in Modesto, California, the film follows a group of high school graduates spending their last night of summer cruising the streets before heading off to college.

Released in 1973 against the backdrop of the Vietnam War and the Watergate scandal, the movie offered a bittersweet look back at a simpler, pre-1963 America. It single-handedly sparked a wave of 1950s and 1960s nostalgia in pop culture, directly paving the way for shows like Happy Days.

American Graffiti revolutionized the use of popular music in film. Instead of a traditional orchestral score, the movie features a non-stop, wall-to-wall soundtrack of 41 rock 'n' roll hits from the era, all tied together by the mysterious, gravelly voice of legendary radio DJ Wolfman Jack.

The film featured a stellar ensemble cast of young actors who would go on to shape Hollywood for decades, including Richard Dreyfuss, Ron Howard, Cindy Williams, Charles Martin Smith, and a breakout performance by Harrison Ford as the drag-racing Bob Falfa.

For many fans, the true main characters of the film were the machines. The late-night cruising culture was perfectly captured through some legendary American steel: 1932 Ford Deuce Coupe (driven by John Milner), 1955 Chevrolet One-Fifty (driven by Bob Falfa), 1958 Chevrolet Impala (driven by Steve Bolander), and 1956 Ford Thunderbird (driven by The Blonde in the T-Bird)...

Filmed on a shoestring budget of roughly $777,000 over just 29 nights, American Graffiti went on to gross over $140 million worldwide, making it one of the most profitable films in Hollywood history and giving George Lucas the leverage he needed to pitch Star Wars.

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Kangaroo Jumps Rebound Shoes From the 1930s

Kangaroo jumps (or rebound/jumping shoes, also called “moon shoes” or spring-heel shoes) from the 1930s era refer to early spring-loaded footwear toys or devices, precursors to modern rebound boots like Kangoo Jumps.

A woman helping her friend with her Kangru-Spring-Shu, a pair of boots fitted with springs, ca. 1935.

These were not the modern fitness rebound boots (which emerged in the 1990s with brands like Kangoo Jumps, featuring advanced leaf springs or tension bands for low-impact exercise). Instead, they were simpler, often risky “ankle-breaker” toys with metal coil springs attached to wooden or metal platforms that strapped over regular shoes. They aimed to let kids (or adults) bounce like kangaroos or walk on the moon, tying into the space race hype later on.

A 1914 French patent by Gaston Devore described a device adapting to shoes for increased running speed or jump amplitude, considered one of the first conceptual “jumpers.” “Kangru-Springshu” or similar “Kangaroo” spring shoes appeared from between the 1920s and 1940s as toys. They featured large metal springs (front and back) on platforms, with leather straps. These were sold as fun, novelty items emulating kangaroo hops but were unstable and dangerous.

Popularity surged in the 1950s amid the Space Race (branded as “Moon Shoes” or “Satellite Jumping Shoes”), but the kangaroo-themed versions predate that. They were basic: wooden/metal bases with springs, adjustable straps, and poor lateral stability—often criticized for causing injuries. Modern equivalents are safer with better designs.

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How Kersal, Salford Has Changed: Striking Then-and-Now Photos

These striking then-and-now photos, created by Dr Shane, offer a fascinating look at how Kersal, a district of Salford, Greater Manchester, has transformed over the decades.

Comparing images from the 1960s and 1970s with those taken in recent years reveals significant changes in architecture, streetscapes, and daily life: from traditional terraced houses and local shops to modern developments and evolving urban landscapes.

This visual journey highlights not only the physical transformation of the neighborhood but also the broader social and economic shifts that have shaped this corner of Greater Manchester over the past sixty years.

Looking across the park towards Spencer House, late 1960s and April 2, 2025

A parade on Kersal Way in the early 1970s. On the left you can see Milton House, and to the right Spencer, Shakespeare and Shelley House. The same spot below on July 14, 2013

A view from Shakespeare House towards South Radford Street, late 1960s and July 28, 2011

A view from the Jubilee Footbridge looking towards Agecroft, July 5, 1967 and February 2, 2013

A view of Kersal Way between the shops and Milton House, January 26, 1970 and June 18, 2024

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24 Amazing Photographs of a Young Brian May of Queen in the 1970s

In the 1970s, Brian May (born July 19, 1947) was the sonic architect of Queen. While Freddie Mercury provided the theatrical focal point, May defined the band’s musical identity with a highly distinctive guitar style, an iconic look, and a fascinating background in academia. During this decade, he transitioned from a struggling postgraduate student into one of the most celebrated rock guitarists in the world.

What separated Brian May from every other guitar hero of the era was his tone, which was entirely self-made. He didn’t play a standard Fender or Gibson. May played the “Red Special” (also called “The Old Lady”), a guitar he and his father built by hand in the mid-1960s. They used wood from an 18th-century fireplace mantle, motorcycle valve springs, and mother-of-pearl buttons. Instead of a plastic plectrum (pick), May used an old British sixpence coin to strum. The serrated edge of the coin gave his guitar a unique, crisp “bite.”

In the studio, May used his unique setup to multi-track his guitar parts, layering them to sound like a brass section or a symphonic orchestra. Albums like A Night at the Opera (1975) proudly featured the liner note “No Synthesizers!” because May created all those wild, futuristic sounds using just his guitar and a customized amplifier.

On stage, May cut a striking figure that epitomized 1970s glam and progressive rock fashion. He was famous for his massive, natural cascade of dark curls and tall, lean frame. His most iconic wardrobe piece from this era was a white, flowing, pleated satin top designed by British fashion designer Zandra Rhodes. The wide sleeves caught the air beautifully when he played, giving him a majestic, almost bird-like silhouette under the stage lights.

Before Queen hit the big time, May was a serious academic. He studied Physics and Mathematics at Imperial College London, graduating with honors. By the early 1970s, he was deep into a PhD program studying interplanetary dust in the solar system. When Queen’s career exploded around 1974 after the success of “Killer Queen,” he made the difficult choice to shelf his thesis to tour the world.

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Dorothy O’Hara: Glamorous Designer of Postwar Hollywood Fashion

Dorothy O’Hara was a prominent American fashion designer active in the 1940s and ’50s, celebrated for her glamorous, figure-enhancing dresses that epitomized Hollywood glamour on the West Coast. Starting her career as a model in California, she transitioned into designing and quickly gained recognition for her sultry yet elegant creations that accentuated the female silhouette with sophisticated draping, luxurious fabrics, and feminine details.

Often called a “sorceress at glorifying figures” by Vogue, O’Hara designed both ready-to-wear and custom gowns, and her work appeared in numerous films during the Golden Age of Hollywood. Her designs perfectly captured the optimistic, sensual style of postwar American fashion. She died in 1963 at the young age of 51.

These exquisite designs by Dorothy O’Hara beautifully showcase her mastery of glamorous, figure-flattering fashion during the Golden Age of Hollywood. Even decades later, O’Hara’s timeless dresses remain icons of vintage glamour and continue to inspire admiration among fashion enthusiasts and collectors.

Ricki VanDusen in draped crêpe sheath by Dorothy O'Hara, Vogue, March 1, 1956

Ricki VanDusen in sensuous long, draped dress in black or white crêpe by Dorothy O'Hara, Vogue, November 1, 1956

Linda Harper in sensuous draped crêpe dress by Dorothy O'Hara, Harper's Bazaar, October 1957

Model in alabaster crêpe sheath dress by Dorothy O'Hara, Vogue, March 1, 1957

Model in beautiful draped crêpe sheath by Dorothy O' Hara, Vogue, August 1, 1957

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Princess Diana Attending the London Premiere of the Steven Spielberg Film “Jurassic Park” in July 1993

Princess Diana famously attended the glittering UK royal premiere of Steven Spielberg’s blockbuster film Jurassic Park on July 15, 1993. The historic star-studded event was held at the Empire Theatre in Leicester Square, London, serving as a charity benefit for the organization Turning Point.

The event was a major cultural moment, blending Hollywood hype with royal prestige. Diana arrived looking effortlessly chic in an elegant black embroidered silk dress with a matching tuxedo-style jacket, accessorized with an emerald-and-diamond choker necklace.

She walked the red carpet and spent time greeting director Steven Spielberg, his wife Kate Capshaw, author Michael Crichton, and the iconic main cast, including Sam Neill, Jeff Goldblum, Ariana Richards, and Richard Attenborough.

Inside the theater, Diana sat directly between stars Jeff Goldblum and Sam Neill. Goldblum later recalled sharing popcorn with the Princess, describing her as a “spectacular lady.” In a famous, lighthearted memory shared by Sam Neill, he brought his 10-year-old son, Tim, to sit next to the Princess. During the terrifying T-Rex scenes, his son repeatedly passed wind out of excitement and fear, leaving Neill “sweating like crazy” in terror that Diana would think it was him.

“There was a royal premiere in London, and it was, it was sort of a fortuitous occasion, you don’t get to sit beside Princess Diana every day,” Neill said. “But my son was sitting on the other side [of me] and it was kind of unfortunate, because once it starts getting exciting, about 45 minutes in, he was so carried away with things, he was about 10 years old at this point, he started to fart unreasonably.”

“It wasn’t that audible, but it was very, very [smelly],” he continued. “And there was sort of a draft through the cinema, and it was all drifting in the Princess’ direction. And I was there in my suit and bowtie and things, sweating like crazy because I thought, ‘The princess is going to think this is me. And it’s this little boy here.’”

Like a good dad, Neill says he didn’t rat out his son. Despite any theater distractions, cast members confirmed that Diana genuinely “really loved” the movie.

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30 Stunning Portraits of a Young and Beautiful Elizabeth McGovern in the 1980s

Elizabeth McGovern (born July 18, 1961) was a rising young actress in the 1980s, known for her fresh, natural beauty, tall willowy figure, luminous quality, large expressive eyes, and often dark, wavy or voluminous hair. She debuted in films while still a Juilliard student and quickly became a notable presence in Hollywood, blending vulnerability, intelligence, and elegance. Her look was more classic and understated compared to some bold 1980s trends (big hair, shoulder pads, neon), often evoking a graceful, girl-next-door or period-drama ingénue vibe.

Her film debut as Jeannine Pratt, Timothy Hutton’s supportive girlfriend, in Ordinary People (1980). McGovern appeared youthful and relatable with a fresh-faced, natural style. Breakthrough as Evelyn Nesbit in Ragtime (1981), earning an Oscar nomination for Best Supporting Actress. She played a willowy chorus girl with a more glamorous, early-20th-century look, often with styled hair and period costumes that highlighted her elegant features.

Iconic as Deborah Gelly, Robert De Niro’s romantic interest, in Once Upon a Time in America (1984). Publicity portraits and scenes show her with striking, dark hair, expressive eyes, and a mix of youthful innocence and sophistication. This role cemented her as a Hollywood beauty. McGovern also appeared in Racing with the Moon (1984, with Sean Penn), She’s Having a Baby (1988, with Kevin Bacon), The Bedroom Window (1987), etc. She often had a soft, romantic or thoughtful on-screen presence.

In public appearances, she had a polished yet approachable style—dark wavy hair, minimal heavy makeup, and elegant or simple outfits fitting the era without excess. McGovern favored stage work alongside films and had a reputation for intelligence and avoiding pure stardom. Her 1980s aesthetic emphasized natural beauty: tall and slender build, striking eyes, and hair that could look wild/unruly or styled elegantly. She contrasted with flashier 1980s icons, leaning timeless rather than trendy. Later (post-1980s), her look evolved, especially with silver hair in recent years, but in the 1980s she embodied fresh Hollywood talent.

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