Dunkley Motorized Perambulators in England From the 1920s

In 1923, Dunkley entered the history books with a fairly unlikely motor vehicle – a motorized perambulator. The Dunkley Pramotor was a scooter attached to the rear of a large baby pram, and the nanny rode standing astride the engine on the scooter platform. Initially powered by a 1HP horizontal single-speed two-stroke which required a push the bathtub and leap aboard with your ankle-length dress start, the following year a 2-speed version was offered with a kickstarter and clutch lever making life oh so much easier for intrepid nursie.

These brilliantly thought-out contraptions were promptly banned from footpaths and parks meaning they had to share the road with lumbering milk carts, motor bicycles and the local laird’s Hispanic Wheezer. This proved problematical of course, with a one-horse engine having difficulty pacing the milko’s cart let alone Sir Richcant’s 17 liter behemoth, so Dunkley’s solution was to produce a 750cc version of the Pramotor.

This is the Dunkley Pramotor, introduced in 1921, or 1923 according to some sources. The Pramotor was a scooter attached to the rear of a large baby pram, and the intrepid nanny rode standing astride the engine on the scooter platform. Early versions were powered by a 1 HP horizontal single-speed two-stroke engine. It was manufactured by W.H. Dunkley of Birmingham, UK.

This was clearly taken on the same photoshoot. Note the heavyweight wheels on the pram to carry the weight of the scooter attachment.

This version has a seat for more relaxing pram-driving.

This is the hard-top version, with stream-lined nose. No seat for the nanny on this model.

This illustration may well have been the inspiration for Dunkley’s device.

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30 Gorgeous Photos of Lois Moran in the 1920s and ’30s

Born 1909 in Pittsburgh, Pennsylvania, American actress Lois Moran made her first film in Paris at age 14. She is probably best known for her role as Laurel Dallas, daughter of the title character, in the 1925 film Stella Dallas, which was her Hollywood film debut.

Moran appeared in early sound movies, such as Behind That Curtain (1929), and some musical movies, such as A Song of Kentucky (1929), Words and Music (1929), and Mammy (1930). She then moved to Broadway, where she appeared in the play This Is New York (1930) and the musicals Of Thee I Sing (1933) and Let ’Em Eat Cake (1934). She also had a co-starring role in the short-lived TV series Waterfront (1954–1955).

Moran died in 1990 at a nursing home in Sedona, Arizona, after suffering from cancer, aged 81. Take a look at these gorgeous photos to see the beauty of young Lois Moran in the 1920s and 1930s.

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Photos of the 1968 Maserati Ghibli Spyder Prototype

In 1968, Italian automotive design was at the forefront of innovation, with numerous auto shows unveiling a range of remarkable new cars. One standout was the Maserati Ghibli, designed by Giorgetto Giugiaro during his tenure at Ghia. The Maserati Ghibli Spyder Prototype, introduced at the Turin Auto Show in October 1968, captivated the audience with its design. The prototype, chassis number AM115/S 1001, was the first Ghibli Spyder ever produced and showcased to the public, as confirmed by Maserati Classiche.

When Ghia revealed this car at Turin, its bright yellow exterior and dark brown leather interior attracted considerable attention. The prototype retained the Ghibli’s exceptional styling while adding the allure of a convertible.

Several unique features distinguish this prototype from the production models. For instance, the door panels have recesses for the door handles, and the external fuel filler doors on the production cars are absent on this prototype, accessible only by opening the trunk. The trunk lid on chassis 1001 is also longer and includes a character line for additional stiffness. Other differences include the placement of the radio antenna at the rear of the fender and the unique operation of the trunk-lid release lever.

The interior of the Ghibli Spyder Prototype is a blend of luxury and functionality. The dark brown leather seats and dashboard exude a sense of sophistication, while the layout ensures an engaging driving experience. The attention to detail in the interior design complements the car’s overall aesthetic appeal.

Under the hood, the Ghibli Spyder Prototype is powered by a 4.7-liter dual overhead-camshaft alloy V-8 engine, producing 330 bhp. This engine is paired with a five-speed manual transmission. The car featured an independent coil-spring front suspension and a live rear axle with semi-elliptical leaf springs, providing for a balanced ride. Four-wheel hydraulic disc brakes provide reliable stopping power.

The Maserati Ghibli Spyder Prototype remains one of the most celebrated designs by Maserati and Giugiaro.

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Photos of Jamie Lee Curtis at Her Home in Los Angeles, California in December 1978

In 1978, Jamie Lee Curtis was 20 years old and had a youthful, fresh-faced appearance. She was catapulted to fame with her role as Laurie Strode in John Carpenter’s Halloween. This iconic role marked her debut in feature films and earned her the title “Scream Queen” due to her stellar performance in the horror genre.

In Halloween (1978), Curtis’s portrayal of Laurie Strode became legendary for its relatability and strength. Her character was a high school student babysitting on Halloween night, unwittingly caught in the path of Michael Myers, a masked killer. Laurie’s intelligence, resourcefulness, and vulnerability resonated deeply with audiences, making her a standout “final girl” in horror cinema.

Jamie Lee Curtis, off-screen, reflected the era’s trends. She often wore casual yet chic outfits, like flared jeans, peasant blouses, or maxi dresses, paired with minimal makeup. Her hairstyle—usually natural and shoulder-length—was effortlessly stylish.

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40 Amazing Vintage Photographs of a Young Pete Townshend of The Who in the 1960s

Peter Townshend (born 19 May 1945) is an English musician. He is the co-founder, guitarist, second lead vocalist and principal songwriter of the Who, one of the most influential rock bands of the 1960s and 1970s. His aggressive playing style and poetic songwriting techniques, with the Who and in other projects, have earned him critical acclaim.

Pete Townshend, The Who’s guitarist and principal songwriter, was born into a musical family in Chiswick, West London, on May 19, 1945. His father Cliff played the alto saxophone with the RAF dance band The Squadronaires, and his mother Betty Dennis sang professionally. An aunt encouraged him to learn piano but after seeing the movie Rock Around The Clock in 1956 he was drawn to rock ’n’ roll, an interest his parents actively encouraged.

Having dallied briefly with the guitar, Pete’s first real instrument was the banjo which he played in a schoolboy trad jazz outfit called The Confederates. The group featured John Entwistle on trumpet but after John took up the bass guitar the two friends joined another schoolboy band, The Scorpions, with Pete on guitar. Pete and John both attended Acton County Grammar School where another, slightly older, pupil Roger Daltrey had a group called The Detours. Roger invited John to join and about six months later the nucleus of The Who was in place when John persuaded Roger that Pete should join too.

Meanwhile Pete had enrolled at Ealing School of Art to study graphic design, where he broadened his mind on a diet of radical performance art and American blues music, both of which would influence The Detours as they worked their passage through the West London club and pub circuit. With the arrival in 1964 of drummer Keith Moon and managers Kit Lambert and Chris Stamp, The Who were on their way, with Pete increasingly cast in the role of leader and spokesman.

Pete soon found himself at the forefront of the British musical boom of the Sixties. As guitarist and composer of the band, he became the driving force behind one of the most powerful, inventive and articulate bodies of work in rock. From early classic three-minute singles like “My Generation,” “Substitute” and “I Can See For Miles,” through to complete song cycles in the shape of Tommy, Lifehouse and Quadrophenia, Pete established himself as one of the most gifted and imaginative musicians working in the rock field.

Pete spent all of the Sixties and much of the Seventies concentrating his creative energies on The Who. In concert he became recognized as the most visual guitarist of his and future generations, careering around the stage, leaping into the air and spinning his arm across the strings in his trademark ‘windmill’ fashion. He developed a unique guitar style, a cross between rhythm and lead which veered from furiously strummed chord patterns and crunching power chords to chromatic scales and delicate finger-picking. On top of this, he frequently smashed his guitar into smithereens at the climax of a performance.

Here, below is a collection of 40 amazing vintage photographs of a young Pete Townshend in the 1960s:

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30 Amazing Photos Show What Living Rooms Looked Like in the 1950s

Living rooms in the 1950s were influenced by a mix of post-WWII optimism, emerging modernism, and traditional comforts. The decade saw a transition in design as families moved into newly-built suburban homes and the popularity of television rose.

1950s living rooms were cozy yet modern, blending comfort with sleek design. They featured plush sofas and armchairs in bold colors or pastels, often arranged around a central coffee table. Wooden furniture with clean lines and mid-century modern accents, like tapered legs, were common. Hardwood floors with geometric or abstract rugs were typical. Televisions took center stage, often housed in stylish cabinets, and decorative lighting included starburst chandeliers and table lamps. The space was bright, welcoming, and designed for both relaxation and entertaining.

Here below is a set of amazing photos that shows what living rooms looked like in the 1950s.

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Andy Warhol Shopping at Gristede’s Supermarket on Second Avenue, New York, 1964

Andy Warhol at Gristede’s on 2nd Avenue in New York City, taken by Bob Adelman for Esquire, 1964.

“When I photographed Andy for Esquire, I’d only been making a living as a professional photographer for a year or two. I took him into Gristede’s on 47th & 2nd Avenue, this tiny bodega around the corner from the silver studio, his first Factory. It was not a large supermarket. It was poorly lit with fluorescent lights. I asked Andy to fill up the cart with his things. He walked around [picking up Campbell’s soup cans and Brillo boxes| saying, ‘Beautiful... beautiful!’ in this grim place. I guess he was putting me on.

“As a journalist, I’d wander over to The Factory and hang out there. It was the Sixties and people were off the charts. I went to parties with Andy. I have like 50-60 rolls of him, mostly candids. Andy’s first studio was a big loft, a big workplace with silver foil on the walls to give it the allure of glamour. I photographed Andy and Gerard, his assistant, in the silver bathroom. I don’t think there was anything going on [between them]; Gerard was heterosexual.

“I first met Andy in the Sixties at Leo Castelli’s townhouse apartment on Madison & 78th, when Leo was selling art on the first floor. I lived on 72nd. Leo had openings on Saturday afternoons and all sorts of people would turn up, especially his artists. I saw Andy’s importance immediately, but I never found him someone who magnetized me. He seemed like a very strange human being.” — Bob Adelman via “Warhol: Dylan to Duchamp.”