Publicity Photos of David Bowie as Jareth the Goblin King in “Labyrinth” (1986)

In Jim Henson’s 1986 fantasy cult classic Labyrinth, David Bowie delivers an iconic performance as Jareth the Goblin King. Portrayed with a blend of “disturbing beauty” and theatrical charisma, Jareth is the powerful, enigmatic antagonist who kidnaps Sarah’s baby brother, Toby, and challenges her to navigate his treacherous maze.

Jareth was designed specifically to represent a teenage girl’s complex feelings about the “adult world.” Rather than a simple monster, Jareth is a charismatic, manipulative figure who represents temptation. He is Sarah’s (Jennifer Connelly) fantasy made manifest—part rock star, part dangerous romantic hero. Conceptual designer Brian Froud drew inspiration from romantic figures like Heathcliff (Wuthering Heights) and Rochester (Jane Eyre), as well as medieval knights and “leather boys.”

Bowie’s look in the film is legendary for its “glam-rock meets fairy-tale” aesthetic. His wild, gravity-defying blonde wig became a hallmark of the 1980s. Jareth’s wardrobe shifts from high-collared velvet capes and glittery ball gowns to skin-tight leggings and leather jackets.

Jim Henson originally considered Michael Jackson, Sting, Prince, or Mick Jagger for the role. He ultimately chose Bowie because his “tall, lean presence” provided a perfect contrast to the earth-toned, compact goblins. It took Henson two years to convince Bowie to join the project. Once cast, the script was heavily revised to include more of Jareth throughout the film and to feature original music written and performed by Bowie.

While Bowie was the face of the character, the intricate crystal ball contact juggling seen on screen was actually performed by choreographer Michael Moschen, who reached from behind Bowie to manipulate the spheres.

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The American Dream: Captivating Photos Capturing Family Life in the 1950s

The 1950s are often remembered as the quintessential era of the American Dream, a time of unprecedented economic prosperity and suburban growth.

Following the hardships of World War II, American families embraced a new sense of optimism and stability. This period saw the rise of the nuclear family, defined by cozy suburban homes with manicured lawns, the latest modern appliances, and the iconic station wagon parked in the driveway. Life centered around community and domesticity: backyard birthday parties, holiday dinners, and the simple joy of children playing in safe neighborhoods.

Step back in time with these captivating photos from the David Wipf collection, offering a candid glimpse into the heart of American family life during the 1950s. From backyard barbecues to quiet moments in the living room, these images perfectly preserve the spirit of an era defined by simplicity and the American Dream.

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50 Fascinating Photos of a Very Young Shirley Bassey in the 1950s

Dame Shirley Veronica Bassey (born January 8, 1937) is a Welsh singer, known for her career longevity, powerful voice and recording the theme songs to three James Bond films – the only artist to officially perform more than one. In the 1950s, Bassey underwent a rapid transformation from a factory worker in Cardiff to an international star and the first Welsh artist to have a No. 1 hit in the UK.

Bassey left school at age 14 to work in a packing factory, singing in local pubs and clubs in the evenings. She signed her first professional contract in 1953 (aged 16) to tour with a variety show called Memories of Jolson.

Her early career was briefly interrupted when she became pregnant with her first daughter, Sharon. She returned to Cardiff to wait on tables before returning to the stage in 1955. In 1955, the impresario Jack Hylton spotted her at the Astor Club and cast her in the West End revue Such Is Life. This led to her being noticed by record producer Johnny Franz.

Her debut single “Burn My Candle” was released in 1956. It became a “succès de scandale” because the BBC banned it for its suggestive lyrics, which only increased its notoriety and her popularity. In 1957, she achieved her first UK Top 10 hit with “The Banana Boat Song,” which reached No. 8. During this time, she began cultivating her signature “torch singer” persona, known for her powerful contralto voice, dramatic stage presence, and “cleavage-baring” gowns that would become her trademark look.

In January 1959, Bassey’s recording of “As I Love You” reached No. 1 on the UK Singles Chart. It was the first time a Welsh artist had ever topped the charts. While “As I Love You” was at the top, her other hit “Kiss Me, Honey Honey, Kiss Me” was also climbing, resulting in her having two songs in the Top 3 simultaneously. In April 1959, she signed with EMI’s Columbia label and released her debut studio album, The Fabulous Shirley Bassey, which reached No. 12 on the UK Albums Chart.

By the end of the decade, Bassey’s fame extended beyond the UK; she began touring the United States and became a popular act in Las Vegas. Her 1950s success laid the foundation for her later iconic status as the voice of James Bond themes.

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Brigance: The Architect of American Sportswear

Tom Brigance (1913–1990), known professionally simply as Brigance, was a visionary designer who revolutionized American fashion, particularly during the 1940s and ’50s.

As the in-house designer for Lord & Taylor, Brigance became a master of the “American Look,” creating sportswear that was both functional and high-fashion. He is most celebrated for his innovative swimwear, which used clever draping, wrap-around silhouettes, and bold textile prints to flatter the female form without relying on heavy internal corsetry. His designs reflected the liberating spirit of the post-war era, moving away from rigid Parisian couture toward a more relaxed, sun-drenched aesthetic.

Brigance is remembered as a pioneer who proved that practical, ready-to-wear clothing could be just as sophisticated and timeless as high-end evening gowns.

Jean Patchett in bathing suit by Brigance, photo by Horst P. Horst, 1951

Jean Patchett in Crompton corduroy suit worn with a orange halter-ascot which buttons to the inside of the waist, by Brigance, photo by Clifford Coffin, Vogue, January 1, 1951

Suzy Parker in slate-blue suit by Brigance, photo by Horst P. Horst, 1951

Dorian Leigh in a parka for the beach in bright red poplin by Brigance of Nudelman, photo by Toni Frissell, Harper's Bazaar, January 1951

Sunny Harnett in gray denim dress with menswear stripes and piqué halter collar by Brigance for Sportsmaker, photo by John Rawlings, Vogue, May 15, 1951

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Publicity Stills of Nicolas Cage for the Dramatic Film “Leaving Las Vegas” (1995)

Leaving Las Vegas is a 1995 romantic drama film written and directed by Mike Figgis and based on the 1990 semi-autobiographical novel by John O’Brien. Nicolas Cage stars as a suicidal alcoholic in Los Angeles who, having lost his family and been recently fired, has decided to move to Las Vegas and drink himself to death. Once there, he develops a romantic relationship with a prostitute (Elisabeth Shue). O’Brien died by suicide after signing away the film rights to the novel.

Cage’s performance as Ben Sanderson in Leaving Las Vegas is widely considered the crown jewel of his career. It earned him the Academy Award for Best Actor and transformed him from a quirky character actor into a top-tier Hollywood star. His portrayal is famous for its “nouveau shamanism” (a term Cage coined for his style), blending extreme realism with poetic, operatic tragedy.

To play an alcoholic screenwriter drinking himself to death, Cage went to lengths that became the stuff of Hollywood legend. He hired a family friend and poet, Tony Dingman, to be his “drinking coach.” Cage watched Dingman’s mannerisms and even stole poetic, drunken lines Dingman would ramble, such as: “You do not kick the bar, you lean into the bar.”

Cage spent two weeks binge-drinking in Dublin and had himself videotaped so he could study his own slurred speech and physical movements. While he didn’t drink for most of the film, Cage admitted to being “completely hammered” for specific scenes, like the infamous casino table-flip, to capture a genuine sense of being “out of control.”

Cage’s performance is a masterclass in physical acting. He captures the “DTs” (delirium tremens) with a terrifying accuracy: the shaking hands, the cold sweats, and the desperate, frantic way he handles a bottle. Despite the bleakness, Cage infused Ben with a strange, tragic wit and charm. This prevents the character from being purely a “sullen drunk” and makes his downward spiral more painful to watch. His performance is inseparable from Elisabeth Shue, who played Sera. Critics noted that while Cage is the “set trajectory” (he never intends to stop drinking), Shue is the emotional heart who provides a temporary reprieve from his pain.

The film was shot on 16mm film, which used smaller cameras. Cage noted this was “liberating” because the camera felt less intrusive, allowing him to be more raw and nuanced. “As an actor, having a 16-mm camera in my face was liberating because it’s much smaller, so you don’t feel as intimidated by it,” he said. “It catches those little nuances. Because as soon as that big camera’s in your face, you tense up a little bit. Film acting is a learning experience about how to get over that, but I don’t know that you ever really do.”

Remarkably, Cage (and director Mike Figgis) were never actually paid their $100,000 fees for the film. The production company claimed the movie never made a profit, despite it grossing over $32 million on a $4 million budget. He beat out heavyweights like Anthony Hopkins and Sean Penn to win the Oscar for Best Actor in a Leading Role at the 68th Academy Awards. It remains one of the most respected “dark” wins in Oscar history.

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Barbara Parkins: The Epitome of 1960s Sophistication

Born 1942 in Vancouver, British Columbia, Canadian-American actress Barbara Parkins became a defining style icon of the 1960s, best known for her role as Betty Anderson in the groundbreaking soap opera Peyton Place.

With her striking dark hair, porcelain skin, and dramatic eyes, Parkins possessed a sophisticated look that captivated audiences worldwide. Her career reached a cinematic peak with the 1967 cult classic Valley of the Dolls, where her portrayal of Anne Welles showcased the glamorous yet tumultuous fashion world of the era.

Beyond her acting talent, Parkins was a favorite subject for fashion photographers, often seen sporting the sharp silhouettes, bold eyeliner, and elegant updos that characterized the “Mod” aesthetic. Even as she transitioned into later roles, her legacy remains tied to that golden age of television and film, where she stood as a symbol of cool, understated elegance.

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The Making of Queen Elizabeth II’s Wedding Cake, 1947

Queen Elizabeth II’s wedding cake, created for her marriage to Prince Philip on November 20, 1947, stood at an extraordinary 9 feet (2.7 meters) tall and weighed over 500 pounds (227 kg). Crafted by McVitie & Price Ltd, it became known as the “10,000 Mile Cake,” a name earned because its key ingredients – including sugar, flour, and dried fruits – were sent from across the Commonwealth, notably from Australia and South Africa, at a time when post-war Britain was still enduring strict rationing.

The cake featured four tiers of rich fruitcake, each covered in intricate royal icing. Its decoration carried layers of meaning, with coats of arms, the couple’s monograms, and detailed sugarwork celebrating the unity of Britain and its Commonwealth nations. For a country still recovering from war, the grandeur of the cake was seen as both symbolic and uplifting, a gesture of shared sacrifice and hope for renewal.

Remarkably, slices of the cake have survived for decades. One such piece, preserved in its original presentation box, was discovered in Scotland and recently sold at auction for £2,200. Still in impressive condition after 77 years, it came with a letter from the Queen, making it not just a piece of confectionery, but a rare and tangible link to one of the most celebrated royal weddings of the 20th century.

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