Candid Photographs of a Young Steve Martin Taken by Henry Diltz at His Home in 1969

In 1969, legendary photographer Henry Diltz took a series of candid, iconic portraits of a young Steve Martin at his home in Laurel Canyon, Los Angeles. Long before he became known for his signature white hair and “Wild and Crazy Guy” comedy persona, the future superstar was working as a television writer and stand-up comic while living right up the hill from Diltz.

The photo session captures an intimate look at Martin’s early artistic passions, quirky humor, and life in the vibrant Laurel Canyon artistic community. Several famous shots from this shoot highlight Martin playing his acoustic guitar and banjo. He would later seamlessly weave his master-level banjo skills into his legendary comedy acts. One notable image showcases him focused at his desk, working away on a vintage typewriter, around the time he was writing Emmy-winning material for The Smothers Brothers Comedy Hour.

Even in casual portraits, Martin’s distinct comedic sensibilities peeked through. Diltz captured deadpan, absurd setups, including a famous shot of Martin jokingly pretending to “iron” a kitten, as well as posing with binoculars.

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Patricia Morison: Classic Hollywood Beauty and Broadway Legend

Patricia Morison (1915–2018) was an American actress and singer celebrated for her striking beauty and powerful mezzo-soprano voice.

Known for her long, dark hair and elegant presence, Morison appeared in numerous Hollywood films of the 1940s, often cast as sophisticated or mysterious leading ladies. Her greatest triumph came on Broadway, where she originated the role of Lilli Vanessi in Cole Porter’s classic musical Kiss Me, Kate (1948), introducing iconic songs such as “So in Love” and “I Hate Men.”

With a career spanning stage, screen, and later television, Morison remains remembered as both a glamorous film star and a legendary figure of the American musical theatre. These vintage photos capture the timeless elegance and dramatic allure of Patricia Morison, a true classic of Hollywood and Broadway’s Golden Age.

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Architects Dressed as Their Own Famous New York City Skyscraper Creations at the 1931 Beaux-Arts Ball

Held on January 23, 1931, at the Hotel Astor in New York City, the masquerade gala was organized by the Society of Beaux-Arts Architects. The ball’s theme was Fête Moderne: A Fantasie in Flame and Silver. During the height of the Great Depression, and just as Manhattan’s skyline was undergoing a explosive Art Deco transformation, seven of New York’s most prominent architects arrived at the costume gala dressed literally as the iconic skyscrapers they designed.

Standing side by side in elaborate cardboard-and-fabric costumes, the lineup includes: Leonard Schultze as the Waldorf-Astoria; William Van Alen as the Chrysler Building, his costume featured detailed patent leather and a cape made to mimic the building's sunburst spire; Ely Jacques Khan as the Squibb Building; Ralph Walker as the Wall Street Building; Arthur J. Arwine as a low pressure heating boiler, A. Stewart as the Fuller Building; and Joseph Freelander as the Museum of the City of New York.

The ball took place during the Great Depression. Tickets cost $15, a small fortune at the time. Despite the economic hardship outside, the party served as a spectacular, eccentric celebration of human ambition and the rapid vertical rise of the modern American metropolis. It remains a definitive cultural symbol of the Jazz Age and early American modernism.

40 Vibrant Color Photos of Las Vegas in the 1960s

These vibrant color photos, via Thomas Hawk, offer a dazzling glimpse into Las Vegas during its glamorous heyday in the 1960s. From glowing neon signs and bustling casinos to stylish visitors, classic cars, and iconic hotels along the Strip, the images capture the energy, optimism, and larger-than-life atmosphere of the era.

Shot in rich, saturated colors, these photos preserve the distinctive mid-century modern architecture, fashion, and nightlife that made Las Vegas the ultimate destination for entertainment and excess during one of its most legendary decades.

Stardust, Las Vegas, September 1960

El Rancho Vagas, Las Vegas, April 1960

El Rancho Vagas, Las Vegas, April 1960

Dunes, Las Vegas, August 1961

Golden Nugget, Las Vegas, August 1961

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The Collaboration Between Michael Jackson and Guns N’ Roses Guitarist Slash in the 1990s

During the 1990s, Michael Jackson and Guns N’ Roses guitarist Slash formed one of the most iconic pop-rock partnerships in music history. Driven by Jackson’s desire for a more aggressive, hard-rock edge, their work seamlessly blended high-energy pop with blistering guitar solos.

Their connection originated in 1990 when Jackson reached out through his manager to see if Slash would play on his upcoming album, Dangerous. At the time, Guns N’ Roses was the biggest hard rock band in the world, while Jackson was the indisputable King of Pop. Despite their radically different public images, Slash accepted out of sheer curiosity and admiration for Jackson’s artistry.

What struck Slash most about Jackson was his approach in the studio. Rather than micromanaging or dictating exact notes, Jackson gave Slash total creative autonomy. “He just said, ’Play whatever you feel like playing,’” Slash recalled. “He didn’t try to direct me. He just let me do my thing... which was amazing because most pop artists of that caliber want to control every single note.”

During sessions for “Give In to Me,” Jackson simply cheered him on, encouraging his raw, heavy tone. This deep trust created an instant bond, making Slash one of Jackson’s go-to guest performers for over a decade. While often mistakenly credited for the main riff in “Black or White” (which was played by Tim Pierce), Slash officially performed the intro guitar tracking, specifically the skit where a kid blasts rock music to annoy his father.

Slash returned to provide heavy, driving rock riffs for the aggressive protest track “D.S.” found on Jackson’s HIStory: Past, Present and Future, Book I album. He contributed his signature, biting guitar work to the dark, industrial-rock track “Morphine” from the remix album Blood on the Dance Floor: HIStory in the Mix.

On stage, the contrast was electric, Jackson’s sharp, synchronized choreography paired with Slash’s loose, improvisational shredding. One of their most iconic running gags occurred live at the 1995 MTV VMAs. During a fiery guitar solo, Jackson would act frustrated that Slash was “stealing the spotlight” and refusing to stop playing, sending security guards to mock-restrain him before transitioning smoothly into the next beat. Slash periodically flew out to make guest appearances during Jackson’s HIStory World Tour , elevating tracks like “Black or White” and “Beat It” with live solos.

Away from the cameras, Slash often spoke about Jackson’s surprisingly quiet, polite demeanor offstage. Behind the massive celebrity persona, Slash saw a remarkably dedicated musician who treated everyone around him with kindness and respect. Jackson appreciated having someone around who interacted with him like a normal peer rather than an unreachable icon.

Their working relationship occasionally caused tension within Guns N’ Roses, most notably between Slash and frontman Axl Rose, but Slash remained steadfast in his loyalty to Jackson as a musician and friend.

Following Jackson’s passing in 2009, Slash frequently reflected on his talent and impact, calling him “one of the most talented musicians I’ve ever had the honor to work with.” He highlighted Jackson’s incredible sense of rhythm, noting that even without instruments, Jackson could convey precisely how a guitar line should groove just by beatboxing and moving.

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Back in 1963 Henry Cooper Almost Caused a Huge Shock When He Floored Muhammad Ali at Wembley Stadium, London

On June 18, 1963, a 21-year-old Cassius Clay (later Muhammad Ali) traveled to Wembley Stadium in London to fight British heavyweight champion Henry Cooper in front of 55,000 fans. It became one of the most famous non-title bouts in boxing history—featuring a dramatic knockdown, tactical controversy, and a precise prediction coming true.

America’s Cassius Clay is shown sliding against the ropes as he goes down after a wild left hook from British champ Henry Cooper in the fourth round of their bout in London, England, June 18, 1963.

Clay arrived in London as the brash, undefeated (18–0) top contender, loudly dubbing himself “The Greatest” and declaring that Cooper was a mere stepping stone to world champion Sonny Liston. Playing the ultimate showman, Clay arrived in the ring wearing a crown and delivered his trademark pre-fight prediction: “If he gives me any jive, Cooper will fall in five.”

The 29-year-old Cooper caught Clay off-guard with early aggression, bloodying Clay’s nose in the opening round. Clay rebounded by round two, heavily jabbing Cooper and opening up major cuts on Cooper's notoriously fragile face. Clay began to taunt Cooper, showboating on the outside.

In the final seconds of the fourth round, Cooper unleashed his trademark, devastating left hook known as ”‘Enry’s ‘Ammer.” The punch landed flush on Clay’s jaw, sending him crashing backward into the canvas. It was the first time Clay had ever been officially floored in his professional career. Clay arose heavily dazed at the count of four just as the bell rang.

The interval between rounds four and five became historic. Realizing Clay was severely disoriented, his trainer, Angelo Dundee, notice a small tear in Clay’s boxing glove. Dundee strategically worsened the tear and informed the referee, buying Clay vital extra seconds to clear his head while handlers looked for a replacement pair. Though debate continues on how much extra time this afforded, it allowed Clay to regain his composure.

Clay emerged for the fifth round with a vengeance. He immediately unleashed a blistering combination that widened the deep gash over Cooper’s left eye. With Cooper bleeding profusely and unable to see, referee Tommy Little stepped in and halted the bout at 2:15 of the fifth round, fulfilling Clay’s exact round-five prediction.

Surviving Cooper’s left hook preserved Clay's shot at the world title. Just eight months later, in February 1964, Clay shocked the world by defeating Sonny Liston in Miami to become World Heavyweight Champion, after which he changed his name to Muhammad Ali.

Ali and Cooper met again in a 1966 rematch at Highbury Stadium, where Ali once again won on cuts in Round 6. Cooper remained one of the few men Ali openly praised for having legitimate knockout power.

Boxer Cassius Clay rests during an early morning run in London’s Hyde Park. Clay is preparing for his fight at Wembley with British heavyweight Henry Cooper.

Muhammad Ali during a training session at the Territorial Army Centre in White City, London, before his fight with Henry Cooper.

Cassius Clay shakes hands with Henry Cooper during the weigh-in at London Palladium. Clay continued his confident boastings that he will beat Cooper in five rounds in their fight at Wembley Stadium tonight.

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Vicki Hilbert: Elegant Face of 1960s Fashion

Vicki Hilbert was an American fashion model active in the mid-1960s, known for her refined features and sophisticated presence.

Hilbert appeared on the cover of British Vogue in October 1965 and was photographed by leading photographers of the era, including Norman Parkinson and Richard Avedon. Her work in high-fashion editorials for Vogue and other publications captured the clean, elegant aesthetic of the period.

With her poised style and classic beauty, Hilbert became a recognizable face of mid-1960s fashion photography. These vintage photos beautifully capture the refined elegance and timeless style of Vicki Hilbert, a sophisticated model of the 1960s.

Vicki Hilbert in cashmere cardigan with matching wool skirt by Pringle, Vogue, November 1, 1965

Vicki Hilbert in black velvet evening pyjamas striped in jet slashed to the waist with a huge pink rose and tied satin ribbon by Catherine Scott, coiffure by Kenneth, mules by Herbert Levine, photo by Horst P. Horst, Vogue, November 15, 1965

Vicki Hilbert in ginger-and-beige 'tooth, wool and leather caped suit, the cape is lined in leather, by Tiffeau & Busch, jewelry by Vendôme, photo by Richard Avedon, Harper's Bazaar, August 1965

Vicki Hilbert in greenish-beige wool smocked blouson top and gathered skirt by B.H. Wragge, jewelry by Vendôme, photo by Richard Avedon, Harper's Bazaar, August 1965

Vicki Hilbert in pullover sweater and matching hat by B.H. Wragge, Harper's Bazaar, September 1965

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