Beautiful Portraits of Sylvia Sorrente in the 1960s

Born 1941 in Paris, French actress and starlet Sylvia Sorrente gained popularity during the 1960s. Known for her striking presence and classic European beauty, she appeared in various French, Italian, and Spanish productions, often associated with the “cult cinema” of the era.

Sorrente is perhaps best remembered for her roles in films like the gothic horror classic Castle of Blood (1964) and the action-comedy Let’s Not Get Angry (1966). Beyond her film career, she was a frequent subject for high-profile photographers, embodying the glamorous “vibe” of the French Riviera during the height of the Sixties.

Take a look at these beautiful photos to discover the captivating portraits of a young Sylvia Sorrente throughout the 1960s.

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Bell Cemeteries in Germany During the Wars

Bell cemeteries (or Glockenfriedhöfe in German) were enormous holding areas where confiscated church bells were stockpiled before being melted down for the war effort. After bells were removed from towers, they were taken by ships and freight trains to smelting works, where large holding areas held the bells before they were taken to the furnace and converted back into bronze ingots.

During the First World War, 44 percent of the bells in Germany alone were lost, many given willingly to support the war effort, and some not so willingly. It is estimated that around 65,000 bells amounting to 21,000 tons were melted down during WWI.

Between 1939 and 1945, the Nazis confiscated over 175,000 bells from towers throughout Europe. To feed their war machine, bells were broken down and melted into large bronze ingots at the bell cemeteries, then sent along to refineries for further processing — the two largest just outside Hamburg. There, the bells were reduced to their component metals: mostly copper and tin, but also lead, zinc, silver, and gold. Tin, especially, became shell casings and armaments.

The Nazis were systematic about it. They graded bells into four groups, A through D, based on historical or cultural value. “A” bells were cast within the preceding ninety years and generally considered without merit, they were the first to be destroyed. Types C and D represented historically valuable bells — type C was put on hold for examination by art historians, while type D was protected. Only one bell was allowed per church, usually the lightest.

Some 150,000 bells were sent to foundries and melted down for their copper. British investigators claimed every single bell was taken out of the Netherlands, with only 300 surviving their stay in the bell cemeteries.

“The so-called bell cemeteries, where the bells were laid to rest before they fell victim to destruction, had something inexpressibly melancholy,” said bell specialist Kramer, quoting a contemporary witness. Smaller bells were smashed with hammers, larger ones blown up: “Usually the bell rang again at the moment it was blown, as if it had made its last wail.”

In defiance, some communities attempted to hide their bells, often by burying them in surrounding grounds or on parishioners' land, but this had to be completed before Nazis took a local inventory and in collusion with the presiding clergy. It was a grave risk.

After the end of WWII, around 13,000 bells that were confiscated but not melted still remained in bell cemeteries. In 1947, the Allied authorities set up a committee, the Ausschuss für die Rückführung der Glocken (ARG), to safeguard the remaining bells and coordinate their return.

Canadian Percival Price, Canada’s first dominion carillonneur and designer of the Peace Tower carillon in Ottawa, was dispatched to help investigate and repatriate as many bells as possible, serving the Monuments Men. He spent two years helping Austrian, Belgian, Dutch, West German, and Italian government commissions locate and repatriate bells.

The repatriation process is ongoing even today. Some bells cast in the 1930s and emblazoned with the swastika or a tribute to Adolf Hitler still hang in local bell towers in Germany, causing a rift between cash-strapped churches who can't afford to replace them and concerned citizens.

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Map Creation Before Computers – Using T-squares, Rulers and Ink, ca. 1950s

Before the digital era, creating engineering and architectural drawings was an intensely manual and meticulous process. Draftsmen and engineers relied on traditional tools like mechanical pencils, compasses, T-squares, and set squares, working carefully on large sheets of paper. Every line had to be drawn with exact precision, as mistakes were costly and difficult to correct—there was no “undo” button. A single error could force hours of redrawing or even starting the entire blueprint anew, making the task both time-consuming and high-stakes.

Revisions added another layer of complexity. When changes were requested, drafters had to painstakingly erase and redraw sections without damaging surrounding details. For intricate designs, this could stretch over days or even weeks, consuming valuable time and resources. The fear of costly errors often made designers hesitant to experiment or innovate freely, as each iteration carried the risk of significant setbacks. The fragile nature of paper and manual tools meant that every draft felt like a delicate balance between perfection and potential ruin.

The introduction of AutoCAD in 1982 revolutionized this process by shifting drafting from paper to computer screens. This software brought unprecedented speed, precision, and flexibility to design work. Features such as layers, snapping tools, and easy scaling allowed professionals to make quick edits, streamline revisions, and manage complex projects with ease. AutoCAD not only improved efficiency but also expanded creative possibilities, enabling architects and engineers to push boundaries and focus more on innovation rather than repetitive manual labor. This digital transformation forever changed the landscape of technical design.

The Dawn of Cuban Art Deco: Rare Social Magazine Covers of the 1910s

Founded in 1916 by brothers Conrado Walter and Oscar H. Massaguer, Social was far more than a high-society chronicle, it was the intellectual and artistic heartbeat of early 20th-century Cuba. Most notably, it served as the gateway for the Art Deco movement into the island and made global history as the first publication to utilize photolithographic printing. Operating until 1938, the magazine’s journey was a turbulent one, marked by periods of silence as its directors and contributors faced exile and imprisonment for their bold stances.

While Social catered to the sophisticated elite, Conrado Massaguer famously used its pages to satirize the very class it served, blending haute couture with sharp social critique. The magazine was the unofficial voice of the Minorista Group, a collective of intellectuals at the forefront of Cuba’s cultural and political life. Within its vibrant pages, readers found a revolutionary mix of avant-garde poetry, philosophical essays, and art reviews alongside reports on motor racing and interior design.

Social is remembered as a pioneering force that didn’t just follow trends, it defined Cuban identity and modernism for an entire generation. Below is a collection of rare Social magazine covers from the 1910s.

Social cover, August 1916

Social cover, December 1916

Social cover, July 1916

Social cover, November 1916

Social cover, October 1916

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John Lennon and Yoko Ono’s Trip to Japan, 1979

In 1979, John Lennon and Yoko Ono spent what would be their final summer together in Japan. This trip was a cornerstone of John’s “house husband” era, a period defined by domesticity, child-rearing, and a deliberate retreat from the music industry.

The family arrived in Japan in late July and stayed for approximately one month. While they spent time in the bustling capital of Tokyo, the heart of the trip was their retreat to the mountains. In the city, the family famously stayed at the Hotel Okura, a landmark of modernist Japanese design. John was known to appreciate the hotel’s quiet elegance and often used the suite to relax and sketch.

They spent a significant portion of the trip in Karuizawa, a historic summer resort town in Nagano Prefecture. This was Yoko’s ancestral summer home, and it provided the privacy John craved. They stayed at the Mampei Hotel, a classic “Showa-era” establishment where John’s favorite spot was the terrace, often ordering “Royal Milk Tea.” One of the most iconic images from this era is of John pedaling a bicycle through the cedar-lined paths of Karuizawa, often with a loaf of French bread from a local bakery in his basket.

The couple frequented the Mikado Coffee Shop in the Kyu-Karuizawa Ginza district. John was particularly fond of their “Moka Soft” (coffee-flavored soft serve ice cream). In a poignant memoir, Yoko later recalled visiting a small coffee house in a pine forest near Karuizawa. During their 1979 visit, John left his lighter there. They intended to go back for it “tomorrow,” but the rainy season started, and they eventually left for New York without it. When Yoko returned years later, the owner still had it waiting for her.

During these Japanese summers, John studied the Japanese language and became deeply fascinated by Zen and Haiku. He filled sketchbooks with drawings and Japanese characters, exploring concepts like Wabi-sabi (the beauty of imperfection). This 1979 visit was the last of four consecutive summers (1977–1979) the family spent in Japan. By this time, John had fully embraced his role as a father to young Sean. The anonymity he found in Japan allowed him to live as a “regular person,” a freedom that directly influenced the peaceful, domestic themes found in his comeback album, Double Fantasy, which he would begin recording the following year.

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Mary Pickford Before and After She Bobbed Her Hair

The transition of Mary Pickford’s hair from her signature “golden curls” to a short “bob” in June 1928 was one of the most shocking cultural events of the 1920s. For over a decade, her long, ringlet-styled hair had served as a global symbol of innocence and purity, earning her the title “the girl with the curls.”

Pickford’s iconic look consisted of roughly 20 thick ringlets that fell to her waist. This hairstyle was not just a fashion choice but a powerful branding tool. Her curls represented Victorian-style innocence and childhood. This allowed her to continue playing young girls and “Cinderella” roles well into her 30s.

Maintaining the style was labor-intensive. She spent a full day every two weeks washing her hair and used leather “curling rags” to set the ringlets. Her hair was famously valued at $20,000 per curl in contemporary press reports.

Following the death of her mother and the rise of “flapper” stars like Clara Bow, Pickford decided she needed a more mature image. On June 21, 1928, she secretly visited a New York beauty parlor to have her hair cut by stylist Charles Bock. She requested a “long bob” rather than a severe “shingle” to better suit her features.

“I had to take a courageous stand, once and for all... They’ve become a stumbling block to the future of my career.” As the barber snipped off the 20 long ringlets, she reportedly said: “Well, they’re gone and I’m glad.”

The news of the haircut made front-page headlines worldwide, with some fans writing her indignant letters as if she had “murdered someone.” She saved the cut ringlets, eventually donating some to the Natural History Museum of Los Angeles County, where they remain part of the collection.

Post-cut, Pickford debuted a trendy, wavy bob that aligned with the “sophisticated” style of the late 1920s.  She showed off her new short hair in her first “talkie,” Coquette, playing a reckless socialite.

“I wasn’t at all prepared for the avalanche of criticism that overwhelmed me from all corners of the earth,” she said. “You would have thought I had murdered someone, and perhaps I had, but only to give her successor a chance to live.”

“For weeks I told myself that I shouldn’t have done it. I thought it would free me... and I suppose in a way it did, because I began to feel a change in me personally, a sense of ease and liberation I hadn’t known before.”

While she won a Best Actress Oscar for Coquette, the transition was professionally difficult. The public struggled to accept her in mature roles, and she retired from acting only a few years later in 1933. 

Publicity Photos of Carolyn Jones as Morticia Addams in the TV Series “The Addams Family”

Carolyn Jones portrayed Morticia Addams in the original 1964 television series The Addams Family, a role that became her most enduring legacy. As the first actress to bring Charles Addams’ cartoon matriarch to life, she defined the character's mix of gothic glamour, deadpan wit, and aristocratic poise.

Naturally a strawberry blonde, Jones kept her hair dyed black for the role and wore a long, center-parted raven wig. Her makeup featured pale foundation and lipstick so dark it appeared black under black and white filming. She wore a floor-length, skin-tight black hobble skirt with “octopus-like” fabric tendrils at the hem, designed to mimic Charles Addams’ original sketches. Jones eventually donated this costume to the Academy of Motion Picture Arts and Sciences.

Jones played Morticia as a calm, self-possessed woman who treated her family’s macabre interests as completely normal. She was known for her whispery, musical voice and her habit of trimming roses by clipping off the buds and keeping only the thorny stems. Her chemistry with John Astin (Gomez Addams) was a series highlight. Their passionate relationship, characterized by Gomez’s “Cara Mia” exclamations and Morticia speaking French to drive him wild, was groundbreaking for 1960s television.

Within the series, Jones also portrayed Morticia’s flighty, blonde older sister, Ophelia Frump, and the female version of Thing known as Lady Fingers.

Before finding television immortality, Jones was an Academy Award-nominated film actress, recognized for her work in The Bachelor Party (1957) and House of Wax (1953). Her portrayal of Morticia set the definitive blueprint for the character, influencing every subsequent adaptation, including Anjelica Huston’s performance in the 1990s films.

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