Photos of Bill Murray on the Set of “Caddyshack” (1980)

Bill Murray’s performance as the unhinged groundskeeper Carl Spackler in Caddyshack (1980) became iconic precisely because of how unstructured, improvisational, and short his time on set actually was. Murray was originally cast in a minor, near-silent cameo role. Because of his tight Saturday Night Live shooting schedule, he was only available on set at the Rolling Hills Golf Club in Davie, Florida, for six days. Director Harold Ramis and co-writer Douglas Kenney had only a basic frame for the character, allowing Murray complete freedom to build Carl Spackler on the fly.

Virtually none of Murray’s iconic dialogue was written in the script. The speech where Carl imagines himself winning the Masters while taking a grass whip to a bed of chrysanthemums was completely ad-libbed. Ramis simply instructed Murray to act out a kid imagining a sports fantasy, and Murray did the entire scene in two takes. His story about caddying for the Dalai Lama (“Gunga galunga... total spiritual enlightenment on your deathbed”) was improvised on the spot.

Because Murray and Chevy Chase were the film's two biggest SNL stars, executive producer Jon Peters realized midway through shooting that they didn't have a single scene together. Ramis wrote a brief setup where Chase’s character, Ty Webb, accidentally plays a golf ball into Carl’s dilapidated shack at night. Murray and Chase ad-libbed the entire exchange in one evening shoot, creating the famous scene where Carl offers Ty a drink of “a hybrid of bluegrass, Kentucky bluegrass, feathertex and northern California sinsemilla.”

The production of Caddyshack was famously chaotic, fueled by heavy drug use, late-night partying, and erratic weather. Murray was known for staying in character between takes, wandering around the golf course harassing real country club members, driving groundskeeping equipment into water hazards, and playing pranks on the cast and crew.

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Members of the Short Tail Gang Gathered Under a Pier at Corlears Hook in New York City, ca. 1887

Captured in 1889 by Jacob Riis, the only known photograph of the notorious Short Tail Gang offers a rare and chilling window into New York City’s underworld. Pictured beneath the pier at the foot of Jackson Street near Corlears Hook, the gang members sit hunched on damp wooden planks, eating from tin cans. Their distinctive short-tailed jackets, practical yet defiant, gave the gang its name and served as a makeshift uniform in the harsh world of tenement life and street survival.

The Short Tail Gang, also known as the Short Tails for their distinctive short-tailed jacket coats, were an 1880s–1890s Irish gang located in the Corlear's Hook section of the Lower East Side, on Rivington Street in the vicinity of Mangin and Goerck Streets of Manhattan, in New York City. The Eastman Gang was also headquartered around Corlear’s Hook and may have had its beginnings as a breakaway gang of the Short Tail Gang.

The Short Tails, along with rival gangs the Daybreak Boys, the Patsy Conroy Gang, the Swamp Angels, and the Hook Gang, worked the New York City waterfront, plundering ships of their cargo on the East River. The Short Tail Gang was photographed in 1887, under a pier by noted photographer Jacob Riis, being one of the few 19th-century New York gangs to allow its members to be photographed. In fear of being identified and arrested by the law, usually individual police mug shots were the only criminal pictures known to exist.

35 Stunning Fashion Portraits of Astrid Schiller in the 1960s

These stunning fashion portraits capture Astrid Schiller at the height of her modeling career in the 1960s. Photographed by leading names of the era such as Helmut Newton, Richard Avedon, and F.C. Gundlach, the images showcase her elegant presence and refined style.

Whether in high-fashion evening wear, chic ready-to-wear, or dramatic editorial looks, Schiller embodies the sophisticated glamour of mid-1960s fashion. These portraits offer a striking visual record of one of the decade’s distinctive modeling faces.

Astrid Schiller is wearing a plumed scarf by Halston, earrings by Joseph Warner, make-up by Charles of the Ritz, photo by Irving Penn, Vogue, September 1, 1965

Astrid Schiller in cerise brocade dress, patterned in shimmery flower-sprays on black silk by Sophie of Saks Fifth Avenue, earrings by Cis, photo by Helmut Newton, Vogue, October 1, 1965

Astrid Schiller in black moiré coupe de velours theater suit with white satin lining and bow by Pattullo-Jo Copeland, photo by Jerome Ducrot, Vogue, September 1, 1965

Astrid Schiller in black-and-white grand-scale Glen plaid suit over a clear yellow blouse by Adele Simpson, hat by Mr. John, photo by Richard Avedon, Vogue, December 1, 1965

Astrid Schiller in design by Geoffrey Beene, photo by Richard Avedon, Vogue, September 1, 1965

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Outtakes of Motörhead During the Ace of Spades’ Album Cover Photoshoot, 1980

The artwork for Motörhead’s classic 1980 album Ace of Spades is one of the most famous images in rock history. While it looks like Lemmy, “Fast” Eddie Clarke, and Phil “Philthy Animal” Taylor were photographed in a sun-baked desert in Arizona or New Mexico, the shoot actually took place in a sand quarry in Barnet, Hertfordshire, North London.

Captured by photographer Alan Ballard, who was tasked with creating a bold, cinematic visual inspired by Western films and Clint Eastwood’s “Man with No Name” outlaw persona. Instead of traveling to the American Southwest, the record company opted for a cost-effective location nearby. The band was taken to a quarry in Barnet on a sunny day in 1980.

The band donned leather jackets, bullet belts, leather trousers, cowboy boots, and wide-brimmed hats—with “Fast” Eddie wearing a poncho to complete the Sergio Leone Spaghetti Western look. To accentuate the desert feel, the sky was enhanced and airbrushed to deepen the blue tones and bring out the contrast against the pale sand, making the overcast British sky look like arid canyon heat.

Lemmy later recalled in interviews that no one believed the photograph was taken in England due to the rare, uncharacteristically perfect blue sky. It was so convincing that Anthrax guitarist Scott Ian famously admitted he thought Motörhead was a heavy Latino band from the American Southwest for the first couple of years he listened to them.

The resulting image effortlessly paired with the album's cowboy-themed tracks like “Shoot You in the Back,” cementing one of the most recognizable and enduring images in heavy metal history.

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Fascinating Snapshots of Group of Three People Posing for a Photo From Between the Late 19th and Early 20th Centuries

In late 19th and early 20th-century photography, group portraits of three individuals—whether family members, siblings, or friends—followed distinct conventions shaped by technical constraints, fashion trends, and social etiquette of the Victorian and Edwardian eras.

Photographers utilized structured arrangements to create balanced, visually appealing compositions for trios. Studio photographers frequently arranged three subjects in a pyramid or triangular shape, typically positioning one individual standing central in the background while two others sat in front, or placing the central figure on a higher chair.

To convey familial ties or intimacy while keeping everyone within the sharp focal plane of large-format lenses, subjects were often posed close together, resting a hand on a chair back or a sibling’s shoulder.

Due to long exposure times (especially in the mid-to-late 19th century using daguerreotypes, ambrotypes, or cabinet cards) and early photographic etiquette, subjects rarely smiled, maintaining neutral, serious facial expressions to prevent blurring.

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Delphin Enjolras: Master of Intimate French Portraiture

Delphin Enjolras (1857–1945) was a French academic painter known for his elegant and intimate depictions of women.

Born in Coucouron in the Ardèche, Enjolras studied under Jean-Léon Gérôme and other notable teachers before developing his distinctive style. Though he began with landscapes, he became celebrated for portraits and interior scenes of young women reading, sewing, or resting, often softly illuminated by lamplight. Working in oil, pastel, and watercolor, he created refined, atmospheric works that captured quiet moments of everyday elegance.

His paintings remain admired for their delicate light, grace, and intimate mood. These beautiful works showcase the refined technique and intimate atmosphere of Delphin Enjolras, a master of soft light and elegant French portraiture.

A Candlelit Dinner

A Fair Reflection

A Favourite Book

A Game of Cards

A Moment of Reflection

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Incredible Fabric Womb Mannequin Designed by Angelique Marguerite Le Boursier du Coudray in the 18th Century

In the 18th century, childbirth remained a harrowing and often deadly experience. Across Europe, countless women and infants died due to the absence of medical knowledge and skilled care. Against this backdrop, Angélique Marguerite Le Boursier du Coudray emerged as a bold and transformative figure.

Born in 1712, she became one of France’s most respected midwives at a time when few women had access to formal education. But rather than limit her work to private practice, du Coudray made it her mission to train others, aiming to bring safe childbirth techniques to the most underserved corners of the country.

With the support of King Louis XV in 1759, du Coudray embarked on a nationwide campaign to educate rural midwives and surgeons. For over two decades, she traveled from village to village, teaching practical childbirth skills through demonstrations and lectures. Most revolutionary of all was her invention of a life-sized birthing mannequin, crafted from fabric and leather, which allowed students to practice procedures in a realistic yet safe setting. This innovation marked one of the earliest uses of simulation in medical training and dramatically improved the quality of maternal care.

Her influence was both immediate and lasting. Du Coudray’s teachings helped reduce maternal and infant deaths, and her 1773 publication, Abrégé de l’Art des Accouchements, became a foundational text for generations of midwives. Though largely forgotten in popular history, she stands as a pioneer in medical education, a champion of women’s health, and a figure who reshaped childbirth practices with compassion, intellect, and ingenuity.

Angélique Marguerite Le Boursier du Coudray