Ozzy Osbourne With His First Wife Thelma Riley

Ozzy Osbourne was married to his first wife, Thelma Riley, from 1971 to 1982. Their relationship was marked by the early success of Black Sabbath and was frequently described by Ozzy as a “tumultuous” period shaped by his severe struggles with drug and alcohol addiction.

The couple met at a Birmingham nightclub called the Rum Runner where Thelma worked. They married shortly after in 1971 in a registry office. They had two biological children together: Jessica (born 1972) and Louis (born 1975). Ozzy also adopted Thelma’s son from a previous relationship, Elliot.

“She was beautiful and I wanted to talk to her,” Ozzy wrote in his memoir, I Am Ozzy. “I pulled her on the dance floor.”

Ozzy has admitted to being a “terrible husband” during this time, noting that his constant touring and substance abuse made him largely absent from his children’s lives. He later confessed to being unfaithful and even physically abusive toward her during his “nightmare” years.

The couple separated in 1982, and their divorce was finalized in 1989. After the divorce, Thelma retreated from public life and worked as a school teacher in Leicestershire, England. She removed all traces of her ex from her life so thoroughly that some of her neighbors and colleagues had no idea she had ever been married to the Prince of Darkness. 

In his 2009 autobiography, I Am Ozzy, the rock legend expressed deep regret for how he treated Thelma, calling their marriage a “big mistake” because she did not deserve the “hell” he put her through. Sharon Osbourne has since described the blended family dynamic as “complex” but noted that she remains close to Ozzy’s son Louis.

See more»

26 Promotional Stills of Steve McQueen as Josh Randall for the TV Series “Wanted: Dead or Ailve” (1958–1961)

Before he was the “King of Cool” on the big screen, Steve McQueen became a household name as Josh Randall, the soft-spoken but tough bounty hunter with a heart of gold. His role in the CBS Western series Wanted: Dead or Alive (1958–1961) was his breakthrough performance, establishing the “cool” and stoic persona that later defined his legendary film career.

Randall is a Confederate Civil War veteran turned bounty hunter in the 1870s American West. Unlike many Western heroes of the era, he is a nuanced “antihero.” Though he hunts men for money, he possesses a strong moral code, often helping those wrongly accused or donating his earnings to the needy.

His signature weapon is a customized, sawed-off Winchester Model 1892 rifle nicknamed the “Mare’s Leg.” It was shortened to approximately 12 inches, allowing it to be carried in a leg holster like a pistol. While the actual gun was chambered for .44-40 rounds, Randall’s gun belt famously held larger .45-70 cartridges for a more “rugged” visual effect.

The series was a spin-off from a March 1958 episode of the Western show Trackdown. It ran for three seasons and 94 episodes. It was the first television series to successfully launch a TV star into a comparable status on the big screen. McQueen’s performance caught the attention of film producers, leading to his roles in The Magnificent Seven (1960) and The Great Escape (1963).

A 1987 sequel film titled Wanted: Dead or Alive stars Rutger Hauer as Nick Randall, the bounty-hunting great-grandson of Josh Randall.

See more»

The First Mini-Skirts in Vilnius, Lithuania, 1965

This is a legendary shot by Marius Baranauskas, who was a master of capturing the “Thaw” era in Lithuania. It’s a perfect intersection of fashion history and political subtext.

In 1965, the mini-skirt was more than just a trend; it was a quiet rebellion. While Mary Quant was revolutionizing London’s West End, seeing these hemlines in Vilnius was a sign of the “Western infection” that Soviet authorities both feared and eventually had to tolerate.

Baranauskas was known for his candid, humanistic style. He didn’t just photograph the clothes; he captured the reactions. Often in his photos from this series, you can see the visible contrast between the confident youth and the bewildered or disapproving stares of the older generation.

1965 was the tipping point for the mini. It had transitioned from a niche “space age” look to a global phenomenon, proving that even the Iron Curtain couldn't stop a silhouette whose time had come. During this period, the Baltic states were often considered the “West of the East.” Vilnius, Riga, and Tallinn were the fashion hubs of the USSR, often being the first to interpret and adapt European trends through local fashion houses.

Vintage Photos Capture Everyday Life in Qingdao in the Early 1900s

Life in Qingdao, archaically known as Tsingtao, in the early 1900s unfolded at the crossroads of cultures, shaped by its years under German control following the German occupation of Jiaozhou Bay.

Wide, orderly streets and red-roofed villas stood in contrast to traditional Chinese neighborhoods, where markets buzzed with local vendors and fishermen brought in the day’s catch along the coast. European-style cafés, churches, and breweries, most notably the origins of Tsingtao Beer, introduced new rhythms of social life, while rickshaws and horse-drawn carts remained common sights.

Amid colonial administration and growing trade, daily life blended East and West: Chinese laborers, German officials, merchants, and missionaries all moved through the same port city, creating a unique atmosphere of transition, adaptation, and quiet tension beneath its seaside charm.

Below is a collection of vintage photos, via Wolfgang Wiggers, that capture everyday life of Qingdao in the early 1900s, during the German colonial period.

Chinese grain mill, Qingdao

Chinese orchestra in Qingdao

Chinese procession in Qingdao

Chinese wedding palanquin, Qingdao

Chinese street artists in Qingdao

See more»

Frank Usher: The Architect of British Evening Glamour

Frank Usher was a powerhouse of British ready-to-wear fashion, established in 1946 and becoming synonymous with accessible luxury and occasion wear.

Unlike the exclusive world of Haute Couture, Usher’s genius lay in bringing high-end design aesthetics to the stylish masses, specializing in glamorous evening gowns and cocktail dresses that defined the post-war “New Look” era. Known for their meticulous attention to detail, Frank Usher designs often featured intricate beadwork, fluid silhouettes, and rich fabrics that allowed women to feel like film stars without the bespoke price tag.

For decades, the label remained a staple of London’s fashion scene, capturing the evolving spirit of femininity, from the structured elegance of the ’50s to the bold, vibrant patterns of the ’70s. Below is a collection of vintage photos featuring classic beauties gracing Frank Usher’s designs in the 1950s.

Helen Connor in black lace dress gathered into a scalloped apron front over taffeta by Frank Usher, photo by Richard Dormer, Harper's Bazaar UK, December 1950

Pat O'Reilly in perfect dance-dress in cherry-colored silk chiffon with a gold belt by Frank Usher, photo by Richard Dormer, Harper's Bazaar UK, December 1950

Anne Gunning in dreamy dance dress of white piqué, the wide ruffle curls down from the halter neck to the hem of an enormous skirt by Frank Usher, photo by Keith Ewart, Harper's Bazaar UK, June 1951

June Duncan in white organdie evening dress, broderie Anglaise edges the ruffled sleeves and neck and forms an apron line over its great flounce by Frank Usher, photo by Maurice Tabard, Harper's Bazaar UK, May 1951

Kay Kendall in full-skirted evening dress of white organdie printed with a gray lace pattern, two pink roses are tucked under the row of frills across the front of the skirt by Frank Usher, photo by Richard Dormer, Harper's Bazaar UK, January 1951

See more»

30 Wonderful Movie Magazine Covers Featured Joan Crawford From Between the 1920s and 1950s

Joan Crawford was a ubiquitous presence on movie magazine covers from the late 1920s through the 1950s, serving as a primary symbol of Hollywood’s evolving glamour. Her career longevity allowed her to transition from the “jazz baby” flapper of the silent era to a sophisticated dramatic icon.

In the late 1920s, Crawford often appeared on magazines like Motion Picture and Photoplay as the quintessential “jazz baby.” These covers featured vibrant illustrations or early color photography highlighting her youthful energy, bobbed hair, and large, expressive eyes. She was frequently associated with the “flapper” lifestyle, reflecting her early roles in films like Our Dancing Daughters (1928).

During the 1930s, Crawford became one of the biggest stars at MGM. This era of magazine covers showcased the height of Hollywood glamour. She was often depicted with her signature Adrian-designed gowns and heavy “smoky” eye makeup. Covers from Modern Screen and Silver Screen in this decade emphasized her status as a fashion trendsetter and a “shopgirl” heroine who made it big.

After moving to Warner Bros. and winning an Oscar for Mildred Pierce (1945), Crawford’s magazine presence shifted. The covers of the 1940s often portrayed a more mature, intense, and dramatic persona. The imagery moved toward sharp lighting and strong contours, reflecting the film noir style of her most successful movies during this period.

By the 1950s, Crawford remained a constant presence in film fan magazines. Her covers from this era, such as those for Movie Life or Screenland, focused on her longevity in the industry and her status as a Hollywood legend. These images often featured her with more structured hairstyles and the bold, high-contrast makeup that became her hallmark in films like Sudden Fear (1952) and Johnny Guitar (1954).

See more»

Thomas Midgley Jr., the Most Harmful Inventor in History

Thomas Midgley Jr., born in 1889 in Dayton, Ohio, was an inventive American chemical engineer whose work profoundly shaped the 20th century, though in ways that would later prove devastating. In his early career, he tackled the problem of engine knocking, experimenting with various additives. After years of research, he developed tetraethyl lead in 1921, marketed by General Motors as “ethyl” gasoline. The additive greatly improved engine performance and was rapidly adopted worldwide, but it also released massive quantities of toxic lead into the environment. This led to widespread ecological contamination and chronic human exposure, consequences that were ignored or downplayed during Midgley’s lifetime, even as he himself suffered lead poisoning.

Seeking to move on from the controversy surrounding leaded gasoline, Midgley turned his attention to refrigeration technology, which at the time relied on hazardous substances like ammonia and sulfur dioxide. In 1928, he co-developed chlorofluorocarbons (CFCs), introducing Freon as a seemingly perfect solution: safe, stable, and non-flammable. For decades, CFCs became standard in cooling systems and aerosols.

It wasn’t until the 1970s that scientists discovered their destructive impact on the ozone layer, creating a global environmental crisis. Although CFCs were phased out under the 1987 Montreal Protocol, the atmospheric damage they caused continues to this day, cementing Midgley’s reputation as a cautionary figure in technological innovation.

Portrait of Thomas Midgley, Jr., ca. 1940s.

Midgley’s life ended with a grim irony. After contracting polio at the age of 51, he became partially paralyzed and designed an elaborate system of pulleys and ropes to help lift himself from bed. In 1944, he was accidentally strangled by this very device, dying at the age of 55.

Holding 171 patents and celebrated in his time for ingenuity, Midgley is now remembered as a man whose well-intentioned creations inadvertently caused some of the most far-reaching environmental harms in history.