Beautiful Photos of the Jenolan Caves around 1900

The Jenolan Caves are limestone caves located within the Jenolan Karst Conservation Reserve in the Central Tablelands region, west of the Blue Mountains, in Jenolan, Oberon Council, New South Wales, in eastern Australia. The caves and 3,083-hectare (7,620-acre) reserve are situated approximately 175 kilometers (109 mi) west of Sydney, 20 kilometers (12 mi) east of Oberon and 30 kilometers (19 mi) west of Katoomba (74 kilometers (46 mi) by road). Dating back to 340million years ago, it is the oldest known and dated open cave system in the world.

The caves are the most visited of several similar groups in the limestone caves of the country, and the most ancient discovered open caves in the world. They include numerous Silurian marine fossils and the calcite formations, sometimes pure white, are noted for their beauty. The cave network follows the course of a subterranean section of the Jenolan River. It has more than 40 kilometers (25 mi) of multi-level passages and over 300 entrances. The complex is still being explored. The caves are a tourist destination, with eleven illuminated show caves open to paying visitors.

The caves and conservation reserve are one of the eight protected areas that was inscribed in 2000 to form part of the UNESCO World Heritage-listed Greater Blue Mountains Area. Here below is a set of beautiful photos from Powerhouse Museum that shows the Jenolan Caves around 1900.

'The Garden Palace', Jenolan Caves, New South Wales, circa 1900

'Madonna', Imperial Cave, Jenolan Caves, New South Wales, circa 1900

'Architect's Studio', Jenolan Caves, New South Wales, circa 1900

'Architect's Studio', Left Imperial Cave, Jenolan Caves, New South Wales, circa 1900

Cave Road, Jenolan Caves, New South Wales, circa 1900

See more»

Pete Townshend of The Who Posing in Style, 1967

When The Who released their first single “I Can’t Explain” in 1965, it went straight in at No8 in the UK’s charts. The man behind the track was Pete Townshend, cofounder of the band, whose unique sound was rooted in Britain’s swinging mod culture.

Townshend went on to be one of the 1960s’ most influential figures. Through his music, of course – unsurprisingly, The Who were quick to find success in America (as one of the leading groups of the British Invasion) before going on to sell more than 100 million records worldwide – but equally Townshend inspired through his personal style.

Mastering the formula of mod fashion through his slim-cut suits, leather boots, knitted jumpers and patriotic prints, Townshend used his wardrobe to communicate a forward-thinking Britishness all his own.

Here, Pete Townshend posing in the studio for a photoshoot for Smart Clothes in London in December 1967. The photos were taken by Beverly Goodway.

See more»

30 Wonderful Kodachrome Slides of People With Automobiles in the Mid-20th Century

In the mid-20th century (1940s–1960s), automobiles experienced significant technological advancements such as the widespread adoption of automatic transmissions, power steering, and air conditioning. Design trends included bold, flamboyant styles in the 1950s with tailfins and chrome, shifting to sleeker, aerodynamic designs in the 1960s. The era also saw the rise of compact cars and muscle cars.

Culturally, cars symbolized freedom and were central to American life, with drive-in theaters and diners becoming popular social spots. Suburbanization and car ownership were closely linked, and motorsports gained popularity. The American auto industry was dominated by the “Big Three” (GM, Ford, Chrysler), while European and Japanese manufacturers began making inroads with reliable, fuel-efficient models.

These wonderful Kodachrome slides from Dave’s Old Slides that captured people with their automobiles in the mid-20th century.

Two women and Chevrolet, Illinois, 1947

A woman and a Plymouth coupe, USA, circa 1950s

A woman dressed for hockey, standing next to a Ford Prefect, New Zealand, circa late 1950s

Family photo with Cadillac car, USA, circa 1950s

The car in the foreground is a 1952 Buick, USA, circa 1950s

See more»

Barbra Streisand and Judy Garland Together on “The Judy Garland Show” in 1963

Judy Garland was a huge star, but at age 41, her star power had faded and she was having financial difficulties. Her agent Freddie Fields signed Garland with CBS Television for a weekly variety show that would pay her handsomely and reward her with ownership of the tapes after they aired. The show, as one journalist described it, was “sometimes stirring and memorable, other times mediocre and old hat.”

The Judy Garland Show could be accused of being overproduced and burdened with a fake format. Producers and crew were hired and fired. Instead of letting Garland simply sing, CBS insisted she have tea with her guests, be cognizant of how often she touched them, and quibble on screen with her costar Jerry Van Dyke over “budgetary concerns” about the show. Of course, Judy Garland also sang all of her big hits and dueted with great stars like Lena Horne, Mickey Rooney, Mel Torme... and Barbra Streisand.

Agents David Begelman and Freddie Fields of CMA handled Garland and also wanted Streisand as a client. “[Begelman and Fields] kept calling me,” Marty Erlichman recalled, “two, three times a day. I knew they booked the Garland show, so I said, ‘Okay, you get us Judy’s show and you got Barbra.’ They did it, and we signed.”

Barbra Streisand and the Smothers Brothers were Judy’s guests for episode 9, taped at Studio 43 at CBS Television City in Los Angeles.

“[Garland] was great. She was wonderful. Loved her ... I was very secure then. I was only 21, I think. I wasn't afraid of failure or anything. But it was interesting to see someone who was so great and so famous and so gifted ... She was drinking Liebfraumilch—you know, a white wine—and her hands were shaking and she was holding onto me. I thought, what was this about? As one grows older, what is this fear? And I understand it now.” – Barbra Streisand, 2005

Rehearsals for this special episode commenced on September 30, 1963. Mel Tormé, in his book The Other Side of the Rainbow; With Judy Garland on the Dawn Patrol, explained that it was Garland who called him into her dressing room, played Streisand's record of “Happy Days Are Here Again,” and sang a counter-melody of her signature song, “Get Happy.”

“The result was electrifying, one of those chance discoveries in which two great songs jell into one extraspecial opus,” Tormé wrote.

Tormé said that Streisand was “very quiet, very friendly, very Brooklynesque” during these rehearsals. “When Judy and Barbra met,” he continued, “it was instant warmth, and I knew Garland would be on her toes all week to keep pace with this extraordinary girl.”

Streisand was called at 11:30 a.m. on Thursday, October 3, 1963 to stage “Be My Guest” for the cameras. She returned after a lunch break to work on the “Happy” duet at 2:00 p.m. Then she and Garland finished the day by 5:00 p.m. staging the “Hooray for Love” medley. After an hour for dinner, the principals all returned for an orchestra rehearsal from 8:00 p.m. to 11:00 p.m.

The cast returned Friday, October 4th and did a run-thru from 5:30 p.m. to 7:00 p.m. They taped the final show at 9:00 p.m.

CBS executives Bill Paley and Jim Aubrey were impressed with the show and asked that it be edited and broadcast two days after it was taped.

Streisand reflected that, “Extraordinary talent went into the making of this show. The director was Norman Jewison, the musical director was Mort Lindsey and Mel Torme did special musical material. There’s also a brief visit by the wonderful Ethel Merman — but most of all there was Judy Garland. Miraculous ... soulful ... divine ... Singing these duets with her was sheer bliss. I was 21 years old.”

Barbra Streisand was paid $7,500.00 to appear on the show. Streisand also received her first Emmy nomination for her guest spot — “Outstanding Performance in a Variety or Musical Program.” (Danny Kaye won that year).

See more»

Amazing Black and White Photographs Capture Everyday Life in Russia in 1996 and 1997

Australian photographer Dean Sewell spent 15 months in Russia after the breakup of the former USSR. When Russia invaded Ukraine, he was suddenly reminded that he still had more than two dozen undeveloped B&W film rolls from 1996 to 1997. Sewell managed to find the film and get them developed, and the resulting images are an amazing time capsule from the early days of the disintegration of the Soviet Union.

In 1996, a young 25-year-old Sewell quit his staff photographer position at the Sydney Morning Herald where he started as a cadet press photographer in 1989 to live and work in Russia. He wanted to cover social, political, and environmental issues of the day across Russia and some of the former Soviet satellite states.

“I was interested in the politics and culture of Russia from a relatively young age,” Sewell told PetaPixel. “I grew up in a working-class family, so my upbringing was very politicized. My father was involved with trade unions here and was aligned with the hard left. My family was anti-imperialist America and followed events surrounding Russia, and I guess this rubbed off a bit.

“I wanted to further my photographic practice, shift from the single image mentality of press photography at the time, and move more into long-form visual narratives.”

Before 1996, Sewell worked primarily as a general press photographer in Australia. He did, however, in his effort to try his hand at more in-depth, narrative-based photojournalism work in Latin America. He traveled there twice, spending around six months in total working on personal stories in Peru, Bolivia, Argentina, Equator, and Cuba.

“I was extremely naive back then, but I believed the work I produced there was personal preparation before heading to Russia,” admitted Sewell.

Most of the work is from Moscow, but St. Petersburg was also covered as well as cities across Siberia or south of Moscow. Other cities were Grozny in Chechnya, Samarkand in Uzbekistan, and Tbilisi in Georgia.

When Sewell hit the ground in Moscow, it was like walking through a Dostoevsky novel. The country was plagued by poor finances, with many shops out of business. But there was hope for the new democracy and press freedoms.

A Russian bride on her way to her husband in a typical outdoor setting for many middle-class Russians.

Russian ballerinas ready themselves backstage before their stage appearance.

Russian street festival for youth on the grounds outside of Red Square.

Subway passengers negotiate stray dogs while boarding trains in Moscow.

Russian orthodox wedding inside of the Rostov Kremlin, Russia.

See more»

35 Fabulous Photos of Sally Blane From Between the 1920s and 1940s

Born 1910 as Elizabeth Jane Young, American actress Sally Blane had her film debut at the age of seven when she appeared in Sirens of the Sea in 1917. She returned to the film business as an adult in the 1920s, playing small parts in a number of silent films. Her career continued into the 1930s when Blane appeared in several low-budget films, including Once a Sinner (1930), A Dangerous Affair (1930), Arabian Knights (1931), Annabelle’s Affairs (1931), Hello Everybody! (1933), City Limits (1934), Against the Law (1934), The Silver Streak (1934), and This is the Life (1935).

Some of her scenes, including one in Annabelle’s Affairs, in which Blane appeared in skimpy lingerie with Jeanette MacDonald and Joyce Compton, were risqué for their day, pre-dating the industry’s Hays Code that largely forbade such shots after 1934. The footage from Annabelle’s Affairs is considered lost.

Although her appearances began to fade toward the late 1930s, Blane acted in more than 100 films. She appeared onscreen at one time or another with all her sisters, for example with all three in The Story of Alexander Graham Bell (1939). After this, she appeared in only four more films in small supporting roles: Fighting Mad (1939), Charlie Chan at Treasure Island (1939), La Fuga (1944) and A Bullet for Joey (1955).

Blane died at her home near Beverly Hills, California in 1997 of cancer, aged 87. Take a look at these fabulous photos to see the beauty of young Sally Blane from between the 1920s and 1940s.

See more»

The Touring Car of the Future, 1905

Fast-forward to the turn of the century and automobile manufacturing was increasing steadily. Couple that with wealthy Americans’ increasing appetite for travel across the States and US travelers were in need of a new breed of motorcar.

This 1905 sketch by Albert Levering – titled “The touring car of the future” – is tongue-in-cheek, but it signals a want for a new vehicle that offers explorers everything they need on the road.

Illustration shows a huge triple-decker touring vehicle with “Dining Hall, Kitchen, Servants Hall, High Finance and Recuperation Apartment, State Rooms, Hair Dressing Studio, Gossip Den, Nursery [and] to Gymnasium on the roof,” traveling down a dirt road in the countryside.