LIFE

Meet Ohio’s Early Reality Stars, 1941

June 24, 2026 by Bill Syken

If you want proof that there was a hunger for reality programming long before the television even became popular, look no further than the 1941 Ohio State Fair.

One of the star attractions at the fair was the Engels family. In their regular life they ran a 144-acre poultry farm, and through a newspaper contest they had been named “Ohio’s Most Typical Farm Family.” After receiving the award the family became a display at the state fair. To entertain onlookers, the Engels went about their typical daily activities, from milking cows to reading the newspaper on the front porch.

And people lined up to watch.

Here’s how LIFE described the scene in a story headlined “A Model Family in a Model Home“

For a week from Aug. 23-29, Mr. and Mrs. Frank Engels of Berlin, Ohio lived with their three children in a model home at the State Fair grounds in Columbus. The little white house in which they dwelt was equipped with every modern convenience. It lacked, however, one traditional and highly important element home life. It lacked privacy. From 10 in the morning till 10 at night, the Engels attended to their chores, ate their meals and entertained themselves beneath the curious and amused scrutiny of thousands of strange eyes. For them, the mere business of living was like a domestic strip tease.

This 1941 fair exhibition has much in common with modern reality television. For one, the setup is obviously artificial—this wasn’t the Engels’ actual farm, just a facsimile of it. For another, viewers—more than 100,000 of them—didn’t seem to mind.

The photos by LIFE staff photographer Alfred Eisenstaedt capture the oddity of the phenomenon. Look at the delight in the eyes of viewers as they get to watch Mrs. Engels (no first name given) drink a glass of tomato juice. While it’s possible the onlookers were hamming it up for Eisenstaedt’s camera, that would just be another parallel—everyone wants to be part of the show.

In fact, the most surprising aspect of this story is how many Ohio farmers in 1941 were eager to live life in a fishbowl. Local boards chose candidates from each county—all had to run a farm of at least 50 acres—and the Engels were selected from among 88 finalists.

It’s a sign that the desire for attention long predates the modern media environment. LIFE described the rewards for winning the contest as “a week at the fair, with maid service, an automobile and a chauffeur, free food, and infinite opportunity for self-expression.”

No one will mistake the Engels display for the canned drama of a modern, house-centric reality show like Big Brother. But the story of this farm family showed that the seeds were planted long ago.

The Engels, selected as Ohio’s most typical farm family through a newspaper contest, became an attraction at the Ohio state fair, 1941.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

Visitors waited to get a look at “Ohio’s Most Typical Farm Family,” 1941.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

Visitors to the Ohio state fair looked in “Ohio’s Most Typical Farm Family,” 1941; here Mrs. Frank Engels sipped tomato juice.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

Visitors to the Ohio state fair looked in on “Ohio’s Most Typical Farm Family,” 1941.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

The Engels, selected as Ohio’s most typical farm family through a newspaper contest, performed chores in front of onlookers at the Ohio state fair, 1941.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

Visitors to the Ohio state fair talked with Dean and Wayne Engel, two of the children in “Ohio’s Most Typical Farm Family,” on display at the Ohio state fair,1941.

Alfred Eisenstaedt/Life Picture Collection\/Shutterstock

The Engels family, chosen as Ohio’s most typical farm family, lived in this makeshift version of their farm while on display for a week at the Ohio state fairgrounds, 1941.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

Visitors to the Ohio state fair waited in line for a gander at “Ohio’s Most Typical Farm Family,” 1941.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

Frank Engels looked out at the people waiting in line to observe his family, named “Ohio’s most typical farm family,” at the Ohio state fair, 1941.

Alfred Eisenstaedt/Life Picture Collection/Shutterstock

Bon Voyage! Taking an Ocean Liner To Europe, 1955

June 19, 2026 by Bill Syken

In 1955 the Queen Elizabeth was the largest ocean liner in the world, ferrying more than 2,000 Americans to England and France with each passage. LIFE wrote about the ship as part of a broader story headlined “Europe, Here We Come,” about how American tourists were travelling overseas in unprecedented numbers.

The magazine called it the “biggest vacation exodus” as Americans sought amusement outside the United States in a way that felt new. The Queen Elizabeth was the most glamorous of the largest 70 ships making the transatlantic passage, and LIFE reported that “Almost all ships have been solidly booked for months.”

LIFE staff photographer Peter Stackpole documented the turnaround needed to get the Queen Elizabeth back on the seas as quickly as possible after its arrival in New York. The process took about 17 hours, which is impressive considering all the tasks that needed to be done.

The most notable passenger to disembark on the trip that Stackpole shot was Soviet Foreign Minister Vyacheslav Molotov (perhaps you’ve heard of the incendiary “cocktail” named for him), and it was not unusual to have notable government figures on these boats. But once Molotov and the rest had cleared off, then the crews got work. The tasks that Stackpole captued included swabbing the decks on the 83,376-ton liner, carrying in many large blocks of ice to keep food fresh for the boat’s five-day trip across the Atlantic, and loading many beautiful on board.

And then there were the passengers themselves, of course. Stackpole’s photos of the boarding process—and specifically how well passengers were dressed—indicated the prestige attached to sailing on the Queen Elizabeth. The website lastoceanliners.com called the Queen Elizabeth and its sister ship, the Queen Mary, “the two most glamorous running mates on the high seas, earning great profits and worldwide acclaim for the Cunard Line.”

It’s been a long time since boat travel was a popular way for Americans to get to Europe. The original Queen Elizabeth went out of service in 1968, replaced by the smaller Queen Elizabeth 2. After being taken out of commission the first Queen Elizabeth retired to Florida for a brief and unsuccessful stint as a tourist attraction. Then the ship was sold to a Hong Kong businessman who intended to covert the it into a floating university. But that venture ended when the boat caught fire and capsized from the water used to extinguish the flames, thus bringing its glorious career to an unfortunate end.

The Queen Elizabeth ocean liner prepared for its departure from New York City on a transatlantic voyage, 1955.

Peter Stackpole/Life Picture Collection/Shutterstock

Workers washed the deck of the Queen Elizabeth ocean liner in advance of a new set of passengers boarding in New York City for a transatlantic voyage, 1955.

Peter Stackpole/Life Picture Collection/Shutterstock

Workers cleaned the indoor deck of Queen Elizabeth ocean liner as it prepared to take on passengers in New York City, 1955.

Peter Stackpole/Life Picture Collection/Shutterstock

Cars were loaded onto the Queen Elizabeth ocean liner in New York City in advance of a transatlantic voyage, June 1955.

Peter Stackpole/Life Picture Collection/Shutterstock

Ice blocks used for food refrigeration were loaded onto the Queen Elizabeth ocean liner in advance of a transatlantic voyage, 1955.

Peter Stackpole/Life Picture Collection/Shutterstock

Crew members of the Queen Elizabeth ocean liner ate in advance of a transatlantic voyage while the ship was docked in New York City, 1955.

Peter Stackpole/Life Picture Collection/Shutterstock

Passengers waited to board the Queen Elizabeth ocean liner in New York City, 1955.

Peter Stackpole/Life Picture Collection/Shutterstock

Russian foreign minister Vyacheslav Molotov was one of the passengers who disembarked from the Queen Elizabeth ocean liner when it arrived in New York City, 1955.

Peter Stackpole/Life Picture Collection/Shutterstock

In 1955 the Queen Elizabeth ocean liner was a popular and glamorous way to travel from New York City to Europe.

Peter Stackpole/Life Picture Collection/Shutterstock

Visiting the Studio Lots of Early Hollywood

June 10, 2026 by Bill Syken

In 1938 Hollywood was still in its infancy. While cinema had long evolved from the point where most movies were simply filmed plays, the industry was just beginning to demonstrate what movies could do as a distinct art form.

A LIFE magazine story titled “Sound Stages of Hollywood Hum with Work on Movies for 1938” took a broad look at the state of the movie industry. One sign of how young cinema was is that LIFE began its article by explaining how sound stages had become necessary with the demise of the silent film era.

Sound stages…cover all the Hollywood movie lots. Ever since the advent of sound drove the movies indoors, these huge, sound-proof buildings have been the factories of the cinema industry. Covering more than an acre of ground, each stage is so big that within its walls can be re-enacted the sinking of the Titanic or Napoleon’s retreat from Moscow.

The theme that LIFE hammered in its story was the rise of big-budget pictures, which the magazine referred to as “million-dollar epics.” A million dollars is a lot, but also not that much for a movie budget, even taking inflation into account. For point of reference, a million dollars back then would be the equivalent of about $23 million in 2026. The most expensive blockbusters of today—such as the newer entries in the Star Wars and Jurassic Park franchises—cost around $500 million.

LIFE, perhaps sensing what the future would be, looked at this culture with disdain.

Hollywood’s most successful studios are headed by producing “geniuses” with a fondness for sending expeditions to the South Seas for “atmosphere” and junking $100,000 worth of film to shoot it in color. Surrounding them are equally temperamental directors, writers and actors. The only reason the movies ever get made at all is that beneath the batteries of geniuses are amazingly smooth-working studios.

While the text of the story had its snarky moments, the photographs by Margaret Bourke-White looked more lovingly at the magic of movie making. Her images include movie sets recreating lavish ballrooms or the streets of San Francisco circa 1859, and also showed appreciation to the prop master who kept a vast collection of smoking pipes to give directors plenty to choose from.

Bourke-White also took several photos from the set of the movie The Big Broadcast of 1938, which may be of interest to modern movie fans because of the way its ship models and lifeboats and icebergs call to mind one of the most extravagant and successful productions in the history of film—James Cameron’s 1997 movie Titanic.

The Big Broadcast of 1938 was the last in a series of variety show anthologies, and this edition featured a story about a race between two big boats, the Colossal and the Gigantic—two names which obviously reference the ship Titanic.

To compare The Big Broadcast of 1938 to the vast enterprise behind of the making of James Cameron’s movie is to appreciate how far cinema has evolved. And this isn’t a knock on the prop department’s work on The Big Business of 1938. Rather, it’s a recognition of what happens when one generation after another tries top those that came before—no matter what the cost.

The Warner Bros Studio lot in Burbank, California, 1938.

Margaret Bourke-White/Life Picture Collection/Shutterstock

On the Paramount Studios lot Ernst Lubitsch, with cigar in his mouth, directed Gary Cooper and Claudette Colbert in the 1938 romantic comedy “Bluebeard’s Eight Wife.”

Margaret Bourke-White/Life Picture Collection/Shutterstock

A movie set of the Paramount Studios lot, 1938.

Margaret Bourke-White/Life Picture Collection/Shutterstock

On the set of a movie at Paramount Studios, 1938.

Margaret Bourke-White/Life Picture Collection/Shutterstock

This prop was being built for the musical comedy “The Big Broadcast of 1938” from Paramount Studios.

Margaret Bourke-White/Life Picture Collection/Shutterstock

On the set of the movie “The Big Broadcast of 1938” from Paramount Studios.

Margaret Bourke-White/Life Picture Collection/Shutterstuck

A set for the oceanbound musical comedy “The Big Business of 1938” at Paramount Studios.

Margaret Bourke-White/Life Picture Collection/Shutterstock

This iceberg prop was built for use in the Paramount Studios musical comedy “The Big Business of 1938.”

Margaret Bourke-White/Life Picture Collection/Shutterstock

Paramound prop master Charles J. Mccormick posed with a prop mosquito on his hand that he controlled with a hair held in his other hand; the mosquito was made for the 1937 comedy “Thrill of a Lifetime.”

Margaret Bourke-White/Life Picture Collection/Shutterstock

The Paramount Studios prop room included a wide selection of pipes, 1938.

Margaret Bourke-White/Life Picture Collection/Shutterstock

This breakaway stick in the Paramount Studios prop department was held together with toothpicks and designed to break away on contact, 1938.

Margaret Bourke-White/Life Picture Collection/Shutterstock

Prop man R.B. Berscheid at work at Warner Bros. studio, 1938.

Margaret Bourke-White/Life Picture Collection/Shutterstock

Prop champagne bottles on the lot at Warner Bros., 1938.

Margaret Bourke-White/Life Picture Collection/Shutterstock

This puppet of actress Martha Raye was built for a publicity gag and then kept hanging around the Paramount props department, 1938.

Margaret Bourke-White/Life Picture Collection/Shutterstock

This prop street on the Paramount Ranch, 30 miles from Hollywood, was meant to replicate San Francisco circa 1859 for the 1937 movie “Wells Fargo.”

Margaret Bourke-White/Life Picture Collection/Shutterstock

A set on the Paramount Studios ranch, 30 minutes north of Hollywood, 1938.

Margaret Bourke-White/Life Picture Collection/Shutterstock

The World Before Wireless, As Photographed By Margaret Bourke-White

June 2, 2026 by Bill Syken

Margaret Bourke-White, one of the original four staff photographers hired at LIFE magazine when it began publishing in 1936, had a talent for making beautiful pictures from industrial processes. See her photo essay on a Canadian paper mill for one such example.

For LIFE’s July 17, 1939 issue Bourke-White documented another industry: the telephone business. This was back in the day when the ability to talk to anyone anywhere by dialing some numbers wasn’t yet taken for granted.

“Even in this age, when mechanical marvels become a dime a dozen, the telephone remains a marvelous mechanical instrument,” LIFE wrote in its story. “…When you finally hear the ring which announces that you are connected to your number, 882 separate and distinct operations have been started and completed, all in 11 seconds.”

Of course nowadays an 11-second-wait to connect a call sounds like an eternity. And the rotary phones that this story heralded are now all but obsolete. But back then it was the new wave of technological advancement. LIFE wrote that almost half the 20,000,000 U.S. telephones were dial-operated and predicted, “Eventually almost all of them will be dial instruments.”

The New York Telephone Company, which was a local subsidiary of AT&T at the time, gave Bourke-White behind-the-scenes access for an essay which includes many images that are delightfully anachronistic to the modern viewer. One shows human telephone operators surrounded by phone books that were used to answer calls to Information. Another image shows operators on the international desk manually plugging wires into specific holes in order to complete overseas calls. Another shows a board with tiny meters that tracked usage for individual phone bills.

Bourke-White also documented the mechanics of how a call was made. In LIFE’s original story the photos were part of a sequence which, combined with interpretive illustrations, documented the Rube Goldberg-type chain of events required to connect callers. Bourke-White, as she always did, found beauty in the details.

Today’s world of digital calling is undoubtedly more efficient. These photos are a record of a technological system that was wondrous for decades, but has long since been relegated to the scrap heap.

Operators routed international calls at a switchboard in New York City, 1939.

Margaret Bourke-White/Life Picture Collection/Shutterstock

Telephone operators consulted reference books in the course of answering calls to “Information,” 1939. Nationally, information operators fielded two million calls a day.

Margaret Bourke-White/Life Picture Collection/Shutterstock

These international directories were kept nearby as a resource for AT&T phone operators connecting overseas calls, 1939.

Margaret Bourke-White/Life Picture Collection/Shutterstock

As part of their training, novice telephone operators spoke into a voice mirror—a recording device which played the voice right back—so that they could hear if they were speaking clearly enough, 1939.

Margaret Bourke-White/Life Picture Collection/Shutterstock

An operator worked an AT&T telephone switchboard in New York City, 1939.

Margaret Bourke-White/LIfe Picture Collection/Shutterstock

In 1939 this voice-scrambling technology helped AT&T protect the privacy of overseas calls from ham radio operators.

Margaret Bourke-White/Life Picture Collection/Shutterstock

For a 1939 story on how telephone calls worked, this photo showed part of a huge distributing frame studded with terminal stripes into which each telephone was directly connected to its individual terminal point at the New York Telephone Co. office.

Margaret Bourke-White/Life Picture Collection/Shutterstock

In a 1939 story that explained the details of how a phone call was made, the dials in this picture show a call going to 245-4400, which was the phone number of the LIFE magazine offices.

Margaret Bourke-White/Life Picture Collection/Shutterstock

These mechanisms made the ringing noise in a dial-up telephone, 1939.

Margaret Bourke-White/Life Picture Collection/Shutterstock

These meters registered calls and determined a user’s monthly phone bill, 1939.

Margaret Bourke-White/Life Picture Collection/Shutterstock

A telephone repair man worked on a network of cables that ran beneath the New York City streets for the New York Telephone Co., 1939.

Margaret Bourke-White/Life Picture Collection/Shutterstock

New York Telephone Co. lineman Wallace Burdick made repairs on telephone lines between Vallhalla and Brewster, 1939.

Margaret Bourke-White/Life Picture Collection/Shutterstock

This Was No Woodstock: Inside a Music Festival Disaster

May 28, 2026 by Bill Syken

The Woodstock music festival was one of the signature moments the 1960s. Site owner Max Yasgur, a farmer and the concert site owner, memorably declared that the gathering proved that “a half a million young people can get together and have three days of fun and music and have nothing but fun and music.”

Woodstock’s success naturally inspired imitators, but the magic was hard to recapture. The Altamont concert later that year famously turned deadly when a member of Hell’s Angels, who had been hired for security, stabbed an audience member near the stage as the Rolling Stones performed.

Another music festival, the Celebration of Life in June 1971, is not as well-remembered as Altamont, but it was such a disaster that it helped put an end to the music festivals for a while.

The Celebration of Life had to change locations three times due to local resistance before finding a last-minute home on a remote tract of land in McCrea, Louisiana, about 60 miles north of Baton Rouge. The festival was scheduled for eight days but started late and shut down halfway through, with the IRS placing a tax lien that froze the organizers’ bank accounts. Performers who did get on the stage included Chuck Berry, the Stephen Stills Band, and Ike & Tina Turner. But others who had been promoted on the bill but never made the stage included Pink Floyd, the Beach Boys, the Allman Brothers and Miles Davis.

Most tragically, multiple attendees drowned in a river that bordered the festival site while seeking refuge from Louisiana’s summer heat.

Here’s what LIFE magazine wrote about the event, in a story headlined “Perhaps the last of the rock festival fiascos“:

Even before it opened, last week’s rock festival in McCrea, La., was a disaster. The stage collapsed while it was under construction, and when it was fixed, the sound system failed. Most of the previously advertised talent didn’t show up, food was overpriced, water was scarce, and sanitation facilities inadequate. The temperature soared over 100 degrees. Within four days there had been five deaths—four drownings and a drug overdose—and what the crowd wanted most was to go home.

While some later reports lowered the number of confirmed deaths to two, this was a brutal event by any accounting.

LIFE staff photographer Bill Ray appears to have arrived in McCrea after the music stopped, but he captured some of the aftermath of the Celebration of Life, including concertgoers, many of them nude, trying to cool down in the river. Ray also took many shots of people looking to hitch a ride home, holding up signs requesting transport to such locations as Virginia, Miami and New Mexico—a testament to how far people had traveled to get there. The happiest images he shot were of people who had been picked up and were on their way home.

In 2013 a 32-minute documentary called McCrea 1971 reviewed what went wrong with Celebration of Life, and the problems began with its hasty setup. In one historic clip a promoter said, “It takes about a month to set up a festival, but we’ll try to do it in about three days.” A local who attended the festival talked about the folly of festival goers swimming in a river that people from the area knew to be a “death trap.” He said, “I know of no one I have ever met who would willingly get in and swim in the Atchafalaya River.”

In 2018 Rolling Stone magazine ran its own retrospective on the Celebration of Life and talked about how out of hand things got. Because of the heat performances that were originally planned to start during the day shifted to the overnight, leaving attendees with nothing to do all day. Makeshift boulevards called “Smack Street” and “Cocaine Alley” cropped up on the festival site. Stunningly, given what happened at Altamont, festival organizers hired the Galloping Goose Motorcycle Club for security and its members reportedly became abusive with attendees.

LIFE magazine’s wish that music festivals go away for a while came to fruition. And while festivals have made a major comeback in recent years, they now look very different, with stronger organizations behind them. Some complain about how corporate they have become, with special bleachers for VIPs and so on. However you feel about that, it’s worth remembering that a more loosely organized gathering can come with its own hazards—sometimes big ones.

The ill-fated Celebration of Life music festival, after several late location changes, took place in McCrea, Louisiana, 1971.

Bill Ray/Life Picture Collection/Shutterstock

Concertgoers sought relief from the sweltering heat at the ill-fated Celebration of Life music festival in McCrae, Louisiana, 1971.

Bill Ray/Life Picture Collection/Shutterstock

The ill-fated Celebration of Life music festival in McCrea, Louisiana, 1971.

Bill Ray/Life Picture Collection/Shutterstock

Concertgoers looked for rides home after the ill-fated Celebration of Life music festival in McCrae, Louisiana was cut short, 1971.

Bill Ray/Life Picture Collection/Shutterstock

The ill-fated Celebration of Life music festival in McCrea, Louisiana, 1971.

Bill Ray/Life Picture Collection/Shutterstock

Concertgoers looked for rides home after the ill-fated Celebration of Life music festival in McCrae, Louisiana was cut short, 1971.

Bill Ray/Life Picture Collection/Shutterstock

Concertgoers caught a ride home after the ill-fated Celebration of Life music festival in McCrae, Louisiana was cut short, 1971.

Bill Ray/Life Picture Collection/Shutterstock

The Original ‘Thomas Crown Affair’: Talk About A Steamy Set

May 21, 2026 by Bill Syken

In 2027 Michael B. Jordan will direct and star in the second remake of the 1968 movie The Thomas Crown Affair. The story is about a wealthy thief who pulls daring heists, and the romance that develops between him and a female investigator. Jordan, who won an Academy Award in 2026 for his performance in Sinners, has been wanting to play Thomas Crown since 2016.

LIFE staff photographer Bill Ray was on the set of the original movie, and he captured the chemistry that Jordan will be aspiring to equal.

The first movie starred Steve McQueen, an iconic actor who is the subject of the three best-selling images in the LIFE photo store. His opposite number in their cat-and-mouse pursuit was Faye Dunaway, who was coming off a star-making performance in Bonnie and Clyde. McQueen and Dunaway’s scene together in a sauna was the centerpiece of Bill Ray’s photo shoot.

But while the actors were prominent in the photos that ran in LIFE, the star of the accompanying article was director Norman Jewison, who was a hot property at the time because his previous movie, In the Heat of the Night, had just won the Academy Award for Best Picture.

Jewison was in his first decade of what would be a long Hollywood career that included such films as Moonstruck (1987) and The Hurricane (1999). LIFE honored Jewison’s prowess with an article formatted as if it were the script for a documentary about him.

For instance, the article included in its “dialogue” this quote from Jewison as he was in the process of directing Dunaway and McQueen in one of the movie’s steamier scenes:

The script calls for “chess with sex.” I like that…Faye, you are playing chess, but there is another game going on. Without thinking, your right hand goes up your left arm, lightly caressing, to your throat…Steve, let’s see your eyes follow her hand…You’re up to the shoulder, across to the neck. She looks up and catches you watching. (Jewison laughs). Good. You’re embarrassed. You smile and look down. Great!

The stars of the movie had relatively few lines in the LIFE story. Dunaway said of Jewison, “He’s the only man I’ve ever known who has no hostility in him. He’s all love.” McQueen, complaining about how long Jewison kept him on set in pursuit of a scene, said “I hate him, but I love him.”

Michael B. Jordan talked about his Crown remake at CinemaCon in April 2026. Jordan, who will be co-starring with Adria Arjona, said that he initially fell in love with the story from the 1999 version that starred Pierce Brosnan and Rene Russo. But he had also studied the original and said, “McQueen brought this effortless cool, this rebellious edge. He didn’t just steal. He made a statement.”

Faye Dunaway (seated) and director Norman Frederick Jewison on the set of ‘The Thomas Crown Affair,’ 1967.

Bill Ray/Life Picture Collection/Shutterstock

Steve McQueen and Faye Dunaway during the filming of ‘The Thomas Crown Affair’, 1967.

Bill Ray/LIfe Picture Collection/Shutterstock

Faye Dunaway and Steve McQueen on the set of`The Thomas Crown Affair,’ 1967.

Bill Ray/LIfe Picture Collection/Shutterstock

Faye Dunaway;Norman Jewison;Steve Mcqueen

Bill Ray/LIfe Picture Collection/Shutterstock

Director Norman Frederick Jewison (left) with actors Steve McQueen and Faye Dunaway during the filming of ‘The Thomas Crown Affair’ 1967.

Bill Ray/LIfe Picture Collection/Shutterstock

Norman Jewison directed Steve McQueen and Faye Dunaway in the 1967 crime caper ‘The Thomas Crown Affair,’ 1967.

Bill Ray/LIfe Picture Collection/Shutterstock

Faye Dunaway and Steve McQueen on the set of`The Thomas Crown Affair,’ 1967.

Bill Ray/LIfe Picture Collection/Shutterstock

Director Norman Frederick Jewison (left) with actors Steve McQueen and Faye Dunaway during the filming of ‘The Thomas Crown Affair’ 1967.

Bill Ray/LIfe Picture Collection/Shutterstock

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Meet Ohio’s Early Reality Stars, 1941

Bon Voyage! Taking an Ocean Liner To Europe, 1955

Visiting the Studio Lots of Early Hollywood

The World Before Wireless, As Photographed By Margaret Bourke-White

This Was No Woodstock: Inside a Music Festival Disaster

The Original ‘Thomas Crown Affair’: Talk About A Steamy Set

Meet Ohio’s Early Reality Stars, 1941

Visiting the Studio Lots of Early Hollywood

This Was No Woodstock: Inside a Music Festival Disaster

The Making of a Mermaid, 1948

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In 1950, Red Was the New Black

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