Bourke-White: Finding Wonder in a Paper Mill, 1937

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Margaret Bourke-White was already seen as a major talent in photojournalism when she was hired as one of the first four staff photographers at LIFE magazine. She quickly demonstrated her abilities when she shot the first cover story in the magazine’s history, on the building of Fort Peck Dam.

The magazine was in its second year when Bourke-White undertook a major photo essay on the manufacturing of newsprint. She followed the process from the beginning, with lumberjacks moving felled trees downriver to the paper mill, where the wood was pulverized and treated and turned into the stuff that newspapers were printed on. The photo essay ran in LIFE with the headline “Portfolio on Paper: Driving Logs from Forest to Factory“

Why was LIFE interested in this process? Well, in 1937 the demand for newsprint was skyrocketing because of the newspaper industry was in its heyday. The U.S. had 2,084 daily newspapers that year, compared to 938 in 2025.

Bourke-White captured all the mechanical details involved in the making of newsprint. But with her artistic eye Bourke-White also made photos that went beyond the documentation of an industrial process. Some of the images fascinate because of the scale, as humans seem dwarfed first by the log piles and then the industrial machinery that turned the logs into newsprint. Bourke-White also captures details such as the spikes in a lumberback’s boots that help him maintain his balance atop waterborne logs, or the patterns created by freshly made newsprint hanging to dry.

If you enjoy this story and want to further appreciate—or possibly own—more of Bourke-White’s work, see some of her most famous images in the LIFE photo store.

A worker prepares logs to be moved downstream to a peper mill, 1937. The International Paper Company either owned or leased 20,000,000 acres of forestland in Canada’s Upper Gatineau region.

Margaret Bourke-White/Life Picture Collection/Shutterstock

Spiked boots and a form of grappling hook known as a peavey were the favored tools of loggers guiding felled trees over the water, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

Workers formed a boom in Wahwati Creek in Canada by chaining logs together; when the boom was full, it would be carried downriver by a tugboat, 1937. formed by combining several logs together being filled by loggers floating other logs into it in preparation for travel down Wahwati Creek to the paper processing mill.

Margaret Bourke-White/Life Picture Collection/Shutterstock

Lumberjacks working on a jam of logs on their way to the International Paper Company, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

Massive collections of logs, called booms, were tugged downriver to a paper mill as part of the process of making newsprint, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

Loggers worked to move logs downstream to a paper mill, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

Workers managed logs on their way to be milled, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

A worked sprayed water on a massive store of logs to keep them from catching fire before they could be processed at a lumber mill, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

Images from Margaret Bourke-White’s photo essay about the process of turning timber into newsprint, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

At a paper mill wood that has been pulverized and treated with chemicals is spread out into sheets and on its way to becoming newsprint, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

At a paper mill pulverized wood is turned into newsprint, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

At a paper mill freshly made newsprint hangs to dry, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

Paper being processed at the International Paper Company, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

Images from Margaret Bourke-White’s photo essay about the process of turning timber into newsprint, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

At a paper mill workers handled 20-foot-wide rolls of freshly made newsprint, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

Workers at a paper mill handle a freshly made 20-foot-wide roll of newsprint, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

At a paper mill an inspector fanned sheets of finished stock to check for flaws, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

Finished rolls of newsprint, weighing 1,400 pounds each, are ready to be shipped from the International Paper Company, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

Finished rolls of newsprint are ready to be shipped from the International Paper Company, 1937.

Margaret Bourke-White/Life Picture Collection/Shutterstock

The Making of a Mermaid, 1948

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The concept of the mermaid has been around since at least the 14th century, and this beloved creature has shown up in dozens of movies, including Splash and The Little Mermaid. LIFE was there in 1948 when Hollywood took its first stab at making a mermaid look real.

The movie was a 1948 summer release called Mr. Peabody and the Mermaid, which was a light romance about a man who goes fishing and makes an unexpected catch. The mermaid was played by Ann Blyth, who had been nominated for an Academy Award a couple years earlier for her supporting role in Mildred Pierce. In February 1948 LIFE devoted a story to the making of a custom-fitted tail for Blyth. The story’s headline announced that this tail cost $18,000 (or about a $250,000 in 2026 dollars) and called its creation “the most ambitious make-up job ever to be performed on the nether extremities of an actress.”

The brains behind the tail was Bud Westmore, a Hollywood makeup legend who would also be featured in LIFE for his work on another semi-aquatic figure, The Creature from the Black Lagoon. For the mermaid’s tail Westmore made a plaster-of-Paris mold directly from Blyth’s body. He then encased the resulting model in rubber and carved the tail. LIFE staff photographer Allan Grant documented every step in the process.

And when it came time for Blyth to get into the water on the movie set, another LIFE photographer, Loomis Dean, was there to take pictures.

Unfortunately when the movie actually came out, LIFE’s film critic was not so impressed. A group review of Mr. Peabody and the Mermaid and two other summer releases was headlined, “Three expensive movies aim at fantasy and miss it by a mile.” The quality of the tail was not remarked upon at all.

It’s a sentiment all too familiar to modern moviegoers. Special effects can be spectacular, but the story still needs to work. A tail can be great and the movie can still flounder.

Actress Ann Blyth had her legs coated in grease before a plaster mold was made of her legs as part of the crafting of a state-of-the-art mermaid’s tail for the 1948 film “Mr. Peabody and the Mermaid.”

Allan Grant/Life Picture Collection/Shutterstock

Makeup artists crafted a mermaid’s tail for actress Ann Blyth for the film “Mr. Peabody and the Mermaid,” 1948.

Allan Grant/Life Picture Collection/Shutterstock

Master makeup artist Bud Westmore fitted rubber to a plastic mold while making a tail for actress Ann Blyth in the 1948 movie “Mr. Peabody and the Mermaid.”

Allan Grant/Life Picture Collection/Shutterstock

Ann Blyth showed off the custom-made, $18,000 tail she wore in the 1948 film “Mr. Peabody and the Mermaid.”

Loomis Dean/Life Picture Collection/Shutterstock

Ann Blyth showed off the custom-made, $18,000 tail she wore in the 1948 film “Mr. Peabody and the Mermaid.”

Loomis Dean/Life Picture Collection/Shutterstock

Ann Blyth starred in the 1948 film “Mr. Peabody and the Mermaid.”

Loomis Dean/Life Picture Collection/Shutterstock

Ann Blyth and William Powell starred in the 1948 film “Mr. Peabody and the Mermaid.”

Loomis Dean/Life Picture Collection/Shutterstock

Ann Blyth starred in the 1948 film “Mr. Peabody and the Mermaid.”

Loomis Dean/Life Picture Collection/Shutterstock

Ann Blyth starred in the 1948 film “Mr. Peabody and the Mermaid.”

Loomis Dean/Life Picture Collection/Shutterstock

Jerrie Cobb Had the “Right Stuff,” But at the Wrong Time

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There is one aspect of the space race that America lost decisively, and it had to do with gender. The first woman ever go into space was Russia’s Valentina Tereshkova, in 1963. America didn’t send its first woman to space until twenty years later when Sally Ride flew on the Space Shuttle Challenger in 1983.

But while America lagged, it was not because of a lack of qualified candidates.

In 1960 LIFE ran a story on pilot Jerrie Cobb headlined “A Lady Proves She’s Fit for Space Flight.” Cobb, 29, had just become the first woman to pass all the tests that America’s male astronauts had gone through as part of Project Mercury.

Cobb, from Oklahoma, had been taught to fly by her father and earned her first pilot’s license at age 16. She then set world records for speed, altitude and distance in the twin-engine class. Her accomplishments drew the attention of Dr. W. Randolph Lovelace II, who ran America’s astronaut training program. In 1959 Lovelace invited Cobb to try out.

Cobb withstood the gauntlet, demonstrating that she had what author Tom Wolfe would famously refer to as “the right stuff.” LIFE reported, “After a series of exhaustive and exhausting medical tests, 75 in all, during which she complained less than the Mercury men had, Jerrie Cobb easily passed the rigid requirements laid down for astronauts-in-training.”

LIFE staff photographer Ralph Crane documented Cobb going through her challenges. The magazine concluded, “It now appears inevitable that manned space flight will at some future date become co-educational.”

But that future date turned out to be more far off than expected.

In 1963 the frustration oozed from pages of LIFE when the magazine reported on Tereshkova’s history-making flight for Russia. By that time a dozen other American women had followed Cobb in passing the astronaut qualifying tests. LIFE’s story, headlined “The U.S. Team is Still Warming up the Bench,” fumed about the opportunity denied to these women, including Cobb, who was now what the magazine described as a “never-consulted consultant” to NASA administrator James Webb.

LIFE said, “Two years ago, when Russian space scientists visiting the U.S. first let on that they had a training program for female cosmonauts, Jerrie Cobb went to Washington, collaring anyone who would listen, pleading for a formal American woman-in-space program. The best she got was polite indifference.”

Today a NASA tribute page to Cobb explains why she never had the opportunity to go to space by saying “any hopes of becoming an official NASA astronaut were dashed when she, as a private citizen, was denied access to training facilities at a Navy base in Florida. At the time, all astronaut candidates were required to have military jet fighter experience, and the military did not allow female jet pilots.” The Air Force would not began to train female jet pilots until the mid-1970s.

So that was that. In 1999, after John Glenn flew a celebrated space mission at age 77, some pushed for Cobb to get the same chance, but she was again denied.

While Cobb never went to space, she demonstrated heroism in other—arguably more impactful—ways as she used her pilot’s skills to serve humanity. She moved to South America and spent 30 years delivering medical supplies to indigenous populations in hard-to-reach areas. The governments of Brazil, Ecuador, Paraguay, Colombia and France honored Cobb for her humanitarian work, and in 1981 she was nominated for the Nobel Prize.

Cobb died in 2019 at the age of 88.

In 1960 Jerrie Cobb became the first U.S. woman to qualify to become an astronaut, though she was never given an opportunity to go up into space.

Ralph Crane/Life Picture Collection/Shutterstock

In 1960 Jerrie Cobb became the first U.S. woman to qualify to become an astronaut, though she was never given an opportunity to go up into space.

Ralph Crane/Life Picture Collection/Shutterstock

Jerrie Cobb, who became a licensed pilot as a teenager and would later qualify to become an astronaut, flew a plane in her native Oklahoma, 1960.

Ralph Crane/Life Picture Collection/Shutterstock

Project Mercury’s Dr. W. Randolph Lovelace II questioned Jerrie Cobb as part of his process of determining if Cobb was capable of becoming an astronaut, 1960.

Ralph Crane/Life Picture Collection/Shutterstock

This pulminary test was one of the many hurdles that Jerrie Cobb passed in order to prove her fitness as an astronaut, 1960.

Ralph Crane/Life Picture Collection/Shutterstock

Jerrie Cobb in 1960 passed all the qualifying tests to become America’s first female astronaut but was never given the opportunity to go up into space.

Ralph Crane/Life Picture Collection/Shutterstock

Jerrie Cobb in 1960 passed all the qualifying tests to become America’s first female astronaut but was never given the opportunity to go up into space.

Ralph Crane/Life Picture Collection/Shutterstock

Jerrie Cobb in 1960 passed all the qualifying tests to become America’s first female astronaut but was never given the opportunity to go up into space.

Ralph Crane/Life Picture Collection/Shutterstock

Jerrie Cobb, a veteran pilot who qualified to become an astronaut in 1960, said she thought of the sky as “God’s unspoiled world which humans should not trespass upon without a feeling of reverance.”

Ralph Crane/Life Picture Collection/Shutterstock

Jerrie Cobb in 1960, after she became the first woman to pass the tests required to become an astronaut.

Ralph Crane/Life Picture Collection/Shutterstock

Jerrie Cobb in 1960 passed all the qualifying tests to become America’s first female astronaut but was never given the opportunity to go up into space.

Ralph Crane/Life Picture Collection/Shutterstock

A Wild Way to Move a House

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In 1951 the people of Goose Rocks Beach wanted to move a meeting hall from nearly Kennebunkport up the coast to use as a community house. The question was, how to get the structure to its new location?

The innovative answer: float it on the ocean.

LIFE reported on this endeavor in a story headlined “House at Sea: A Maine Man Lets the Ocean Handle His Moving Job.”

The delightful article captured the local color as well as the details of the feat. Here’s how the story began:

A few words go a long way down on the coast of Maine, but by last week the lobstermen of Kennebunk Port were speaking whole sentences in wonder. Silently they had watched a good-sized house as it was towed out to sea, anchored overnight in the ocean and landed nine miles north at Goose Rocks Beach. Skeptically they had prophesied she’d founder (“there’ll be a lot of timber in the water before morning”). And worst of all, they had been shown their error by a freshwater man from Lewiston.

The man from Lewiston was named J.N. Jutras, who had come up with the plan, which he executed for a fee of $4,000 (or about $50,000 today). He floated pontoons on the beach at high tide, loaded the house onto the pontoons at low tide, and then floated the house off into the water.

One passenger rode in the house for its journey: Dorothy Mignault, who was president of the Goose Rocks Beach Association and a lead character of this book on Maine history. One lobsterman questioned her wisdom, telling LIFE, “You wouldn’t get me in that damned thing for all the dollars from here to Boston.”

The images by LIFE staff photographer Yale Joel show that the move became a community effort, with all hands on deck to bring the floating house to shore.

Not only did the Community House survive the trip, but all these years later it still serves visitors to Goose Beach. The structure, though, is in need of some help, which is why there is a $250,000 capital campaign to keep the Community House afloat, if you will.

The people of Goose Rock, Maine, helped bring ashore a house that was relocated over nine miles of water from Kennebunkport, 1951.

Yale Joel/Life Picture Collection/Shutterstock

At the beginning of its relocation by water, a house was set upon pontoons in Kennebunkport, Maine, 1951.

Yale Joel/Life Picture Collection/Shutterstock

Mover J. N. Jutras posed while waiting for high tide so he could bring the house to shore at Goose Rocks Beach in Maine, 1951.

Yale Joel/Life Picture Collection/Shutterstock

This house was photographed while in the process of being relocated by water from Kennebunkport to Goose Rocks Beach in Maine, 1951.

Yale Joel/Life Picture Collection/Shutterstock

Michael Jackson, in the Company of Stars

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Michael Jackson appeared in LIFE when he was a mere 13 years old, but already famous as the lead singer of The Jackson Five. The photo, by John Olson, was part of a memorable cover story on musicians posing with their parents.

But soon after that photo ran, young Michael would branch out on his own, starting a solo career and transforming into the King of Pop. His 1982 record Thriller, featuring hits such as Billie Jean and Beat it, remains the best-selling album of all-time.

The biopic Michael, being released on April 24, 2026, traces Jackson’s rise to superstardom. What the movie does not deal with is the accusations of child molestation that came out against Jackson in the 1990s and shadowed him until his death in 2009.

The photos in this gallery are mostly from the 1980s and early 1990s, and come from Michael Jackson’s public appearances. While obviously giving a surface portrait, the pictures do demonstrate just how big a deal Michael Jackson was at the peak of his fame. Everyone wanted to be in his company.

The wide range of famous people he was photographed with includes Eddie Murphy, Elizabeth Taylor, Diana Ross, Whitney Houston, Sophia Loren, Lionel Richie, Liza Minelli, Cher, Brooke Shields, and more. The most random pairing shows the King of Pop with The King and I star Yul Brenner. One photo of Michael Jackson with fellow pop icon Madonna remains among the top sellers in the LIFE photo store.

On more than one occasion Jackson was also photographed future president Donald Trump. The two were close enough that when Jackson died at age 50 due to acute propofol intoxication, Trump offered a remembrance of Jackson to TIME magazine. Trump praised the pop star’s talent, genius and overwhelming popularity while acknowledging Jackson’s troubled state in his later years. Trump predicted to TIME, “He’s not going to be remembered for the last 10 years; he’s going to be remembered for the first 35 years.”

Members of pop group Jackson Five (clockwise L-R): Jackie, parents Joe and Katherine, Marlon, Tito, Jermaine and Michael in their backyard.

The Jackson Five and their parents in 1970: (clockwise L-R): Jackie, parents Joe and Katherine, Marlon, Tito, Jermaine and Michael in their backyard.

John Olson /The LIFE Picture Collection © Meredith Corporation

Michael Jackson and Diana Ross.

DMI

Michael Jackson and Elizabeth Taylor.

DMI

Michael Jackson and Liza Minnelli, 1981.

DMI

Michael Jackson and Olivia Newton-John, 1983.

DMI

Michael Jackson with Brooke Shields.

DMI

Michael Jackson with Cher.

DMI

Michael Jackson and Yul Brenner.

DMI

Michael Jackson and Lionel Richie, 1986.

DMI

Michael Jackson and Whitney Houston, 1988.

DMI

Singer Michael Jackson and actor Eddie Murphy in Press Room at American Music Awards, 1989.

Kevin Winter/DMI

Michael Jackson and Sophia Loren.

DMI

Michael Jackson with his sister Janet.

DMI

Madonna and Michael Jackson (left) arrived at the Shrine Civic Auditorium for the 63rd Annual Academy Awards ceremony, March 25, 1991.

DMI

Michael Jackson and Donald Trump.

DMI

Michael Jackson and Donald Trump.

DMI

Michael Jackson , Marla Maples and Donald Trump, 1992.

DMI

Michael Jackson in concert.

DMI

Michael Jackson in concert.

DMI

In 1950, Red Was the New Black

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When it comes to clothing, red is not just another color. It is worn by monarchs and devils, and in general by people comfortable with having all eyes on them. A history of the red dress in Europe’s NSS magazine noted that “there are animals that have evolved to make their skin or their plumage red in the mating season, some flowers are red to attract the largest number of bees and birds – and even among humans red is the color of passion and danger.”

In its Feb. 27, 1950 issue LIFE ran a story headlined “The Little Red Dress” which declared that the color was having a moment, and that the red dress “may prove the ’50s first fashion classic.” The lead image of the story, taken by LIFE staff photographer Gjon Mili, showed models high-stepping to The Charleston, a 1920s dance craze that was again having a moment.

The brief story acknowledged the primacy of the little black dress even while talking about red becoming a popular alternative, and going on to explain in frank terms what it takes to pull off the new look:

The turn of the half-century has been brightened by a rash of short red evening dresses. “The little red dress” may be lace, crepe or chiffon, costs from $25 to $450. Designers feel it may take its place beside the “good little black” dress as a similar, if more specialized, fashion classic. The inconspicuous black dress covered a multitude of figure problems, was worn like a uniform with standard accessories (pearls, oyster pumps, white gloves). The red dress, definitely conspicuous, is developing its own requirements. The wearer must have a good figure, a sleek hairdo, matching shoes, and the dress itself must have simple lines to allow a solid concentration of color. This is set off my an emphatic splash of rhinestones.

While black remains king, red has certainly made its mark, including in the early 1950s. A ranking of classic red dresses throughout history had at the top of its list those worn by Marilyn Monroe and Jane Russell in the 1953 movie Gentlemen Prefer Blondes. LIFE actually had a photographer, Ed Clark, on the set of that movie. Alas, unlike Mili, Clark was shooting his photos of those red dresses in black and white.

in 1950 newly fashionable red dresses were modeled by women doing what LIFE called “the newly revivded Charleston.”

Gjon Mili/Life Picture Collection/Shutterstock

In a 1950 fashion shoot about the red dress, this model accentuated her look with red rhinestone-trimmed pumps.

Gjon Mili/Life Picture Collection/Shutterstock

This model accessorized her red dress with a red boa and rhinestone jewelry, 1950.

Gjon Mili/Life Picture Collection/Shutterstock

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