When John, Paul, George and Ringo first made it across the pond in 1964 to play before their adoring, screaming fans in the States—including, famously, performances on The Ed Sullivan Show that mark, for many people, the true beginning of rock and roll’s British Invasion—LIFE photographers were there to capture the Liverpool lads’ wry spirit, their charm and their youth. (Were they really ever that young?)
Below is a short selection of pictures from 1964, when a quartet of mop-topped Brits landed on America’s shores and changed the pop-culture landscape forever.
John Lennon, Paul McCartney, George Harrison, and Ringo Starr posed in a portrait on a black backdrop in January 1964.
John Dominis The LIFE Picture Collection/Shutterstock
Two days after their U.S. TV debut on “The Ed Sullivan Show,” the Beatles played for 8,000 fans at their first American concert, at the Coliseum in Washington, D.C., on February 11, 1964. Ticket price: $3.
Stan Wayman The LIFE Picture Collection/Shutterstock
The Beatles joked and smoked at a press conference in August 1964 at the start of their U.S. tour.
Bill Ray The LIFE Picture Collection/Shutterstock
The Beatles waved to fans as they arrived at the Los Angeles airport in August 1964 for a press conference at the start of their second American tour.
Bill Ray The LIFE Picture Collection/Shutterstock
Police held back a crowd of fans at the Los Angeles airport in August 1964.
Bill Ray The LIFE Picture Collection/Shutterstock
At Beatles concerts, like this American show in 1964, screaming crowds often drowned out the band.
Ralph Morse The LIFE Picture Collection/Shutterstock
John, Paul, George and Ringo in a (very, very cold) Miami swimming pool in February 1964.
John Loengard The LIFE Picture Collection/Shutterstock
Like much of the early Seventies, 1971 was a very good year for film aficionados who prized variety in the movies as highly as they valued quality. A Clockwork Orange, The Last Picture Show, The French Connection, Sunday Bloody Sunday, Klute, McCabe & Mrs. Miller the titles released in that single 12-month span are among the most revered and influential of the entire decade.
Of course, for even the most artistically minded filmmakers, all the accolades in the world can quickly pale beside an Oscar nomination or, the summit of happiness, an Oscar win. That thrilling, glitz-fueled night in Los Angeles, meanwhile, when much of the world seems to hold its breath waiting for the words, “And the Oscar goes to …” (or, as it was put in 1972: “The winner is …”) has become a cultural touchstone in its own right, with the show’s production values, jokes, performances and, of course, clothes as closely analyzed as the films the Academy honors each year.
In March 1972, LIFE magazine sent photographer Bill Eppridge to Los Angeles to photograph behind the scenes during the run-up to that year’s Oscar night, capturing images of everything from the dead-of-night delivery (by station wagon!) of the nomination lists to the destruction of the Price Waterhouse typewriter ribbons on which ballots were tallied.
Here, LIFE.com presents a gallery of both published and unpublished photographs from Eppridge’s fascinating, revealing assignment, an insidery piece titled, a bit acidly, “The Oscar Game.”
As for the April 10, 1972, ceremony itself, which took place weeks after Eppridge’s shoot and was hosted by the powerhouse lineup of Sammy Davis, Jr., Jack Lemmon, Helen Hayes and Alan King the big winners were The French Connection (five Oscars, including Best Picture, William Friedkin for Best Director and Gene Hackman for Best Actor); Fiddler on the Roof (three statuettes); Jane Fonda (Best Actress for Klute); and Peter Bogdanovich’s beautiful, profoundly heartfelt Last Picture Show, which scored a rare win when Ben Johnson and Cloris Leachman won Best Supporting Actor and Actress awards for their roles in the film.
Original caption: “At 2 AM Price Waterhouse delivers 10,000 copies of the nominations lists to the Academy Award Theater.”
Bill Eppridge The LIFE Picture Collection/Shutterstock
Original caption: “While nominations are being tallied, studios inundate the Academy with photographs and biographies of actors, directors and films they hope will be nominated…. Material on those not nominated is stacked away and later returned.”
Bill Eppridge The LIFE Picture Collection/Shutterstock
Members of the Academy enter an auditorium for a screening of an Oscar nominated film, 1972.
Bill Eppridge The LIFE Picture Collection/Shutterstock
Photographers shooting the honorary announcers who were there to announce the nominees on television.
Bill Eppridge The LIFE Picture Collection/Shutterstock
Original caption: “As the list of nominees is read, TV cameras and dozens of reporters jam the morning press conference.”
Bill Eppridge The LIFE Picture Collection/Shutterstock
Original caption: “Each night during the ballot counting at P.W. [Price Waterhouse], even the used portions of typewriter ribbons are sealed in a lockbox.”
Bill Eppridge The LIFE Picture Collection/Shutterstock
Original caption: “Peering forlornly at near-full screening schedule, a studio rep tries to find a time to show a nominated film.”
Bill Eppridge The LIFE Picture Collection/Shutterstock
Original caption “The $200 ‘beefed-up’ metal cabinet holding ballots and worksheets is locked in a specially secured room.”
Bill Eppridge The LIFE Picture Collection/Shutterstock
Rehearsing for a production number prior to the 1972 Academy Awards.
Bill Eppridge The LIFE Picture Collection/Shutterstock
Rehearsing for a production number prior to the 1972 Academy Awards.
Bill Eppridge The LIFE Picture Collection/Shutterstock
Envelope used by Price Waterhouse to enclose the name of Academy award winner
Bill Eppridge The LIFE Picture Collection/Shutterstock
When LIFE photographer Robert W. Kelley shot a few rolls of film at an intimate jazz gig on May 14, 1958, evidently neither he nor the magazine’s editors were jumping out of their skins with excitement.
Kelley provided scant notes describing the evening: just the date, the city and the subject’s name, “Miles Davis,” scrawled on the small archival file of the resulting photos. Why the pictures which capture the great, groundbreaking trumpeter, then just 31 years old, leading his band in an unnamed New York venue never made it into print remains a mystery to this day. [NOTE: A comment below cites research that places Davis and his band at New York’s Cafe Bohemia on that night. Ed.]
At this pivotal moment in his career, Davis was cementing a new iteration of his sextet, with John Coltrane, drummer Jimmy Cobb, bassist Paul Chambers, alto saxophonist Julian “Cannonball” Adderley and pianist Bill Evans. Less than two weeks after these pictures were made, that astonishing lineup would begin recording 1958 Miles, and by the following March they were at work on the best-selling and arguably the single most influential jazz album of all time: Kind of Blue.
Even artists outside of jazz rockers like Duane Allman and Pink Floyd’s Richard Wright, for example have cited Kind of Blue as inspiration. Davis’ friend Quincy Jones, meanwhile, has said: “I play Kind of Blue every day. It’s my orange juice.”
Maybe Kelley’s 1958 photos never ran in LIFE because seeing and hearing jazz greats on any given night felt so commonplace in New York at the time—the music mecca Birdland, after all, was just around the corner from the Time-Life Building. Maybe pictures of a groundbreaking young master of the art weren’t something to get worked up about.
But six decades later, when Miles Davis’ star shines brighter than ever and he’s acknowledged as one of the genuine titans of 20th century music, it’s hard not to get excited by the opportunity to see previously unpublished pictures of the man and the rest of his legendary sextet.
Miles Davis plays with his sextet in New York City, 1958.
Robert W. Kelley Time & Life Pictures/Shutterstock
Miles Davis (right) plays his trumpet beside a promising talent he’d recruited for his sextet in 1955, a man who’d go on to become a jazz giant in his own right: tenor saxophonist John Coltrane. Not long before this photo was taken, Coltrane had rejoined Davis’ group after a sojourn away with Thelonious Monk.
Robert W. Kelley Time & Life Pictures/Shutterstock
Miles hangs back while drummer Jimmy Cobb and bassist Paul Chambers (out of frame) play. It was only May of 1958, but the year was shaping up to be a busy one for Davis: Weeks earlier he had finished recording Milestones, a classic work signaling new stylistic directions, and by July he’d begin the sessions for the Porgy and Bess soundtrack.
Robert W. Kelley Time & Life Pictures/Shutterstock
Miles Davis in New York, 1958
Robert W. Kelley Time & Life Pictures/Shutterstock
For a 1958 TIME magazine profile, Davis explained the birth of his playing style, beginning with a local instructor in his hometown of East St. Louis, Ill.: ” ‘Play without any vibrato,’ he used to tell us. ‘You’re gonna get old anyway and start shaking.’ That’s how I tried to play — fast and light and no vibrato.”
Robert W. Kelley Time & Life Pictures/Shutterstock
Miles Davis adjusts the mouthpiece of his trumpet at a New York club in 1958. He famously paid as much attention to what notes he did not play as to those he did. “I always listen to what I can leave out,” he once said.
Robert W. Kelley Time & Life Pictures/Shutterstock
As he became more successful, Davis’ reputation as snappish and disrespectful of his audience — he was famous for turning his back to the crowd — became legend, earning him the nickname “The Prince of Darkness.” But his friends said Miles was sometimes misunderstood. Remembering Miles in 1991, Herbie Hancock explained to People magazine that Davis was not shunning his fans in concert, he was merely focusing on the music and his band.
Robert W. Kelley Time & Life Pictures/Shutterstock
Miles Davis, 1958.
Robert W. Kelley Time & Life Pictures/Shutterstock
Davis had a gift for seeking out the best talent on any instrument. In 1955, he recruited bassist Paul Chambers, just 20 years old but already a virtuoso, influential player.
Robert W. Kelley Time & Life Pictures/Shutterstock
Drummer Jimmy Cobb
Robert W. Kelley Time & Life Pictures/Shutterstock
Miles Davis in a New York nightclub in 1958
Robert W. Kelley Time & Life Pictures/Shutterstock
Even after the mighty transformation of his own style in 1958, Miles Davis continued to switch things up, experimenting in later years with fusion, funk and rock. “I have to change,” he once said. “It’s like a curse.”
Robert W. Kelley Time & Life Pictures/Shutterstock
LIFE photographer Gjon Mili (who also directed the classic 1944 short film, Jammin’ the Blues) often hosted jam sessions at his photography studio in New York during the 1940s. The pictures in this gallery testify to the talent on hand both musical and photographic at those all-night parties. Duke Ellington, Billie Holiday, Dizzy Gillespie, Count Basie, Lester Young, Roy Eldridge, Cozy Cole, Gene Krupa . . . like the jam sessions themselves, the names of the greats who played at Mili’s studio go on and on and on.
Born in Albania, raised in Romania, Mili emigrated to America to study electrical engineering at M.I.T. Inspired, in 1937, by M.I.T.’s Harold Edgerton’s development of the stroboscopic light, Mili went on to experiment with strobes, film speeds, unusual compositions and subjects in short, he applied his prodigious technical prowess and dedicated his artist’s eye to new ways of seeing.
Time, he realized, “could truly be made to stand still. Texture could be retained despite sudden violent movement.” These insights, combined with his love of jazz, helped him create some of the most intimate, unique portraits of jazz legends ever made by any photographer all in what LIFE magazine called his “smoky sweaty barn of a studio.”
As for the jam sessions themselves, LIFE (helpfully) wrote in its Oct. 11, 1943, issue in which some of these pictures first appeared:
A jam session is an informal gathering of temperamentally congenial jazz musicians who play unrehearsed and unscored music for their own enjoyment. It usually takes place in the early morning hours after the participants have finished their regular evening’s work with large bands. . . . It represents the discarding of the shackles imposed by working with a band that plays You’ll Never Know and All or Nothing at All in the same unimaginative arrangements night after night. It represents the final freedom of musical expression.
Recently such a session took place in the New York studio of LIFE photographer Gjon Mili. From shortly before 9 p.m. until after 4 a.m. some of the most distinguished talents in jazz performed for an audience which, in the smoky sweaty barn of a studio, derived an alert, fascinated, almost frenzied enjoyment from what it heard.
Liz Ronk edited this gallery for LIFE.com. Follow her on Twitter at @LizabethRonk.
Duke Ellington, New York, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
Pearl Primus performed to “Honeysuckle Rose” as played by an all-star group consisting of Teddy Wilson (piano), Lou McGarity (trombone), Sidney Catlett (drums), Bobby Hackett (trumpet) and John Simons (bass).
Gjon Mili The LIFE Picture Collection/Shutterstock
Billie Holiday sang her standard, “Fine and Mellow,” accompanied by James P. Johnson on piano and others, New York, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
Duke Ellington was at the piano as Dizzy Gillespie (seated behind Ellington) and others accompanied, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
Duke Ellington and Dizzy Gillespie, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
Duke Ellington played ‘Don’t Get Around Much Any More,’ which was his best-selling composition of the moment.
Gjon Mili The LIFE Picture Collection/Shutterstock
Duke Ellington, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
Vocalist Lee Wiley sang, accompanied by her husband, pianist Jess Stacy, with Eddie Condon on guitar, Sid Weiss on bass and Cozy Cole on drums, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
Vocalist Lee Wiley sang, accompanied by her husband, pianist Jess Stacy, with Eddie Condon on guitar, Sid Weiss on bass and Cozy Cole on drums, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
Lee Wiley, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
Conde Nast president Iva Patcevitch (in striped suit), Vogue editor-in-chief Edna Woolman Chase (far right, in hat) and other media types hung out at Gjon Mili’s studio during a jam session, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
Unidentified jazz musicians, New York, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
Josh White sung and played on guitar his ‘Hard Time Blues.’
Gjon Mili The LIFE Picture Collection/Shutterstock
“Milfred ‘Miff” Mole took a chorus on ‘Royal Garden Blues,’ a jam session perennial. Mole, at 45, was the acknowledged father of a hot trombone style that was widely copied.
Gjon Mili The LIFE Picture Collection/Shutterstock
J.C. Heard Orchestra, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
Duke Ellington and friends, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
The legendary Billie Holiday sung ‘Fine and Mellow,’ a blues recorded for the Commodore Label.
Gjon Mili The LIFE Picture Collection/Shutterstock
Franz Jackson played saxophone, accompanied by James P. Johnson at piano, Wilbur De Paris on trombone, Irving Fazola (fifth from left) on clarinet, Al Mott on bass and Cozy Cole on drums.
Gjon Mili The LIFE Picture Collection/Shutterstock
Gene Krupa.
Gjon Mili The LIFE Picture Collection/Shutterstock
Eddie Heywood’s hands, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
An unidentified bass player’s fingers, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
Count Basie, Lester Young, and other jazz greats at Gjon Mili’s Studio in New York, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
James P. Johnson (piano) and friends, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
This jam session included Lester Young (standing, in hat) on saxophone and Count Basie at the piano, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
James P. Johnson, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
Cozy Cole on drums, Al Mott on bass and Irving Fazola, taking a break from his clarinet, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
Roy Eldridge played trumpet during drummer Gene Krupa’s jam session at Gjon Mili’s studio, 1940s.
Gjon Mili The LIFE Picture Collection/Shutterstock
Mary Lou Williams (who arranged for Ellington’s band) jammed in Gjon Mili’s studio, New York, 1943.
Gjon Mili The LIFE Picture Collection/Shutterstock
Gjon Mili’s cat Blackie stepped gingerly among empty glasses left on top of the piano after an all-night jam session at his (Mili’s, not the cat’s) studio, 1942.
Gjon Mili The LIFE Picture Collection/Shutterstock
On a morning after, Gjon Mili’s studio was littered with cigaret stubs, broken glasses, spilled liquor.
Gjon Mili The LIFE Picture Collection/Shutterstock
We all know the feeling: a gnawing anxiety that somewhere out there, an IRS auditor is reaching for our file. But perhaps we can draw some very small solace from the realization that this painfully specific, tax-related misery is nothing new.
LIFE’s Alfred Eisenstaedt captured the most dreaded rite of spring filing tax returns seven decades ago, and except for the style of clothes on display, these pictures might have been taken last April, or the April before that. Here, more than a century after the enactment of the income tax (Feb. 3, 1913), LIFE.com commemorates the grim, unavoidable task of paying one’s national dues with a gallery of photographs.
Eisenstaedt’s candid shots of taxpayers, taken with a telephoto lens from around 40 feet away from his subjects at an IRS information center in 1944 New York, reaffirm the old adage that, even when it comes to taxes, the more things change, the more they remain for better or for worse very much the same.
A woman at an Internal Revenue information center in New York in 1944.
Alfred Eisenstaedt The LIFE Picture Collection/Shutterstock
Internal Revenue information center, New York, 1944.
Alfred Eisenstaedt The LIFE Picture Collection/Shutterstock
Internal Revenue information center, New York, 1944.
Alfred Eisenstaedt The LIFE Picture Collection/Shutterstock
Internal Revenue information center, New York, 1944.
Alfred Eisenstaedt The LIFE Picture Collection/Shutterstock
Internal Revenue information center, New York, 1944.
Alfred Eisenstaedt The LIFE Picture Collection/Shutterstock
Internal Revenue information center, New York, 1944.
Alfred Eisenstaedt The LIFE Picture Collection/Shutterstock
Internal Revenue information center, New York, 1944.
Alfred Eisenstaedt The LIFE Picture Collection/Shutterstock
Internal Revenue information center, New York, 1944.
Alfred Eisenstaedt The LIFE Picture Collection/Shutterstock
Taxes 1944
Alfred Eisenstaedt The LIFE Picture Collection/Shutterstock
Internal Revenue information center, New York, 1944.
Alfred Eisenstaedt The LIFE Picture Collection/Shutterstock
Internal Revenue information center, New York, 1944.
Alfred Eisenstaedt The LIFE Picture Collection/Shutterstock
Internal Revenue information center, New York, 1944.
Alfred Eisenstaedt The LIFE Picture Collection/Shutterstock
Internal Revenue information center, New York, 1944.
Alfred Eisenstaedt The LIFE Picture Collection/Shutterstock
“If she commanded fewer crowds than previous, official tourists like President Eisenhower and Queen Elizabeth,” LIFE wrote of Jackie Kennedy’s 1962 goodwill tour of India, “she [nevertheless] conducted herself magnificently.”
Kennedy—all of 32 years old and, a full year into her husband’s administration, arguably the most famous woman in the world—”wore a perpetual grin and a dazzling collection of clothes that were both perfect and simple” during her March 12-21 visit. But, as correspondent Anne Chamberlin reported, she “was not slavishly given over to Kennedy ways. One morning when a lot of Kennedys would have been up to see the sun rise over Delhi or swim 80 laps in the pool, Jackie slept late.”
While in India the stylish First Lady also had an effect on the “traditionally dowdy female press corps,” LIFE wrote: “Two lady reporters now carry, in addition to typewriters, hatboxes containing wigs, and three take notes while wearing little white gloves.”
Here, LIFE.com offers a series of photographs—many of which never ran in LIFE—that capture a young woman, wife, mother and fashion icon-in-the-making (“Her every seam has been the subject of hypnotized attention from the streets of Delhi to the Khyber Pass,” Chamberlin wrote) navigating with evident ease the high-stakes, high-stress worlds of diplomacy and international relations.
For her part, meanwhile, it was clear that Mrs. Kennedy took something of India with her when she left.
“It’s been a dream,” Jackie said of her trip.
In a sea of Indian saris, Mrs. Kennedy and Rajasthan’s governor moved through Jaipur airport. On her forehead was the Rajasthani mark of luck and respect, the tika. Her silver-encased coconut also honored the occasion.
Art Rickerby The LIFE Picture Collection/Shutterstock
Indira Gandhi with Jackie Kennedy in 1962.
Art Rickerby The LIFE Picture Collection/Shutterstock
The First Lady Jackie Kennedy and sister Lee Radziwill in India in 1962. LIFE estimated that Jackie wore 22 different outfits during her trip; on one day in New Delhi she changed five times.
Art Rickerby The LIFE Picture Collection/Shutterstock
On a side trip to a textile showroom in Banaras, Jackie Kennedy wore a sleeveless pink unbelted and high-waisted sheath of linen-like silk by New York designer Donald Brooks.
Art Rickerby The LIFE Picture Collection/Shutterstock
As day followed vivid day, India’s magic began to work on Jackie Kennedy and — in a change from the early stages of the trip —she became relaxed and easy.
Art Rickerby The LIFE Picture Collection/Shutterstock
Jackie Kennedy during her visit to India in March 1962.
Art Rickerby The LIFE Picture Collection/Shutterstock
First Lady Jackie Kennedy, center, walked with Ambassador John Galbrath, right, in India in 1962.
Art Rickerby The LIFE Picture Collection/Shutterstock
The esthetic summit of Jackie’s trip was her visit to the Taj Mahal. She saw it twice —once in the morning, as here, and again by moonlight, when she returned to stand in awe before its pale splendor.
Art Rickerby The LIFE Picture Collection/Shutterstock
Jackie Kennedy presented a cup to Princess Gayatri Devi, right, and members of a polo team in Jaipur.
Art Rickerby The LIFE Picture Collection/Shutterstock
Jackie Kennedy attended a formal event in India in 1962.
Art Rickerby The LIFE Picture Collection/Shutterstock
At Jaipur, sitting in an elaborately carved howdah, Jackie and her sister, Lee Radziwill, rode on a trumpeting female elephant, newly painted and spangled for the show.
Art Rickerby The LIFE Picture Collection/Shutterstock
First Lady Jacqueline Kennedy visited with Indian leader Jawaharlal Nehru, left, and Ambassador to the U.S., Braj Kumar Nehru.
Art Rickerby The LIFE Picture Collection/Shutterstock
Jackie walked with the Maharaj of Mewar.
Art Rickerby The LIFE Picture Collection/Shutterstock
In a fitted silk apricot dress, Jackie walked through crowds at Udaipur, where she was given a noisy reception.
Art Rickerby The LIFE Picture Collection/Shutterstock
Jackie Kennedy, center, and Indira Gandhi, third from left, attended a sporting event on the First Lady’s tour of India in March 1962.
Art Rickerby The LIFE Picture Collection/Shutterstock
Jackie Kennedy smiled with the U.S. ambassador to India, John Kenneth Galbraith, in 1962.
Art Rickerby The LIFE Picture Collection/Shutterstock
Jackie Kennedy during her tour of India in March 1962.
Art Rickerby The LIFE Picture Collection/Shutterstock
Jackie Kennedy visited children in a hospital during her tour of India in March 1962.
Art Rickerby The LIFE Picture Collection/Shutterstock
First Lady Jackie Kennedy was greeted by Gov. Gurmukh Nihal Singh, center, at Jaipur Airport in March 1962.
Art Rickerby The LIFE Picture Collection/Shutterstock
On a carved wooden swing in the prime minister’s garden, the First Lady sat and talked with Indira Gandhi, Nehru’s daughter and the former president of the ruling Congress party of India.”
Art Rickerby The LIFE Picture Collection/Shutterstock
Jackie walked with Indian Prime Minister Jawaharlal Nehru in the garden of his home in 1962.
Art Rickerby The LIFE Picture Collection/Shutterstock
Jackie Kennedy during her tour of India in March 1962.
Art Rickerby The LIFE Picture Collection/Shutterstock
On a veranda outside her room at the residence of Prime Minister Nehru, Jackie Kennedy turned her miniature camera on photographers. Beside her, Ambassador Galbraith busied himself with his notes.
Art Rickerby The LIFE Picture Collection/Shutterstock
Jackie Kennedy with Prime Minister Jawaharlal Nehru in India in 1962.
Art Rickerby The LIFE Picture Collection/Shutterstock
First Lady Jackie Kennedy, right, in a blue sheath dress and white gloves, watched a polo match with Maharani of Jaipur, Gayatri Devi, on a visit to India in March 1962.
Art Rickerby The LIFE Picture Collection/Shutterstock
At a glittering state luncheon for her in New Delhi, the First Lady, wearing a green Oleg Cassini sheath, sat at the right hand of Prime Minister Nehru.
Art Rickerby The LIFE Picture Collection/Shutterstock
Jackie Kennedy at the Taj Mahal in March 1962.
Art Rickerby The LIFE Picture Collection/Shutterstock
![Each night during the ballot counting at P.W. [Price Waterhouse], even the used portions of typewriter ribbons are sealed in a lockbox.](https://static.life.com/wp-content/uploads/migrated/2012/02/150115-1972-oscars-06.jpg "Original caption: \"Each night during the ballot counting at P.W. [Price Waterhouse], even the used portions of typewriter ribbons are sealed in a lockbox.\"")
![At Jaipur, sitting in an elaborately carved howdah, Jackie and her sister [Lee Radziwill] ride on a trumpeting female elephant, newly painted and spangled for the show.](https://static.life.com/wp-content/uploads/migrated/2012/02/150305-jackie-kennedy-india-11-690x1024.jpg "At Jaipur, sitting in an elaborately carved howdah, Jackie and her sister, Lee Radziwill, rode on a trumpeting female elephant, newly painted and spangled for the show.")
