Birds: The World’s Most Remarkable Creatures

The following is from LIFE’s beautifully illustrated new special edition, Birds: The World’s Most Remarkable Creatures, available at newsstands and online:

The first bird I fell in love with—my “spark bird”—was soaring in the northeastern Florida sky one May many years ago, its pointed wings spread gracefully and its deeply forked tail gently twisting to guide its curving flight. The black-and-white coloration was distinctive, and I rushed to a local used bookstore for what would become the first of many field guides on my shelves. A few flips of the pages, and I knew I’d seen a swallow-tailed kite, an elegant raptor that is a summer visitor to Florida and the southeastern United States. 

Tens of millions of birders have had similar encounters with their own spark bird. In the United States alone, more than 45 million people are bird watchers. Roughly $4 billion is spent annually on birdseed and foods such as suet, nuts, and nectar, while another $2 billion is spent on binoculars, spotting scopes, and other equipment. Birds are the focus of conservation programs and citizen science projects such as the Great Backyard Bird Count; art projects like the Audubon Mural Project in New York City, which highlights 314 bird species; and movies like Happy Feet (about penguins) and The Big Year (about a birding competition). 

That so many people love birds may be partly because there’s a bird for everyone. The more than 10,000 known bird species come in an extraordinary variety, and they can be found—almost literally—everywhere. 

Birds thrive in all habitats, from fierce roadrunners in rocky deserts to colorful toucans in tropical jungles. You don’t need to live next to a wildlife refuge or nature preserve to enjoy a multitude of bird species—even the busiest cities are home to swallows and sparrows, hawks nesting on skyscrapers, ducks in park ponds, and hummingbirds in flower beds. Taking a trip to the beach? Watch for sandpipers running from the waves, pelicans floating on the water, and gulls flocking on the dunes. In rural areas, there might be quail, magpies, and wild turkeys at the edges of farm fields, while suburban yards can be flush with thrushes, warblers, and buntings. Wherever we are, birds provide us with an active, living connection to nature.

Birds’ often vibrant colors can distinguish a species in a beautiful way. The brilliant red of the northern cardinal stands out against winter snows, while the bright hue of the blue jay is a bold splash of color among the leaves. Birds come in every color, and some—like the painted bunting, with his blue head, lime-green back, and rich red chest—are a rainbow all by themselves.

The varied hues have a purpose. Brighter colors can help birds attract stronger mates—as a general but not ironclad rule, the more colorful of the species are the males, with female birds often more muted, more demure, in their coloring. In other cases, a mottled pattern provides camouflage to protect nesting birds, and some birds, such as the northern pygmy owl, even have false “eyespots” on the back of their head to fool potential predators.

The sight of birds in flight suggests a sense of freedom—from the awesome dive of a peregrine falcon to the swooping curves of a barn swallow, or even the quick flitting of a house wren. The long-distance migrations of birds, flying hundreds or even thousands of miles between their summer and winter habitats, highlight their endurance and perseverance, as well as a kind of navigational intelligence. Birds rely on landmarks and stars to guide their journeys. 

There’s a variety in how they fly as well. Consider the hours-long flights of albatrosses out at sea as they soar on air currents; the frantic, adrenaline-inducing flights of pheasants scattering from predators; or the flittering flights of foraging warblers navigating the high trees without hitting a single branch.

And of course, there’s their songs. Chirps, whistles, coos, and warbles are as familiar as the somewhat less melodious screeches, squawks, hoots, and quacks. Some birds, such as mockingbirds, thrashers, and catbirds, are outstanding mimics and imitate not only other birds but also other animals—as well as car alarms and ring tones. 

Birds sing to attract mates and to defend their territory, with more complex songs indicating better health and greater experience to lure the very best mates or defend larger territories. Other songs and calls communicate information about food or predators, and while in flight, flocks of birds often call to one another to maintain proper spacing with their airborne neighbors. 

The reasons why humans appreciate birds are almost as diverse as birds themselves. The bill of a roseate spoonbill, the hovering of a hummingbird, the gleam of an eagle’s eye, the trill of a nightingale in the gloaming: Maybe one of those birds is your spark bird, long since catalogued or quite literally just up around the bend.

Here is a selection of photos from LIFE’s new special edition exploring the beauty of birds, Birds: The World’s Most Remarkable Creatures.

phototrip/iStock/Getty Images

The secretary bird, native to Africa and found south of the Sahara desert, stands about four feet tall.

Mark Newman/The Image Bank/Getty Images

A red- billed blue magpie can use its wedge-shaped beak to open shells.

eiffel/500px/Getty Images

The wild flamingo owes its distinctive hue to a diet that includes that includes shrimp and algae, which contain carotenoids that, when metabolized, create those fiery-colored feathers.

Jonathan Ross/iStock/Getty Images

During migration, snow geese travel in large flocks and stick to fairly narrow routes that provide winds to follow, good visibility, and precipitation-free periods.

Spondylolithesis/iStock/Getty Images

The king vulture is more colorful than other vultures and, unlike other colorful birds, it is bald, which is believed to help prevent disease-laden animal remains from festering in dense plumage.

miroslav_1/iStock/Getty Images

Lapwings often build their nests in rough or broken ground to help camouflage the eggs.

Andrew Linscott/E+/Getty Images

Known for their smarts, blue jays can mimic the calls of hawks to let other jays know a hawk is nearby.

GummyBone/iStock/Getty Images

Mandarin duck males In spring and early summer have elaborate, colorful plumage. Females are a little less eye-catching, with gray feathers and a muted bill. After the mating season, the males’ feathers molt to brown and gray as well.

Vicki Jauron, Babylon and Beyond Photography/Moment/Getty Images

In the vast landscape of Mongolia’s Altai Mountains, ancient Kazakh hunters on horseback used eagles to track their prey. The tradition was passed down through generations. Today, the practice has become a source of tourism revenue from visitors who pay to see the famed birds in action.

Timothy Allen/Stone/Getty Images

The House That Wilt Built

Wilt Chamberlain lived large in every sense of the term. As an NBA star he scored a record 100 points in a game, and he was a multiple-time champion and MVP. Off the court he shocked people with the claim in his 1991 autobiography A View from Above that he had slept with 20,000 women in his life.

In 1972 the 7’1″, 275-pound center for the Los Angeles Lakers built a house which matched the proportions of his life—and lifestyle. And his new home, which he called Ursa Major (after one of his many nicknames, the Big Dipper) was featured in the March 24, 1972 issue of LIFE.

The magazine explained why Wilt the Stilt needed a special refuge:

Even when he isn’t on the court contending with the likes of Kareem Abdul-Jabbar, Wilt Chamberlain endures endless irritations—ducking through doorways, showering in a crouch, trying to sleep in beds designed for ordinary citizens. So in an understandable indulgence he has built a bachelor pad big enough “to really turn me on.”

He spent $1 million (the equivalent of about $7.2 million in 2023) building the Bel-Air home, which was photographed for LIFE by Ralph Crane, and from the moment you arrived, you had no doubt you were at Wilt’s house. The front door at Ursa Major was 14 feet high, and the swimming pool 15 feet deep. He had a wine rack built at his eye level. Then there was Wilt’s “X-rated” room, as LIFE termed it, with floor-to-ceiling mirrors and a fur-lined waterbed built into the floor.

If you want to hear more about the home from Wilt himself, he talked about Ursa Major in this video as a dream come true. Chamberlain died in 1999 of congestive heart failure at age 63, in bed at his Bel-Air home.

Wilt Chamberlain’s custom-designed home in Bel-Air was built on a World War II anti-aircraft gun sight, 1972.

Ralph Crane/Life Picture Collection/Shutterstock

Basketball legend Wilt Chamberlain outside his custom-built Bel-Air home, 1972.

Ralph Crane/Life Picture Collection/Shutterstock

The dining area at Wilt Chamberlain’ Bel-Air home included a 16-foot chandelier made of Venetian glass and custom-made chairs that cost $17,000.

Wilt Chamberlain’s House

Wilt Chamberlain at his custom-designed Bel-Air home, 1972.

Ralph Crane/Life Picture Collection/Shutterstock

Wilt Chamberlain’s housekeeper at work in the 25-by-6-foot cedar wardrobe closet in his Bel-Air home, 1972.

Wilt Chamberlain’s House

Wilt Chamberlain’s custom-designed home in Bel Air featured a bedroom with a retractable sliding panel above the bed, 1972.

Ralph Crane/Life Picture Collection/Shutterstock

Wilt Chamberlain’s custom-built home in Bel-Air included an “x-rated room” paneled with mirrors, covered in purple velvet and dominated by a fur-covered waterbed, 1972.

Ralph Crane/Life Picture Collection/Shutterstock

Wilt Chamberlain’s custom-built home included a wine rack placed at the eye level for the 7’1″ basketball star, 1972.

Wilt Chamberlain’s House

A Model Protest

As protests go, no one would mistake this one for the March on Washington, the marches in Selma, the marches for gay rights march, the labor strikes led by Cesar Chavez, or any of the other important social actions covered by LIFE magazine.

But what the model protest covered by LIFEs Wallace Kirkland in 1946 lacked in social significance, it made up for in novelty value. The pictures have a silliness that makes them play like stills from a 1940s version of Zoolander.

The object of the protest was Coronet, a general interest magazine that published from 1936 to 1971. The models were protesting because Coronet was switching from using models on the cover (as it did, for example, in this issue from 1941) to illustrations that were more in the Normal Rockwell vein (see this cover from 1952).

Most of Kirkland’s photos show the six protesters in their black dresses marching outside the magazine’s Chicago office, carrying signs with slogans such as “Coronet Unfair to Cover Girls” and “David Smart is a Meanie!” Smart, also the co-founder of pioneering men’s magazine Esquire, was the publisher of Coronet. The photos show the models eventually leaving the sidewalk and making their way into Smart’s office for a confrontation so unserious-looking that he seems to have appreciated the stunt as much as anybody.

Models protest Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

Models protest Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

Models protest Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

Models protest Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

Models protest Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

Models protest Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

A model picketed in front of the offices of Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

Models protest Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

Models protest Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

The State of Men’s Hair, 1969

In 1969 LIFE photographer Yale Joel set out to document men’s hairstyles, and the result is this glorious cache of photos. His story never ran in the magazine (one imagines the legendary photographer having a conversation with the magazine editors in which they say “Uh, Yale, these are cool, but we’re kind of busy with the moon landing and Woodstock and the war in Vietnam and the Charles Manson killings and all that.”)

But all these decades down the road, these photos of men’s hairstyles are their own window into that wild era. It’s as if the hair was an externalization of a world gone wild, where nothing was neat or simple.

Because this story never ran, we don’t much about these men that Yale Joel photographed, although the rich variety of faces suggests that he was taking pictures of ordinary people rather than male models. There’s even some question of whether all of this hair is real. A few of the photos were taken in a salon where wigs are visible in the background, and one photo is of a woman wearing a glued-on mustache.

The ambiguity fits the era too. It was a time to question everything.

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Woman trying on a moustache piece, 1969.

Yale Joel/Life Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

“Only the Seams are Real”: Painted Fashion From Hermes

The Dec. 1, 1952 issue of LIFE featured clothing meant to trick the eye, at least for a moment.

The dresses, from the storied French house Hermes, featured designs in the trompe l’oeil style. The dresses had come out the previous year in Europe and “were soon fooling eyes and causing conversations at France’s fashionable resorts,” LIFE wrote. In 1952 the dresses came to America via the shop of dressmaker Herbert Sondheim (who happens to be the father of composer Stephen Sondheim).

“Everything in the dresses is an illusion—pockets, collars, buttons are all printed on in carefully haphazard strokes; only the seams are real,” LIFE wrote. “Each master design is spaced out, then reproduced on fabric by a complicated screen printing process.”

The story featured pictures by Gordon Parks, and it’s no mystery why a photographer might be intrigued by fashion that was built on surface illusion. But the magazine, despite devoting several pages to the story, was stinting in its praise, calling the clothing “eye-catching but not functional.”

Indeed, given that a common complaint about women’s clothes is the lack of pockets, painting fake pockets onto dresses is borderline cruel.

A woman models a Hermes trompe-l’oeil raincoat in Paris. The decorations painted directly on the fabric included buttons, pockets and a hood on the back.

Gordon Parks/Life Picture Collection/Shutterstock

A model showed off a Hermes raincoat in the trompe l’oiel style with a painted hood on the back that sold for about $100 in Paris, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

Hermes’ trompe l’oiel dresses, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

Hermes’ trompe l’oiel dresses, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

A belt that was part of the line of Hermes’ trompe l’oiel fashion, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

This Hermes trompe l’oiel dress sold for $29.95 in 1952 (the equivalent of about $340 in 2023).

Gordon Parks/Life Picture Collection/Shutterstock

Hermes’ trompe l’oiel dresses, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

Hermes’ trompe l’oiel dresses, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

This dress with a painted-on tie in the trompe l’oiel style sold for $39.95 in 1952.

Gordon Parks/Life Picture Collection/Shutterstock

Hermes’ trompe l’oiel dresses, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

A model held the material that, when cut and sewn along the sides, would become a dress in Hermes’ trompe l’oliel line, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

Hermes’ trompe l’oiel dresses, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

Hermes’ trompe l’oiel dresses, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

Paratroopers in Vietnam Make a Historic Leap

In 1967 LIFE photographer Co Rentmeester connected with a unit of American paratroopers as they made the first combat jumps of the Vietnam war.

The use of paratroopers was part of the incremental escalation that defined the war in Vietnam, and they were deployed in service of America’s biggest military operation to that point. But what makes this set of Rentmeester’s photos stand out is the intimacy and intensity of his paratrooper portraits, which resonate beyond their moment in history.

The operation was important enough that it made the cover of LIFE’s March 10, 1967 issue, with a photo of a silhouetted paratrooper leaping from the plane and the headline “Battle Jump: New Tactics Step Up the War.” Rentmeester’s photos capture the daring of the Second Battalion of the 503rd Airborne Infantry Regiment as soldiers descended on Vietnam’s dried-up rice paddies during Operation Junction City. The operation was multidivisional assault on the suspected location of the enemy headquarters.

The story’s opening spread featured close-up photos of two soldiers on their way to the jump: one who had never done anything like this before and one who who knew the routine all too well. Baby-faced 19-year-old Pfc. Helmut Schmuck sat wide-eyed on the plane as he anticipated making his first combat jump ever. Then there was Sergeant First Class Leon Hostak, who had been a paratrooper during the Korean War and now was a leader of the young charges. According to LIFE’s story, when it came time to jump, Hostak “was practically throwing his troopers out of the plane.”

The story’s text, by Don Moser, described the mix of excitement and dread that preceded the jump:

Pfc. William D. Kuhl was bubbling with the excitement of it all. “My mother is going to be prouder of me than I am of myself,” he was saying. “Then he laughed and started to sing the paratroopers’ song. “Gory, gory, what a helluva way to die,” he bellowed, but the rest just got quiet and curled up inside themselves.

All 800 paratroopers landed safely (including Kuhl, who snapped a photo on the way down for LIFE), despite encountering some initial sniper fire. But the mission itself was an anticlimax. The troops searched for a week before making major contact with enemy soldiers and “mostly pursued elusive shadows through the jungle,” LIFE reported. Both sides suffered casualties, and the soldiers did not find the headquarters they sought.

The last words of the story, attributed to an unnamed and frustrated planner of the mission, were “It’s a damned rough game.”

U.S. paratroopers in Vietnam, on their way to their first jump of the war, 1967.

Co Rentmeester/Life Picture Collection/Shutterstock

Pfc. Helmut Schmuck, 19. a paratrooper of the 173rd Airborne Brigade, prepared for his first jump in combat, Vietnam, 1967.

Leon Hostak, a Sergeant First Class who had served as a paratrooper in 1951 during the Korean War, was back in action in Vietnam, 1967.

Co Rentmeester/Life Picture Collection/Shutterstock

The back of the helmet of American helicopter pilot John Rion had a sticker that depicted the ‘Peanuts’ comicstrip character Snoopy, Vietnam, 1967.

Co Rentmeester/Life Picture Collection/Shutterstock

In the first US combat parachute assault since the Korean War. paratroopers of the 2nd Battalion, 503rd Airborne Infantry Regiment, 173rd Airborne Brigade descended on South Vietnam, February 22, 1967.

Co Rentmeester/Life Picture Collection/Shutterstock

An American paratrooper of the 2nd Battalion, 503rd Airborne Infantry Regiment, 173rd Airborne Brigade, jumped out of a C-130 plane and into a war zone in South Vietnam, February 22, 1967.

Co Rentmeester/Life Picture Collection/Shutterstock

In the first US combat parachute assault since the Korean War. paratroopers of the 2nd Battalion, 503rd Airborne Infantry Regiment, 173rd Airborne Brigade descend on jSouth Vietnam, February 22, 1967.

Co Rentmeester/Life Picture Collection/Shutterstock

A photo taken by Pfc. Wiliam Kuhl of the 2nd Battalion, 503rd Airborne Infantry Regiment, 173rd Airborne Brigade during the first paratrooper jump of the Vietnam War, February 22, 1967.

Life Picture Collection/Shutterstock

Paratroopers of the 2nd Battalion, 503rd Airborne Infantry Regiment, 173rd Airborne Brigade, on a mission in Vietnam, 1967.

Co Rentmeester/Life Picture Collection/Shutterstock

Soldiers of the 1st Battalion, 26th Infantry, 1st Infantry Division set up a tarp next to a howitzer for Operation Junction City during the Vietnam war, February 1967. A CH-47 Chinook helicopter is in flight

.Co Rentmeester/Life Picture Collection/Shutterstock

The Second Battalion, 503rd Airborne Infantry Regiment, 173rd Airborne Brigade, Vietnam, 1967.

Co Rentmeester/Life Picture Collection/Shutterstock

The Second Battalion, 503rd Airborne Infantry Regiment, 173rd Airborne Brigade, Vietnam, 1967.

Co Rentmeester/Life Picture Collection/Shutterstock

Paratroopers of the 2nd Battalion, 503rd Airborne Infantry Regiment, 173rd Airborne Brigade, wade through a stream in South Vietnam, February 22, 1967.

Co Rentmeester/Life Picture Collection/Shutterstock

US soldiers of the 1st Battalion, 26th Infantry, 1st Division, aimed an M60 machine gun out of a foxhole during Operation Junction City in the Vietnam war, February 1967.

Co Rentmeester/Life Picture Collection/Shutterstock

From front left: Specialist 4th class Raymond Hill, team leader Sergeant Reed Cundiff, and Specialist 4th class Manuel Moya, Vietnam, 1967.

Co Rentmeester/Life Picture Collection/Shutterstock

A reconnaissance patrol In Vietnam during Operation Junction City, 1967.

Co Rentmeester/Life Picture Collection/Shutterstock

Manuel Moya (left) and Reed Cundiff of a U.S. Army Long Range Reconnaissance Patrol of the 173rd Airborne, South Vietnam, February 1967.

Co Rentmeester/Life Picture Collection/Shutterstock

Portrait of Manuel Moya of a US Army Long Range Reconnaissance Patrol (LRRP) of the 173rd Airborne as he sat, in camouflage, in a helicopter, Vietnam, February 1967.

Co Rentmeester/Life Picture Collection/Shutterstock

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