In 1961 Hughes Aircraft had a new technology that it wanted to introduce to the public. That desire led to one of LIFE’s stranger photoshoots.
The invention was the Mobot, and this motorized robot performed a valuable function. Workers at nuclear sites could use the Mobot’s mechanical arms to operate machinery remotely and without fear of exposure to radioactive materials. A story in Popular Mechanics in 1960 talked about how “Mobot Mark 1, the first mobile remote-controlled handling machine for radiation labs too dangerous for man, flexed his steel arms recently and showed how he can move into `hot’ areas and perform intricate tasks.”
The concept is obviously a valuable one—a lifesaver, really. Today remotely operated robots continue to be a valuable tool for handling potentially lethal tasks such as bomb disposal. Which makes the LIFE photoshoot for the robot all the more curious. In the photos by the great J.R. Eyerman, the Mobot is depicted not as handling a dangerous assignment but helping a model go through her beauty routine. The Mobot and its mechanical arms help the model do her nails and comb her hair. The Mobot’s most helpful contribution was to zip up the model’s dress.
The zipping scenario was a smart one, because women getting into dresses sometimes do need an extra set of hands, and human ones aren’t always available. But as the site Fanboy.com noted in a story on the Mobot, the real absurdity of the demo was that zipping a dress required not only a room-sized machine and a human engineer to operate it.
Even if the Mobot wasn’t the most efficient way to get that zipper up, the shoot did point up a problem for dress-wearers that the world of technology has not entirely forgotten. In 2016 at a fashion conference, a paper argued that automated zippers would be a great help to the infirm and the elderly, The year before the MIT Robotics Lab had developed a prototype of an automated zipper that lived inside the dress. One thing is clear: if automated zipping ever becomes a part of our lives, it is much more likely to be invisible that room-sized.
The Mobot, a creation of Hughes Aircraft Electronic Labs, demonstrated its abilities by helping a model go through her beauty routine, 1961.
J.R. Eyerman/LIFE Picture Collection/Shutterstock
The Mobot demonstrated its capabilities by helping a model go through her beauty routine, Hughes Aircraft, California, 1961.
J.R. Eyerman/LIFE Picture Collection/Shutterstock
Hughes Aircraft Electronic Labs’ ‘Mobot’ dressing a woman, California, United States, 1961
J.R. Eyerman/LIFE Picture Collection/Shutterstock
An engineer operated the Mobot mobile robots, Hughes Aircraft Electronic Laboratory, California, 1961.
By 1952, Marlon Brando was well on his way in Hollywood, with three remarkable roles under his belt: his big-screen debut as a paraplegic war vet in The Men; a searing on-screen reprisal of his Broadway turn as the iconic brute Stanley Kowalski in director Elia Kazan’sA Streetcar Named Desire; and the title role in the biopic, Viva Zapata!, about the Mexican revolutionary hero.
But for all those successes, Brando had not yet made the cover of LIFE — a magazine that prided itself on capturing and reflecting the nations’ obsessions and interests, week after week after week. In 1952, that oversight was remedied, as legendary photographer Margaret Bourke-White shot a portrait session with Brando, capturing the 28-year-old star in a casual, playful mood.
For reasons lost to time, Bourke-White’s photos — discovered in LIFE’s archives and marked with the sole descriptive phrase, “cover tries” — were never published in the magazine. (Though Bourke-White’s portraits never saw the light of day, Brando ultimately did grace the cover of LIFE, making his first appearance in character as Antony from Julius Caesarin the April 20, 1953, issue. He’d appear on the cover three more times.)
It is difficult to look at the face of the young Brando without feeling the influence of his most iconic performances, from On the Waterfront to The Godfather. Here, meet the young Brando at his most charismatic and mysterious, seen through the lens of one of LIFE’s greatest photographers, in a series of photos that never ran in the magazine.
Liz Ronk, who edited this gallery, is the Photo Editor for LIFE.com. Follow her on Twitter @lizabethronk.
Marlon Brando, 1952
Margaret Bourke-White/Life Pictures/Shutterstock
Marlon Brando, 1952
Margaret Bourke-White/Life Pictures/Shutterstock
Marlon Brando, 1952
Margaret Bourke-White/Life Pictures/Shutterstock
Marlon Brando, 1952
Margaret Bourke-White/Life Pictures/Shutterstock
Marlon Brando, 1952
Margaret Bourke-White/Life Pictures/Shutterstock
Marlon Brando, 1952
Margaret Bourke-White/Life Pictures/Shutterstock
Marlon Brando, 1952
Margaret Bourke-White Time & Life Pictures/Shutterstock
Marlon Brando, 1952
Margaret Bourke-White Time & Life Pictures/Shutterstock
Marlon Brando: First LIFE Cover
Margaret Bourke-White Time & Life Pictures/Shutterstock
The Seven Wonders of the Ancient World and the Seven Wonders of the ‘New World’ have captivated generations of travelers and historians for centuries. Lists declaring different “wonders of the world” have been compiled since antiquity to record some of the world’s most breathtaking natural and man-made historic sites.
Dating back to the 2nd century BCE, the original list was a massive testament to the sheer ingenuity, innovation, and creativity of Earth’s early civilizations.
In 1999, an initiative was started by Swiss explorer Bernard Weber to update the list and choose the New Seven Wonders of the World from a selection of existing monuments. The results of the 7 Wonders of the New World were announced in 2007 with the Pyramids of Giza, the only remaining original wonder, being named as an honorary wonder.
In addition to all being UNESCO World Heritage Sites, the New 7 Wonders of the World are all architectural sites of enormous scale and are among some of the most visited tourist attractions in the world.
The Seven Wonders of the New World
The Great Wall of China (China)
Christ the Redeemer (Rio De Janeiro, Brazil)
Machu Picchu (Peru)
Chichen Itza (Yucatan Peninsula, Mexico)
The Roman Colosseum (Rome, Italy)
The Taj Mahal (Agra, India)
Petra (Jordan)
Many LIFE photographers have captured these spectacular sites, and below you will find images from the seven dynamic destinations.
The Great Wall of China
The Great Wall Of China, 1920.
Mansell Collection / LIFE Picture Collection
U.S. President, Richard Nixon, visit The Great Wall of China, 1972.
John Dominis / LIFE Picture Collection
From the September 8, 1941 issue of LIFE: “From a plane, you can see the Great Wall of China, writhing and coiling like a frozen dragon across 1,500 miles of the North.”
Christ the Redeemer
Christ The Redeemer Statue, 1941.
Hart Preston / LIFE Picture Collection
Christ the Redeemer, Tijuca Forest on the Corcovado Mountain, Rio de Janeiro, Brazil, 1973.
Alfred Eisenstaedt / LIFE Picture Collection
Machu Picchu
View of terraces in the ancient Incan city of Machu Picchu, 1947.
Dmitri Kessel / LIFE Picture Collection
The Ruins of Machu Picchu, 1945.
Frank Scherschel / LIFE Picture Collection
Incan ruins at Machu Picchu, 1948.
Dmitri Kessel / LIFE Picture Collection
A view showing the temple with the alter and sundial at Machu Picchu in Urubamba , Peru, 1945.
Frank Scherschel / LIFE Picture Collection
From the January 19, 1968 issue of LIFE: “Locked between two massive peaks of the Andes, and balanced at the edge of sheer, menacing abyss, lie the ruined palaces and temples of an Incan City. Machu Picchu. The jungle growths that obscured Machu Picchu for centuries have been cleared away. But the natives swear the ancient gods still linger, laughing and whispering among themselves.”
Chichen Itza
The Mayan temple, Chichen Itza, in ruins, Mexico, 1946.
Dmitri Kessel / LIFE Picture Collection
Ancient Mayan city of Chichen Itza built by Mayans in 6th century dedicated to a godlike leader, Kukulcan, 1946.
Dmitri Kessel / LIFE Picture Collection
Cultural site in Central America, Chichen Itza, Yucatan.
Mansell Collection / LIFE Picture Collection
Cultural Site in Central America, Chichen Itza, Yucutan.
Mansell Collection / LIFE Picture Collection
The Roman Colosseum
A view showing the interior of the Colosseum in Rome, Italy in 1940.
Thomas D. McAvoy / LIFE Picture Collection
Exterior view of the Roman Colosseum, Italy, 1940.
Thomas D. McAvoy / LIFE Picture Collection
A night-time view of the ruins of the Roman Colosseum, Italy, 1940.
Carl Mydans / LIFE Picture Collection
Crowds of people in the city near the Roman Colosseum, 1944.
George Silk / LIFE Picture Collection
Taj Mahal
On tour with the United Service Organizations in the China-Burma-India theater of World War II, India, December 1944.
US Army Signal Corps / The LIFE Picture Collection
Aerial view of the famed Taj Mahal, 1944.
Thomas D. McAvoy / LIFE Picture Collection
Taj Mahal by Moonlight, 1952.
James Burke / LIFE Picture Collection
Mrs. John F. Kennedy during tour of India visiting the Taj Mahal, 1962.
Art Rickerby / LIFE Picture Collection
From the August 31, 1962 issue of LIFE: “Shimmering in the moonlight as delicate and cool as its own white marble skin, the Taj Mahal at Agra, India floats in a romantic dream which has charmed tourists for 300 years and has made ‘The Taj’ the most famous mausoleum in the world.”
Petra
Petra, Jordan.
Mansell Collection / LIFE Picture Collection
Petra, Jordan.
Mansell Collection / LIFE Picture Collection
Petra, Jordan.
Mansell Collection / LIFE Picture Collection
From the October 31, 1949 issue of LIFE: “Hidden in a narrow, sheer-sided valley in the craggy wilderness of southern Trans-Jordan are the ruins of the strangest city ever built by man. Its name is Petra, which means ‘rock,’ and is aptly named. For here, carved like giant cameos into the faces of towering pink and orange cliffs, are hundreds of tombs, temples, and palaces whose severe classic beauty stands out in fantastic contrast to the windworn living rock of which they are a part.”
The Rockefeller Center Christmas Tree in Manhattan is the epitome of New York’s holiday season. With humble beginnings, the tree is considered an international symbol of Christmas and is ceremoniously lit every year on the Wednesday after Thanksgiving. Let’s dive deeper into the history behind this iconic holiday symbol and view photos of the famous tree from LIFE’s vast archive.
In December 1931, at the height of the Great Depression, construction workers building the Rockefeller Center complex pooled their money together to buy a 20-foot balsam fir Christmas tree to put up outside of the center. Two years later, in 1933, Rockefeller Center made the tree an annual tradition, and the first Christmas tree-lighting ceremony took place.
The size of the tree and its decorations grew more elaborate over the years; and, in 1951, the first televised tree lighting ceremony aired. Other traditions also began to take shape, including the now infamous collection of herald angels in the Channel Gardens and the larger-than-life Swarovski star that adorns the top of the tree.
Between 70-100 feet, the Rockefeller Center Christmas tree is usually a Norway spruce, and it remains on display through the start of the New Year. After the holiday season, the famous tree is taken down, turned into lumber, donated to Habitat for Humanity, and used to build homes for those in need.
The Rockefeller Center Christmas tree will be lit for the 2023 holiday season during a special ceremony on Wednesday, November 29th. Watch the world’s most famous Christmas tree come to life during the Christmas at Rockefeller Center special airing on NBC.
You can also find a historical anecdote about the Rockefeller Center Christmas Tree from an original 1972 issue of LIFE magazine by clicking here.
Rockefeller Center Christmas tree at night, 1952.
Alfred Eisenstaedt / LIFE Picture Collection
People walking near the Rockefeller Center Christmas tree during a snowstorm, New York City, New York, 1948.
Al Fenn / LIFE Picture Collection
Al Fenn / LIFE Picture Collection
Christmas decorations at Rockefeller Plaza, New York City, New York, 1949.
Andreas Feininger / LIFE Picture Collection
Aerial wide-angle view of Rockefeller Center skating rink and Christmas tree, 1956.
Yale Joel / LIFE Picture Collection
Christmas tree being set-up in Rockefeller Center.
Bill Ray / LIFE Picture Collection
Christmas Tree being removed from Rockefeller Center.
Bill Ray / LIFE Picture Collection
Christmas tree being removed from Rockefeller Center.
Bill Ray / LIFE Picture Collection
Rockefeller Center Christmas Tree turned into mulch.
Bill Ray / LIFE Picture Collection
Rockefeller Center Christmas Tree turned into mulch.
Bill Ray / LIFE Picture Collection
Rockefeller Center Christmas Tree turned into mulch.
Bill Ray / LIFE Picture Collection
Christmas tree at Rockefeller Center, 1940.
Nina Leen / LIFE Picture Collection
People gathering near Christmas tree at Rockefeller Center, New York City, New York, 1940.
The combination of Mae West and Las Vegas seems like a natural match. Both made their names on crowd-pleasing raunch. She famously declared “Too much a good thing can be wonderful,” and that phrase could easily serve the civic motto of the glitzy playground in the desert.
In 1954 she opened up a nightclub act at the Sahara hotel, and LIFE photographer Loomis Dean was on hand to capture the spectacle. His pictures show West, who was born in 1893, as a woman ahead of her time. She took the stage surrounded by proto-Chippendales in loincloths, each man more ostentatiously muscled than the next. The sexagenarian woman was presented as the lord of her domain.
But the reason that West ended up in Las Vegas something less than a fantasy. She was there because Hollywood couldn’t handle her.
In a director’s statement that accompanied Dirty Blonde, an episode of PBS’s American Masters devoted to West, Sally Rosenthal and Julia Marchesi recounted how West’s sexualized screen persona suffered a death from a thousand cuts:
The censors began editing her screenplays with heavy strokes, obliterating her saucy dialogue and rendering jokes senseless. For a while, West was able to work around it with double entendres and suggestive intonations, but the censors began rejecting finished films and ordering costly reshoots with their own story changes. The films grew dull; audiences grew bored. Ticket sales fell. Moviegoers opted for a bubbly Shirley Temple over a neutered Mae West. The Hollywood Reporter labeled West “box office poison,” and her film career was over.
Las Vegas offered her a chance to become her old, untamed self. And the showroom of the Sahara proved to be the perfect place to reconnect with her former audience, many of whom were now in retirement age and happy to see a performer they had enjoyed decades before.
The Vegas run proved to be a last hurrah, at least in public. When she was done with Vegas, she went for the classic Mae West ending, moving to Beverly Hills with one of the musclemen from her show, who happened to be thirty years younger than she was.
According to Rosenthal and Marchesi, she remained a relatively private person from then on:
Other than occasional television appearances – including an exceptionally popular episode of Mister Ed – West mostly kept to herself. She rarely went out during the day, to avoid the aging effects of the sun. She insisted to interviewers that she could still pass for 26, and rejected the role of Norma Desmond in Sunset Boulevard, as well as roles in Pal Joey and various Fellini movies – roles that she felt would ridicule her persona and undermine her identity as a comedic sex symbol. She would eventually make two more films, under the condition that she have creative control and could rewrite her lines as she saw fit. Both films flopped; audiences were uncomfortable with the spectacle of an older woman with a voracious sexual appetite. By the 1970s, sex was no longer a taboo subject – but in presenting a post-menopausal woman with a powerful libido, West had found one last line audiences were still not ready to cross.
If she had to leave the public with a last impression, she could do worse than the one captured in Loomis’s images—that of a woman totally in command, and completely herself.
Mae West preparing to go on stage for her Las Vegas nightclub act, 1954.
Loomis Dean/LIFE Picture Collection/Shutterstock
Mae West (center) made her nightclub debut with loin-clothed dancers at Hotel Sahara in Las Vegas, 1954.
Loomis Dean/LIFE Picture Collection/Shutterstock
Mae West (center) performed at the Hotel Sahara in Las Vegas, 1954.
Loomis Dean/LIFE Picture Collection/Shutterstock
Mae West (center) performed at the Hotel Sahara in Las Vegas, 1954.
Loomis Dean/LIFE Picture Collection/Shutterstock
Mae West (center) and her crew of muscly dancers performed her nightclub act at the Hotel Sahara in Las Vegas, 1954.
Loomis Dean/LIFE Picture Collection/Shutterstock
Mae West (center) performed at the Hotel Sahara in Las Vegas, 1954.
Loomis Dean/LIFE Picture Collection/Shutterstock
Mae West (left) performed at the Hotel Sahara in Las Vegas, 1954.
Loomis Dean/LIFE Picture Collection/Shutterstock
Mae West (center) performed at the Hotel Sahara in Las Vegas, 1954.
Loomis Dean/LIFE Picture Collection/Shutterstock
Mae West (right) performed at the Hotel Sahara in Las Vegas, 1954.
Loomis Dean/LIFE Picture Collection/Shutterstock
Mae West performed at the Hotel Sahara in Las Vegas, 1954.
Loomis Dean/LIFE Picture Collection/Shutterstock
Mae West (center) performed at the Hotel Sahara in Las Vegas, 1954.
Loomis Dean/LIFE Picture Collection/Shutterstock
Mae West performed at the Hotel Sahara in Las Vegas, 1954.
Loomis Dean/LIFE Picture Collection/Shutterstock
Mae West backstage at the Hotel Sahara with one of the co-stars of her Las Vegas show, 1954.
It was a mighty big stage for such a risky experiment. On August 16, 1986, the seventh annual Monsters of Rock festival took place in Castle Donnington, England, in front of 80,000 fans. Def Leppard had become one of the biggest rock bands in the world with their breakthrough 1983 album Pyromania, which sold more than 6 million copies, though this popularity hadn’t fully swept their native U.K., where the record only peaked at No. 18 on the charts. At Monsters of Rock the band was slated in the middle of a bill of heavy-metal all-stars, coming on stage after Motörhead and just before the Scorpions and the headliner, Ozzy Osbourne.
Part of the reason for this placement may also have been concerns around Def Leppard’s lineup. On New Year’s Eve 1984, while the group was on a holiday break from recording, drummer Rick Allen had crashed his car on a country road, severing his left arm. But Allen trained himself to play a specially designed drum kit by using his legs to take on some of the parts usually handled by the arms.
Before Donington, the band did a quick six-date warm-up tour in Ireland. The plan was for Allen to play alongside another drummer, but after the additional player showed up late for one of the gigs, Allen handled the final two dates by himself. Now, less than 20 months after his accident, he was at Monsters of Rock before a full—extra full, in fact—audience. The eyes of the music world were on Def Leppard, and fans and the press were skeptical that this unprecedented comeback was viable. To make things all the more challenging, it was pouring rain.
“It’s not like I could consult with a book called One-Armed Drummers,” Allen has said, noting that his physical transformation inevitably changed his style. “Everything I did I had to figure out for myself.”
Over an 11-song set, the Castle Donington performance proved to be a triumph. “Stagefright” was the (perhaps inevitable) opener, with its first line “I said, welcome to my show!” When the band played their ferocious cover of Creedence Clearwater Revival’s “Travelin’ Band” as an encore, singer Joe Elliott introduced “Mr. Ricky Allen on the drums,” and the soggy crowd went crazy.
The next chapter of Def Leppard’s remarkable, unlikely, and highly uplifting career had begun—and though this wouldn’t be the last time the band stared down tragedy, they would ultimately emerge not only intact but bigger than ever. Their next album, 1987’s Hysteria, would surpass the heights reached by Pyromania and become one of the best-selling albums of all time. More than 40 years after their formation, Elliott, Allen, bassist Rick Savage, and guitarists Phil Collen and Vivian Campbell are Rock & Roll Hall of Famers, still topping the charts and playing to sold-out stadiums.
“The guy lost his arm in a car accident and then decided he was going to learn how to play drums with his foot,” says singer-songwriter Matt Nathanson, who released an EP of Def Leppard covers in 2018. “That is, in and of itself, a story that should carry them for the rest of their life in terms of showing their resilience and their drive and power and love of playing music together.”
Looking back on Allen’s accident decades later, Elliott described how the rest of Def Leppard never wavered in their support for their bandmate and the greater significance of the challenging crossroads in the group’s history. “We said, ‘Okay, he’s in this band until he says he isn’t.’ We’re not going to fire him because of an accident. . . . It showed the humanity within the band, the true friendship, because we’d been through some trauma before then, but this was major league.
“That was the beginning of us realizing that it’s not just a band,” Elliott added. “It’s a band of brothers.”
Cover photography by Ross Halfin; Photo colorization by Jordan J. Lloyd/Unseen Histories
Lead songwriter and guitarist Steve Clark, bassist Rick Savage, lead singer Joe Elliott and drummer Rick Allen of Def Leppard performed at The Fabulous Fox Theater on Sept. 4, 1981 in Atlanta, Georgia.
Tom Hill/Michael Ochs Archives/Getty
Def Leppard in 1983, right before the success of their Pyromania album would elevate the band into the stratosphere.
Michael Montfort/Michael Ochs Archives/Getty
Phil Collen, then a recent addition to the band, showed his chops in a performance at Brendan Byrne Arena in East Rutherford, N.J., 1983.
Ebet Roberts/Redferns/Getty
During their Hysteria tour Def Leppard performed in San Remo, Italy in 1988.
Duncan Raban/Popperfoto
Taylor Swift took to the stage with Def Leppard in 2008 for a concert that aired on CMT.
Rick Diamond/WireImage/Getty
Def Lepppard’s Joe Elliott and Gene Simmons of Kiss shared a moment during their joint tour in 2014 after completing the ALS Ice Bucket Challenge in Noblesville, Indiana.
Michael Hickey/Getty
Def Leppard celebrated their induction into the Rock & Roll Hall of Fame with a performance with Brian May of Queen (center) during ceremonies at the Barclay Center in Brooklyn in 2019.