The Everlasting Magic of Willy Wonka & the Chocolate Factory

The following is excerpted from LIFE’s new special issue celebrating the 50th anniversary of Willy Wonka & The Chocolate Factory, available here online and at newsstands.

Before we ever see Gene Wilder in Willy Wonka & the Chocolate Factory, we hear about his character’s legend.

The reclusive candymaker Willy Wonka—a figure shrouded in mystery, whose immense wealth shields him from members of the public to whom he hasn’t granted a “golden ticket”—looms large in the imagination of each character in the film. There’s no telling what he might be like, and the characters, awaiting a rare Wonka appearance, are eager to find out. His entrance is all the more uncomfortable, then, as he slowly and grimly limps out of his factory. He seems pained, grievously unhappy. The scene stretches on as we see him dragging his right leg, slowly moving toward his fans, until, in a dreadful development, he falls forward—and at the last moment breaks into a brilliantly athletic forward roll.

Wilder knew how to make an entrance, both on-screen and in the lives of fans too young to have seen The Producers. Their first glimpse of the actor, an impression that would last through the movie and throughout his career, showed he was incredibly serious about being funny, a performer who reached the laugh only by pushing through intense discomfort. Any comic can do a funny walk. Wilder found humor through catharsis. It was a somewhat mean-spirited trick, but the light of Wonka’s soul shone brighter for the dark impulses that sometimes occluded it.

The Roald Dahl novel on which the movie is based is Charlie and the Chocolate Factory, but the retitling of the movie, which was first released 50 years ago this summer, was the smart thing to do, especially in light of Wilder’s performance. The eyes gravitate to Wonka every moment he’s on-screen. There is something malevolent about this man. His smile comes rarely, and, Cheshire Cat–like, it seems to be informed by something other than pure joy.

He also takes an unusual amount of pleasure in tricking, disciplining, and tormenting his young fans. The familiar story of Willy Wonka shouldn’t work on-screen, so oddly sadistic are its undertones: Of the five children who find one of Wonka’s golden tickets for a tour of the factory, four do not complete the trip. Whatever actor plays Wonka has to be not just calm but the engineer of the mayhem. Seeing justice served for causing disorder must be more important than keeping his visitors safe. Wonka is a madman, and that we can’t stop watching him is proof of just how well Wilder could hold the screen.

Wonka’s particular mania is visible from the tour’s start. His song “Pure Imagination,” performed as he leads his charges through his personal Neverland, is punctuated with sharp shuffle steps backward and whips of his walking stick as he attempts to stop them from taking a step ahead of him. When he eventually allows them to run free, they take the opportunity to sample all his wares, and he’s left alone, singing to himself. The song downshifts to a dirge, as Wilder’s face collapses slightly. “There is no life I know to compare with pure imagination,” Wilder sings, drinking, ever more deeply from a teacup made of a flower. “Living there, you’ll be free, if you truly wish to be.”

It’s a moment fraught with double meaning. Wilder’s Wonka is many things, but he’s far from free. In fact, as we see throughout the film, his seeming liberty to create absolutely anything he might desire (contrary to physics or good sense) has kept him imprisoned. If anything is possible, nothing brings joy. Each new magnificent or strange invention we see is, to him, old hat. The only thing that Wonka is able to focus on is his obsessive insistence on rule-following. He may want to be free, but his genius binds him to a need for order. As a way to build a world in which he would be comfortable, Wonka has shut out the possibility for serendipity or real joy. It’s quite a sophisticated message for children!

The film’s didactic lessons about avoiding greed, narrated by the Oompa-Loompas, go down easier. Wilder finds in Wonka something more complex than an impresario in top hat and purple vest. As with his best work in films intended for adults, he’s conducting a high-wire act, paradoxically allowing the character’s bone-deep desire for order to give rise to madness, and finding comedy in between.

Consider a scene near the film’s end, when Wonka lashes out at Charlie, the last child left standing. Charlie has done admirably, showing that he’s nowhere near as greedy as the other tour-goers. Yet he did sample a drink he wasn’t supposed to during the tour. Wonka, who simply sat by bemused when, say, poor Violet Beauregarde blew up into a blueberry, is outraged, raising his voice in a way he hasn’t before. “You lose!” he says to Charlie and the boy’s elderly grandfather, practically vibrating with rage, betrayed and broken. “Good day, sir!” This, too, is a test. By returning a magical candy he has received rather than giving it to one of Wonka’s rivals, Charlie proves his honesty. The entire exchange exists somewhere between reality—we believe Wonka is angry about the theft—and elaborate ruse. The genius of Wilder’s portrayal is that both exist at once, and the film’s finale allows Wonka to repeat the trick he played at the film’s beginning. Once more, he turns a display of pathos into a soaring trick, taking Charlie up in his “Wonkavator” to survey the entire town, his face breaking into a devious grin. For Wilder in this role, the world is at its most fun when colored with pathos, like a chocolate bar ground out of bitter beans. Many could have played the role (indeed, Johnny Depp did in a later adaptation, going more fey and icy), but only Wilder was able to bring to it an energy that comes from marrying threat and reward, order and chaos. It is a performance so unusual that it could only have come from, well, pure imagination.

Here are a selection of images from LIFE’s new special issue Willy Wonka & The Chocolate Factory.

Willy Wonka

Willy Wonka

Cover image: Courtesy Everett

The cast of Willy Wonka & the Chocolate Factory on set at Bavaria Studios, located in a suburb of Munich, Germany.

Steve Schapiro/Getty

An Oompa-Loompa entertained Peter Ostrum, who played Charlie, while Willy Wonka portrayer Gene Wilder looked on.

Steve Schapiro/Getty

The Oompa-Loompas were the life of the party on the set of Willy Wonka & the Chocolate Factory.

Steve Schapiro/Getty

The dream team: author Roald Dahl visited with actors Gene Wilder and Peter Ostrum, who were bringing his literary creations Willy Wonka and Charlie Bucket to life.

Steve Schapiro/Getty

Gene Wilder showed his soft touch on the set of Willy Wonka & the Chocolate Factory; to the right of Wilder is director Mel Stuart.

Steve Schapiro/Getty

Peter Ostrum and an Oompa-Loompa made the most of their down time on the set of Willy Wonka & the Chocolate Factory.

Steve Schapiro/Getty

Johnny Depp (left) took on the role of Willy Wonka in Tim Burton’s 2005 movie Charlie and the Chocolate Factory, which also featured Freddie Highmore as Charlie Bucket (center) and David Kelly as Grandpa Joe (right).

© Peter Mountain/Warner Bros., Courtesy Photofest

Roald Dahl, author of Charlie and the Chocolate Factory, in 1961 with wife Patricia Neal and children Theo (in tram), Olivia and Tessa.

PA Images/Getty

Charlie and the Chocolate Factory author Roald Dahl’s sensibilities showed in his choice of flash cards.

Leonard Mccombe/The LIFE Picture Collection/Shutterstock

Eagles: Their Story. Their Music. Their Lives.

The following is excerpted from LIFE’s new special anniversary issue on the Eagles, available here online and at newsstands:

The night after Glenn Frey died, in January 2016, Bruce Springsteen played the United Center in Chicago. He opened his encore with the Eagles’ first hit. Forty-four years after “Take It Easy” debuted on the radio, with Frey on lead vocals, 20,000 Springsteen fans who didn’t know what was coming sang along to every indelible word. Like so many of the Eagles’ songs, “Take It Easy” is burned into the national memory and instantly evocative of sunny Southern California—to say nothing of Winslow, Arizona—in a distant decade that the Eagles made their own. “His songs, those sounds, perfectly captured those days,” as Bette Midler said of Frey and the band he cofounded. “ ’70s L.A.”

Frey was from Michigan. His bandmates came from Texas, Nebraska, Ohio, and Florida. The Eagles recorded most of their hits in London and Miami. And yet they somehow became the quintessential California band, their music navigating dark desert highways, tequila sunrises, and young women holed up in houses with rich old men. Take it easy? The Eagles failed to follow their own advice. They had glorious harmonies on records that concealed chronic disharmony on tours. Those tours left in their wake a trail of splintered hotel furniture and bathtubs full of Budweiser.

And yet with those songs, and on those tours, the Eagles conquered the world. Fifty years after the band formed, there is a Hotel California on the Champs-Élysées in Paris, a Hotel California on the Kurfürstendamm in Berlin, and an Otel’ Kaliforniya on a less glamorous thoroughfare in Moscow. Their checkout policies are less inflexible than the one in the song, whose mirrored ceilings and pink champagne on ice are repeated on the radio every hour somewhere in America. But their allure is undimmed by age.

The Eagles are nearly as ubiquitous now, in the streaming era, as they were a half-century ago. Frey’s writing partner and Eagles cofounder Don Henley was raised in Texas on country and western. Frey, from Detroit, grew up on Motown, with a twist of bar-rock anthems courtesy of his early mentor, Bob Seger. That alchemy—a country-rock alloy—became the Eagles’ sound when Frey and Henley met in Southern California, starting a partnership that would dominate the 1970s the way two other singer-songwriters had done the previous decade. “[Frey] and Henley were America’s answer to Lennon and McCartney,” the country singer Clint Black said, and McCartney himself remains a fan, pumping his fists for the Eagles at their last concert at Madison Square Garden in 2020, just before the pandemic shut down live events.

Another fan, Jimmy Buffett, calls the Eagles the best American band of his generation, and they are certainly the most popular, with their first greatest-hits album selling 38 million copies and Hotel California selling 26 million copies in the United States, an absurd feat for any band—but for the Eagles, that was just 1976, when both LPs were released. In America’s bicentennial year, the Eagles were unquestionably America’s band, named for America’s national emblem, with songs that played into the American impulse to move west, to a promised land, ideally in a muscle car with an eagle-like bird emblazoned on the hood.

The Eagles were (and remain) the sound of Los Angeles in the early 1970s, when Billy Joel moved there from New York. “The Eagles pretty much represented that Southern California thing, like the Beach Boys used to do, and then I found out later you were from Texas,” Joel once said to Henley, who—like almost all of his bandmates—had moved to the Golden State from somewhere else, making the band at once quintessentially Californian and quintessentially American.

“It’s the sound of not just a California band but one of America’s signature bands,” as President Barack Obama put it when honoring the Eagles at the White House in 2016. The band—like the sound and songs they created—endures 50 years after it formed. Their songs issue from taxicabs in Auckland and karaoke bars in Tokyo and tribute bands in London. But Bette Midler pinpointed where and when the Eagles’ story began, and where it reached its fullest expression: in Los Angeles in the 1970s.

Here is a selection of photos from LIFE’s new special issue, Eagles: Their Story. Their Music. Their Lives.

Cover image by Henry Diltz

This early portrait of the Eagles, taken between 1970 and ’73, features (left to right) Glenn Frey, Randy Meisner, Don Henley and Bernie Leadon.

Photo by Michael Ochs Archives/Getty Images)

Don Henley, Bernie Leadon and Glenn Frey performed at the PopGala TV concert in 1973 in Voorbourg, Netherlands.

Gijsbert Hanekroot/Redferns/Getty Images

The Eagles’ Hotel California lineup, with (left to right) Don Felder, Don Henley, Joe Walsh, Glenn Frey, and Randy Meisner.

RB/Redferns/Getty

Glenn Frey and Randy Meisner performed during an Eagles concert in Los Angeles, 1976.

Richard Creamer/Michael Ochs Archives/Getty Images

Glenn Frey and bassist Timothy B. Schmit enjoyed baseball and champagne in May 1978.

Photo by Richard Creamer/Michael Ochs Archives/Getty Images

Glenn Frey performed at Chicago BluesFest, July 4, 1985.

Paul Natkin/Archive/Getty Images

Joe Walsh with his double-neck guitar at the US Festival in Ontario, Calif., in 1983.

Paul Natkin/Archive/Getty Images

The Eagles thrilled the crowd at McAlpine Stadium in Huddersfield, England, July 10, 1996.

Huddersfield Examiner Archive/Mirrorpix/Getty Images

At the Grammys in February 15, 2016, the Eagles (joined by Jackson Browne, center) performed “Take it Easy” in tribute to Glenn Frey, who had died on January 18 at age 67 of complications from rheumatoid arthritis, acute ulcerative colitis, and pneumonia.

Photo by Cliff Lipson/CBS via Getty Images

Deacon Frey, son of Glenn Frey, performed during the Eagles’ first-ever concert at the Grand Ole Opry House on October 29, 2017 in Nashville.

Kevin Mazur/SiriusXM/Getty Images

Barack Obama at 60: His Life, His Work, His Living Legacy

The following is from the introduction to LIFE’s special issue paying tribute to Barack Obama as the former President turns 60:

From that first stunning address at the 2004 Democratic Convention, the speech that launched him into national consciousness, Barack Obama made clear his yearning for a new kind of politics that would galvanize a fresh generation of voters. His white American mother and Black African father had “shared an abiding faith in the possibilities of this nation,” he told the crowd to rousing response. They passed that faith on to him, and it stuck.

Between that speech and now, as America’s 44th president turns 60 and cultivates a post–White House life, Obama changed the United States, and the world. His legacy evolves, along with the evolving vantage point of history.

Obama’s election to the presidency “would mean . . . that the America I believed in was possible, that the democracy I believed in was within reach,” he wrote in his 2020 memoir, A Promised Land, “ . . . that I wasn’t alone in believing that the world didn’t have to be a cold, unforgiving place, where the strong preyed on the weak and we inevitably fell back into clans and tribes.”

In terms of his character and temperament, there are points on which nearly everyone can agree. Obama was intelligent, restrained, dignified. An idealist, to be sure. A loving husband and father. Certainly, someone deeply dedicated to the mission he had been called to serve.

As he was the first African American president this country has seen, his presence and power in the White House were symbolic as well as actual, his identity embodying a part of our national identity that was messy and not easily defined. “Because of the very strangeness of my heritage and the worlds I straddled,” Obama wrote, “I was from everywhere and nowhere at once, a combination of ill-fitting parts, like a platypus or some imaginary beast.”

That so many Americans embraced this man with a Muslim-sounding name, with all of his unknowns and aspirations, said something profound. His complicated background and experiences reminded us that America is full of contradiction and disappointment, but also hope. He was nothing if not the collective mirror we held up to remind ourselves not to succumb to cynicism.

Barack Obama never believed that his presidency would lead to a post-racial America. After all, this was a man who was placed under round-the-clock security by the Secret Service earlier in the campaign than any presidential candidate before him. Obama was not naive about racism. He simply refused to give in to it.

His tenure in the White House mattered not only in figurative terms but in concrete policy measures. He appointed the country’s first two Black attorneys general and instituted criminal justice reforms to address racial disparities impacting Black and brown people. He added more than 100 federal judges of color to the bench and nominated Sonia Sotomayor as Supreme Court justice, the first Latina to serve in that capacity.

Still, he refused to cast himself as only a “Black president” and was intent on being a bridge that could unite us all. In many ways, he did just that. Obama consistently won white voters, claiming nine states in 2008 that had voted Republican in 2004. His presidential campaigns registered thousands of young people and people of color—new voters who previously had been disengaged. Many white citizens of traditionally red rural districts cast their ballots for him. His open-arms approach to the electorate was a stance for which he received some criticism from African Americans, but not enough to dent his Gallup poll approval rating among Black voters, which remained in the 80-90 percent range throughout his eight years in office.

Politically, Obama’s accomplishments were numerous and varied, the most significant of them arguably being the Affordable Care Act (ACA). It provided health coverage to 20 million people, including 4 million Hispanic people and 3 million African Americans. As Thomas Holt, a University of Chicago professor emeritus of American and African American history, has described it, passage of the ACA placed Obama in the same historical ranks as Franklin D. Roosevelt for instituting Social Security and Lyndon B. Johnson for Medicare.

With that one victory, Obama achieved what generations of Democratic presidents had tried and failed to do. That such a feat was grounded in mostly moderate measures—such as allowing adult children to stay on their parents’ plans until age 26 and not denying coverage to people with preexisting conditions—often gets lost in translation.

Obama will also be remembered for rescuing the country from the brink of financial disaster, as the economic meltdown he inherited upon taking office was the worst America had faced since the Great Depression—with an unemployment rate that had reached 10 percent and thousands of foreclosures forced by the collapse of the housing market. Almost immediately as president, Obama put in place the American Recovery and Reinvestment Act, a stimulus package containing $787 billion in tax cuts and spending. The legislation, ultimately credited with saving some 2.5 million American jobs, was passed without a single Republican vote in the House.

Among Obama’s environmental actions, the Paris Agreement often gets top billing, but there is more to his record on climate change, according to political journalist Jonathan Darman, who in a New York magazine Q&A cited “tough EPA constraints on coal, a meaningful accord with China to cut emissions,  serious stimulus spending on clean energy, new emissions standards for cars and trucks.” Darman added, “History may well reveal that Obama showed more personal courage on this issue than any other.”

In his final speech in office, Obama included other accomplishments in his tally, reminding us that his administration saw the dawn of a new era with Cuba after 55 years of discord, that under his leadership military forces took out Osama bin Laden, that he succeeded in bringing marriage equality to LGBTQ couples, and that he was responsible for shutting down Iran’s nuclear weapons program “without firing a shot.”

Despite these many successes, a cloud loomed over his presidency. Obama watched a rising tide of right-wing extremism take hold across the country, a trend with roots in economic insecurity, fear of demographic shifts, and resentment over immigration—and in the election of Obama. The President seemed helpless to stem the tide. Hate crimes rose, and between 2010 and 2016 right-wing domestic terrorism skyrocketed from 6 percent to 35 percent of domestic terror attacks, according to the Center for American Progress. The most notorious racial incident during Obama’s presidency happened in June 2015, when a 21-year-old white supremacist murdered nine Black people, including pastors, at a Bible study in Charleston, South Carolina’s Mother Emanuel church.

It was while the country was led by a Black president that the Black Lives Matter movement exploded—incited by the August 2014 fatal shooting in Ferguson, Missouri, of Michael Brown, an unarmed 18-year-old, by a white police officer, as well as the death a month earlier of a Black man in New York City named Eric Garner, who was put in a choke hold by a NYPD officer. There would be further outrage over subsequent incidents of police involvement in the deaths of other African Americans. (Black Lives Matter would be reinvigorated after Obama’s presidency, with protesters of all races taking to the streets in the spring and summer of 2020 following the George Floyd killing.)

The United States’ first Black president had been elected by an overwhelming margin, with the support of the largest congressional majority in years. And yet during his second term in particular, the country was roiled by racial unrest. How was it possible that these two realities existed at once? Many, including Obama, would wonder about this seeming contradiction.

“It was as if my very presence in the White House had triggered a deep-seated panic,” Obama wrote in A Promised Land, “a sense that the natural order had been disrupted.” His presidency, not to mention his progressive policies, threatened the traditional power structure in the U.S., which had long been headed by white men. Furthermore, Obama sought to make America less bullying and bellicose. Kinder, more egalitarian.

He paid a price for such lofty ambitions. From the start of his first term, Republican congressional leadership created a wall of “all-out obstruction”—as Obama labeled it in A Promised Land—“a refusal to work with me or members of my administration, regardless of the circumstances, the issue, or the consequences for the country.” Politico’s Michael Grunwald wrote in late 2016, “This [GOP] strategy of . . . treating him not just as a president from the opposing party but an extreme threat to the American way of life, has been a remarkable political success.” Grunwald quoted Republican operative Ed Rogers as saying, “A lot of us woke up every morning thinking about how to kick Obama, who could say the harshest thing about Obama on the air.” Obama himself had to admit, in A Promised Land, that the Republicans’ battle plan was deployed “with impressive discipline” the entirety of his time in office.

His opponents could not, however, negate the profound impact Obama had emotionally and psychically on many people in this country. Who can forget the charming image of him in the Oval Office bending down so a 5-year-old Black boy could touch his head, amazed that they had the same kind of hair? Wasn’t there something cool about a guy who blasted Jay-Z and Eminem in his headphones before a campaign debate? How could we not be moved by a commander-in-chief whose sorrow was so deep following the Charleston church massacre that, having no words left to give at a victim’s funeral, he broke into a heartfelt a cappella rendition of “Amazing Grace”?

Obama recognized—was even motivated by—his own symbolic power. As he recounted in A Promised Land, one day in December 2006, not long before announcing his candidacy for president, Obama sat across from his wife, Michelle, at a table as a handful of campaign strategists went back and forth on staffing and logistics. The discussion had dragged on for an hour when Michelle (who made no secret of her distaste for Washington electoral politicking) posed a question: “Why you, Barack? Why do you need to be president?” 

The future president thought long and hard before answering. He thought about how much he loved his wife, about how they had met. He thought about what he was about to do. Then finally he answered.

“Here’s one thing I know for sure. . . .I know that the day I raise my right hand and take the oath to be president of the United States, the world will start looking at America differently.” And that “kids all around this country—Black kids, Hispanic kids, kids who don’t fit in—they’ll . . . see their horizons lifted, their possibilities expanded.”

“And that alone,” he added, “would be worth it.”

Here are a selection of photos from Barack Obama: His Life, His Work, His Living Legacy, available at newsstands and on Amazon.

Cover image by Pari Dukovic/Trunk Archive

In 2004 Barack Obama, his wife Michelle and their daughters Sasha (left) and Malia (right) were in Chicago awaiting election returns in his successful bid for the U.S. Senate against Republican Alan Keyes.

Photo by Scott Olson/Getty Images

In 2007 Barack Obama, then a candidate for president, walked the Edmund Pettis Bridge in Selma, Ala., in commemoration with a group that included fellow candidate Hillary Clinton, her husband and former President Bill Clinton, and U.S. congressman John Lewis, who was part of the 1965 voting rights march that ended in a clash with police on the bridge during what became known as Bloody Sunday.

Scott Olson/Getty

The Obamas enjoyed cheers from supporters at Grant Park in Chicago after he was elected President of the United States, November 4, 2008.

Nikki Kahn/The Washington Post/Getty

President Obama bent over so that the son of a staff member could touch his hair, May 8, 2009.

Pete Souza/The White House/Getty

Barack Obama and his vice president, Joe Biden, applauded as the House of Representatives passed the Affordable Care Act in 2010.

Pete Souza/The White House/Getty

President Obama was briefed by John Brennan on the Sandy Hook school shooting on December 14, 2012.

Pete Souza/The White House/Getty

President Obama sang “Amazing Grace” during his eulogy for South Carolina state senator and Rev. Clementa Pinckney on June 26, 2015 in Charleston; Pinckney was one of nine African-Americans killed during a mass shooting at the church in which he was a pastor.

Joe Raedle/Getty

Obama took kite-surfing lessons on a vacation in the British Virgin Islands in 2017.

Jack Brockway/Getty

Barack Obama, Graca Machel (left), widow of former South African president Nelson Mandela, and South African President Cyril Ramaphosa (right) danced as South African singer Thandiswa Mazwai (second from right) performed during the 2018 Nelson Mandela Annual Lecture at the Wanderers cricket stadium in Johannesburg on July 17, 2018.

Marco Longari/AFP/Getty

Barack and Michelle Obama arrived at the U.S. Capitol for the inauguration of Joe Biden as the 46th President of the United States, January 20, 2021.

Rob Carr/Getty

Before She Was Catwoman: Julie Newmar in LIFE

Julie Newmar gained her most enduring fame by playing Catwoman on the Batman television show of the 1960s, but she had been a presence on the stage and screen long before she ever donned the catsuit.

Newmar frequently played a role that was a staple in a certain kind of comedy: the attractive woman who leave men discombobulated simply by walking to a room. She was acting in such roles all three times she found herself in front of LIFE cameras.

In 1956 Gjon Mili captured her performing in the Broadway musical version of the comic strip Li’l’ Abner. Newmar had the small but memorable role of Stupefyin’ Jones (she would reprise the role in the 1959 film version), whose name embodied the effect she had on men.

In 1958, LIFE’s Ralph Morse took his turn shooting Newmar, this time for a role that would win her a Tony for Best Featured Actress. The show was a comedy called The Marriage-Go-Round, and Newmar played Katrin Sveg, a woman who comes from Sweden to stay with an older university couple—she’s the daughter of a colleague and suddenly grown up. Newmar’s character throws her hosts’ lives life into chaos by walking around wearing only a towel and asking the husband, a professor, to sire her a child, so the offspring will be the ultimate combination of beauty and brains. (Once again, Newmar reprised the role for the film version.)

In 1961 Newmar took on the role of one of the classic seductresses of the stage, Lola in “Damn Yankees.” As part of a broader, inventive photo shoot that was supposed to be a summer theater preview, LIFE photographer Nina Leen had Newman vamping around outdoors in front of scarecrow, and even trying out some baseball poses.

Suffice to say that Newmar had plenty of practice playing the sex kitten before she ever trained her abilities on Batman and had the Caped Crusader fumbling and bumbling like so many other men who shared a scene with her.

Julie Newmar (center) played Stupefyin’ Jones in the Broadway musical L’il Abner, 1956.

Photo by Gjon Mili/The LIFE Picture Collection © Meredith Corporation

Julie Newmar starred in the Broadway play “Marriage-Go-Around,” 1958; she won a Tony Award for her portrayal of Katrin Sveg.

Photo by Ralph Morse/The LIFE Picture Collection © Meredith Corporation

Julie Newmar starred in the Broadway play “The Marriage-Go-Round” in 1958; her character Katrin Sveg, was a provocative visitor from Sweden who at times wore only a towel.

Photo by Ralph Morse/The LIFE Picture Collection © Meredith Corporation

Julie Newmar starred in the Broadway play “The Marriage-Go-Round” in 1958; her character Katrin Sveg, was a provocative visitor from Sweden who at times wore only a towel.

Photo by Ralph Morse/The LIFE Picture Collection © Meredith Corporation

Julie Newmar in the Broadway play “The Marriage-Go-Round,” 1958.

Photo by Ralph Morse/The LIFE Picture Collection © Meredith Corporation

Julie Newmar in the Broadway play “The Marriage-Go-Round,” 1958.

Photo by Ralph Morse/The LIFE Picture Collection © Meredith Corporation

Julie Newmar in the Broadway play “The Marriage-Go-Round,” 1958.

Photo by Ralph Morse/The LIFE Picture Collection © Meredith Corporation

Julie Newmar in the Broadway play “The Marriage-Go-Round,” 1958.

Photo by Ralph Morse/The LIFE Picture Collection © Meredith Corporation

Julie Newmar, right, with Claudette Colbert in a scene from the Broadway play “The Marriage-Go-Round,” 1958.

Photo by Ralph Morse/The LIFE Picture Collection © Meredith Corporation

Julie Newmar, left, with Charles Boyer and Claudette Colbert in a scene from the play “The Marriage-Go-Round,” 1958.

Photo by Ralph Morse/The LIFE Picture Collection © Meredith Corporation

Julie Newmar, right, and Charles Boyer in a scene from “The Marriage-Go-Round,” in which her character has given Boyer’s a nude statue that she posed for.

Photo by Ralph Morse/The LIFE Picture Collection © Meredith Corporation

Julie Newmar in a photo shoot promoting her performance as Lola in “Damn Yankees,” 1961.

Photo by Nina Leen/The LIFE Picture Collection © Meredith Corporation

Julie Newmar in a photo shoot promoting her performance as Lola in “Damn Yankees,” 1961.

Photo by Nina Leen/The LIFE Picture Collection © Meredith Corporation

Julie Newmar in a photo shoot promoting her performance as Lola in “Damn Yankees,” 1961.

Photo by Nina Leen/The LIFE Picture Collection © Meredith Corporation

Julie Newmar in a photo shoot promoting her performance as Lola in “Damn Yankees,” 1961.

Photo by Nina Leen/The LIFE Picture Collection © Meredith Corporation

Julie Newmar in a photo shoot promoting her performance as Lola in “Damn Yankees,” 1961.

Photo by Nina Leen/The LIFE Picture Collection © Meredith Corporation

New Jersey Turnpike: The Building of a “Superroad”

If you should ever happen to get caught in slow traffic on the New Jersey Turnpike, console yourself with the knowledge that it used to be worse. Much, much worse. Crossing the Garden State was a true commuter quagmire in the days before the Turnpike was built.

That’s why LIFE hailed the opening of the Turnpike, one of the first roads of its kind in America, as a major event in its January 18, 1952 issue with a story titled “Newly Opened Superroad Unravels Chronic Traffic Jam.”

“A road like this is something motorists caught in the nightmare of New Jersey traffic have long dreamed of,” exclaimed LIFE.

The new roadway offered drivers an express route from the Delaware Memorial Bridge up toward the Lincoln Tunnel (and has since been extended north). Before the opening of the Turnpike, LIFE wrote, motorists traversing the state “had to fight their cars bumper to bumper along the Pulaski Skyway, curse their way through honking traffic in Elizabeth, spin around endless traffic circles and spend up five hours on the trip.”

With the turnpike the 118-mile journey could now be done “in two hours flat,” LIFE declared. (And that was before the invention of E-Z Pass.) Through various extensions built since its opening, the length of the turnpike is now 148 miles.The road is heavily used not just because of New Jersey’s attractions but because it serves as a major connector to points along the East Coast. In 1952 LIFE projected that “more that eight million cars a year” might use the turnpike, but now the road is used by well north of 200 milllion toll-paying vehicles per year. From the songs of Bruce Springsteen to the opening credits of The Sopranos, the thoroughfare has gained cultural currency as a roadway that is much-traveled, if not always beloved.

LIFE’s photos, taken by Bernard Hoffman and Andreas Feininger, chronicled this major construction project. The task was completed in only 23 months: a feat that becomes more impressive when you consider the logistical elements involved. As LIFE wrote in 1952:

In cities whole blocks of houses had to be torn down, families relocated, street crossing overpassed. Out in the country farmland had to be bought for the 300-foot right of way, 196 highways and railroads had to be crossed. To take care of real estate obstacles required 3,500 separate real estate deals and $17.5 million [about $172 million in 2021 dollars]. Out in the marshlands near Secaucus, engineers found six miles of the land a floating mire sometimes 100 feet deep. In this they sank large pipes packed with sand. They covered the right of way with heavy dirt, then removed the pipes, leaving vertical columns of sand to act as drains until the weight of the dirt squeezed the water from the mire. Then they removed the surplus dirt and built the highway on top.

Five years later the opening of the Garden State Parkway created a second express route across New Jersey. While you can say that the construction of the Parkway and the Turnpike was completed by certain dates, the expansion and maintenance of these roads is on ongoing project, one that this never really done, as builders race to keep pace with the needs of a nation on the move.

Workers built an overpass for the brand new New Jersey Turnpike, 1951.

Andreas Feininger/The LIFE Picture Collection © Meredith Corporation

Workers handled one of the more difficult parts of the construction of the New Jersey Turnpike as the roadway approached New York.

Andreas FeiningerThe LIFE Picture Collection © Meredith Corporation

Construction of a stretch of the New Jersey Turnpike near New York City, 1951.

Andreas Feininger/The LIFE Picture Collection © Meredith Corporation

Workers rode a lift during the construction of the New Jersey Turnpike, New Jersey, June 1951.

Bernard Hoffman/]/The LIFE Picture Collection © Meredith Corporation

Workers rode a lift during the construction of the New Jersey Turnpike, 1951.

Bernard Hoffman/The LIFE Picture Collection © Meredith Corporation

Workers rode a lift during the construction of the New Jersey Turnpike, 1951.

Bernard Hoffman/The LIFE Picture Collection © Meredith Corporation

A group of workers talked during the construction of the New Jersey Turnpike, June 1951.

Bernard Hoffman/The LIFE Picture Collection © Meredith Corporation

Workers assembled a support strut during the construction of the New Jersey Turnpike, June 1951.

Bernard Hoffman/The LIFE Picture Collection © Meredith Corporation

Dairy cattle, cut off from their barn by the New Jersey Turnpike, were driven through a special underpass built for them by the Turnpike authority.

Bernard Hoffman/The LIFE Picture Collection © Meredith Corporation

A truck released hot liquid tar during the construction of the New Jersey Turnpike.

Andreas Feininger/The LIFE Picture Collection © Meredith Corporation

A steam roller rolled over hot liquid tar during the construction of the New Jersey Turnpike.

Andreas Feininger/The LIFE Picture Collection © Meredith Corporation

A steam roller rolled over the hot liquid tar during the construction of the New Jersey Turnpike.

Andreas Feininger/The LIFE Picture Collection © Meredith Corporation

Two men dug trenches to try to contain the water flooding from an open pipe during the construction of the New Jersey Turnpike, June 1951.

Bernard Hoffman/The LIFE Picture Collection © Meredith Corporation

In the town of Elizabeth, 240 buildings were wrecked or moved to make room for the New Jersey Turnpike.

Bernard Hoffman/The LIFE Picture Collection © Meredith Corporation

This Land is Your Land: LIFE Photos From All 50 States

The rules for putting together this photo collection were simple: choose one, and only one, classic LIFE photo per state.

The one-photo limit created tough choices, because states are diverse places. Candidates for Massachusetts, for example, included a Cape Cod family vacation, an MIT classroom, and a touch football game at the Kennedy compound, among other possibilities. The photo that was finally chosen was an Alfred Eisenstaedt picture of Cape Cod fishermen, but you could argue that any of the above choices would be equally representative.

And the same is true for so many other states. Questions recurred: Do you emphasize city life or country life? The historic or the everyday? Do you favor the landscape or the people living in it?

As a whole these picture attempt, collectively, to do it all. The hope is that, when scrolling through all 51 photos at once (Washington D.C. is included), the viewer feels the sweep of the country’s variety and abundance. We have skiers in Vermont, juke joint patrons in South Carolina, commuters in Connecticut and showgirls in Nevada. While ties often went to the pictures featuring people outside and enjoying their environment, is there anything more wonderfully New Hampshire than the skepticism of a man listening to a primary speech with a weariness that captures what residents of the Granite state must endure every four years?

This exercise could be done a hundred times over, always producing different results—for California, maybe show the Academy Awards or the beach instead of the Golden Gate Bridge. Or for Pennsylvania, choose a photo from either Philadelphia or Pittsburgh, rather than couple cavorting a heart-shaped tub at a Poconos resort.

But that couple is having fun, and so are we. Please enjoy.

Children searched for creatures in tidal pool during ebb tide along the coast of Maine, 1943.

BERNARD HOFFMAN/The LIFE Picture Collection © Meredith Corporation

Voters listened to a candidate’s pitch in advance of the 1952 New Hampshire presidential primary.

Lisa Larsen/The LIFE Picture Collection © Meredith Corporation

A child learned to ski in the Stowe area of Vermont, 1957.

George Silk/The LIFE Picture Collection © Meredith Corporation

Three Gloucester, Massachusetts fishermen putting in to harbor to mend nets in Cape Cod, 1940.

Alfred Eisenstaedt/The LIFE Picture Collection © Meredith Corporation

Sailing school in Newport, Rhode Island, 1959.

Peter Stackpole/The LIFE Picture Collection © Meredith Corporation

A father is greeted by his family after returning home from work, Fairfield County, Connecticut, 1949.

Nina Leen/The LIFE Picture Collection © Meredith Corporation

Children playing in water during a heat wave in New York City, 1953.

New York City heat wave, 1953.

Peter Stackpole The LIFE Picture Collection/Shutterstock

Workers building an overpass for the brand new New Jersey Turnpike, 1951.

Andreas Feininger.The LIFE Picture Collection © Meredith Corporation

Newlyweds at a Poconos resort in Pennsylvania, 1970.

GEORGE SILK/The LIFE Picture Collection © Meredith Corporation

From a photo essay on life in Delaware, 1938.

PETER STACKPOLE/The LIFE Picture Collection © Meredith Corporation

U.S. Naval Academy in Annapolis, 1937.

Alfred Eisenstaedt/The LIFE Picture Collection © Meredith Corporation

Martin Luther King Jr. addresses the crowd during the March on Washington for Jobs and Freedom, August 28, 1963.

Martin Luther King Jr. addressed the crowd during the March on Washington for Jobs and Freedom, August 28, 1963.

Francis Miller The LIFE Picture Collection/Shutterstock

Arlington National Cemetery 1965

Arlington National Cemetery in Virginia, 1965.

George Silk/Life Pictures/Shutterstock

Cave exploration in West Virginia, 1946.

Albert Fenn/The LIFE Picture Collection © Meredith Corporation

North Carolina, 1944.

GABRIEL BENZUR/The LIFE Picture Collection © Meredith Corporation

A night out at a juke joint, S. Carolina, 1956.

A night out at a juke joint in Greenville, South Carolina.

Margaret Bourke-White The LIFE Picture Collection/Shutterstock

President Dwight D. Eisenhower (sitting in golf cart) enjoys a round of golf at Augusta National in Georgia, 1956.

ROBERT W. KELLEY/The LIFE Picture Collection © Meredith Corporation

Miami Beach, Florida, 1940.

Alfred Eisenstaedt/The LIFE Picture Collection © Meredith Corporation

Selma, Alabama, 1968.

HENRY GROSKINSKY/The LIFE Picture Collection © Meredith Corporation

Springtime in Mississippi, 1949.

Loomis Dean/The LIFE Picture Collection © Meredith Corporation

Johnny Cash fished in a lake near his Tennessee home, 1969.

Michael Rougier/The LIFE Picture Collection © Meredith Corporation

A mountain farm family, Kentucky, 1944.

Ed Clark/The LIFE Picture Collection © Meredith Corporation

High school seniors nearing graduation, Mansfield, Ohio, 1941.

Alfred Eisenstaedt/ Life Pictures/Shutterstock

The Indianapolis Motor Speedway, 1939.

Alfred Eisenstaedt/The LIFE Picture Collection © Meredith Corporation

Henry Ford II in 1948, posing at the Ford plant with newest model Ford car and models A and T, created by his father and grandfather.

Gjon Mili/The LIFE Picture Collection © Meredith Corporation

Stunt man Jack Wylie soars over the Chicago River, 1958.

Stunt man Jack Wylie soared over the Chicago River, 1958.

Al Fenn/The LIFE Picture Collection © Meredith Corporation

The Gateway Arch in St. Louis approached completion, 1965.

ROBERT W. KELLEY/The LIFE Picture Collection © Meredith Corporation

An Arkansas country music festival, 1972.

Michael Mauney/The LIFE Picture Collection © Meredith Corporation

A woman and two children celebrated Mardi Gras in New Orleans, 1938.

WILLIAM VANDIVERT/The LIFE Picture Collection © Meredith Corporation

Eugene "Mercury" Morris, West Texas State, 1968.

Running back Eugene “Mercury” Morris of West Texas State.

Bob Gomel/The LIFE Picture Collection © Meredith Corporation

Oklahoma, 1942. Agriculturists work on the region's catastrophic on erosion problem.

In Oklahoma in 1942, agriculturists worked on the region’s catastrophic erosion problem.

Alfred Eisenstaedt/Life Pictures/Shutterstock

The Pawnee Acre Community building during a Wednesday night social, Kansas, 1952

Howard Sochurek/The LIFE Picture Collection © Meredith Corporation

Route 30 Nebraska, USA, 1948.

Route 30 in Nebraska, 1948.

Allan Grant The LIFE Picture Collection/Shutterstock

A farm boy with his prize bull, Iowa, 1948.

Bob Landry/The LIFE Picture Collection © Meredith Corporation

Beer plant workers on a beer break, Milwaukee, 1949.

Frank Scherschel/The LIFE Picture Collection © Meredith Corporation

Men being hauled across a frozen lake in a seigh, drawn by two horses, in Northwest Angle, Minnesota, 1950.

GEORGE SILK/The LIFE Picture Collection © Meredith Corporation

Mount Rushmore, 1940.

Construction on Mount Rushmore, South Dakota, 1940, a year before its completion.

Alfred EisenstaedtThe LIFE Picture Collection © Meredith Corporation

Pheasant hunters, North Dakota, 1946.

Wallace Kirkland/The LIFE Picture Collection © Meredith Corporation

Students played in front of their one-room school at Rygate, Montana, April 1941.

Hansel Mieth/The LIFE Picture Collection © Meredith Corporation

Jackson Hole 1948

Jackson Hole, Wyoming, 1948.

Alfred Eisenstaedt/The LIFE Picture Collection © Meredith Corporation

Aspen, Colorado, 1947.

Peter Stackpole/The LIFE Picture Collection © Meredith Corporation

Zuni Pueblo, New Mexico, 1948.

W. Eugene Smith/The LIFE Picture Collection © Meredith Corporation

Route 66, Arizona, 1947.

Route 66, Arizona, 1947

Andreas Feininger The LIFE Picture Collection/Shutterstock

Native Americans herd sheep in southeastern Utah, 1947.

Loomis Dean/The LIFE Picture Collection © Meredith Corporation

Lumber workers in Idaho, 1940.

Hansel MiethThe LIFE Picture Collection © Meredith Corporation

The Seattle World’s Fair, 1962.

Ralph Crane/The LIFE Picture Collection © Meredith Corporation

A deer cooling his heels along the Oregon seashore, 1960.

A deer cooled his heels along the Oregon seashore, 1960.

Dmitri Kessel/The LIFE Picture Collection © Meredith Corporation

Las Vegas, 1955

Las Vegas, 1955.

Loomis DeanThe LIFE Picture Collection © Meredith Corporation

Golden Gate Bridge, photographed from a helicopter, 1952.

The Golden Gate Bridge, photographed from a helicopter in 1952.

Margaret Bourke-White/The LIFE Picture Collection © Meredith Corporation

A 49th star was added to the American flag when Alaska joined the union, 1958.

Dmitri Kessel/The LIFE Picture Collection © Meredith Corporation

Surfing in Hawaii, 1963.

Surfer Rick Grigg caught a ride at Banzai Beach, Oahu, Hawaii, 1963.

George Silk The LIFE Picture Collection/Shutterstock

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