Patti Smith at Home, 1974 Patti Smith at Home with her cat in 1974.  The Photographer Allan Tannenbaum discovered photography in the 1960s. His dream career as a photojournalist became reality when he joined the SoHo Weekly News , a downtown New York City newspaper, in 1973. For several years he covered the city, exploring its every facet - from the underground to the high society - and documenting its political, social and cultural evolution. His photographs, taken during the turbulent 1970s and early 1980s, serve as a lasting record of that era's resolution of ideas, trends, and movements that had begun in the 1960s. SoHo Weekly News folded in 1982, and Tannenbaum went on to become an award-winning photojournalist, with work published in such major international magazines such as Time, Life, Newsweek, Paris Match and Stern.  Archival Digital Print  Hand signed and numbered by the photographer 10 in. x 15 in. image size on 17 in. x 22 in. paper - limited edition of 50 16 in. x 20 in. image size on 20 in. x 24 in. paper - limited edition of 25 20 in. x 30 in. image size on 24 in. x 36 in. paper - limited edition of 15 24 in. x 36 in. image size on 33 in. x 44 in. paper - limited edition of 15 36 in. x 54 in. image size on 44 in. x 66 in. paper - limited edition of 10

History of the classic 1960s beehive hairstyle.

Are you narrow through the hips and have no defined waist? You are probably an inverted triangle. Try these 10 tips to look fabulous everyday.

The religious right emerged as a political force in the late 1970s. A new book argues that its origins aren't in the 1960s, but an earlier era of rebellion.

Devo, 1978 Devo posing for SoHo Weekly News in NYC Oct, 1978.  Allan Tannenbaum discovered photography in the 1960s. His dream career as a photojournalist became reality when he joined the SoHo Weekly News , a downtown New York City newspaper, in 1973. For several years he covered the city, exploring its every facet - from the underground to the high society - and documenting its political, social and cultural evolution. His photographs, taken during the turbulent 1970s and early 1980s, serve as a lasting record of that era's resolution of ideas, trends, and movements that had begun in the 1960s. SoHo Weekly News folded in 1982, and Tannenbaum went on to become an award-winning photojournalist, with work published in such major international magazines such as Time, Life, Newsweek, Paris Match and Stern.    Archival Digital Print  Hand signed and numbered by the photographer 10 in. x 15 in. image size on 17 in. x 22 in. paper - limited edition of 50 16 in. x 20 in. image size on 20 in. x 24 in. paper - limited edition of 25 20 in. x 30 in. image size on 24 in. x 36 in. paper - limited edition of 15 24 in. x 36 in. image size on 33 in. x 44 in. paper - limited edition of 15 36 in. x 54 in. image size on 44 in. x 66 in. paper - limited edition of 10

...with World-Spanning Music Player! (Part 1 of 2) _____ The Ronettes. RockSex now brings you the actual, all-inclusive history of Rock'n'Soul music, with Music Players. ▶ Music Player Checklist Spotify playlist title= GIRL GROUPS: 1960sThis is a Spotify player. Join up for free here. *(This Player is limited to the first 200 songs. Hear the unlimited Playlist here.) This Music Player covers the initial rise of GIRL GROUP vocal sounds from its origins in the '50s through its global range in the 1960s, in chronological order. > Part 2: SHE'S A REBEL: Decades Of Songs Influenced By The GIRL GROUPS ___________________ I'm Not Just one Of Your Little Toys: Girls grouped "Girl Groups" often means girls grouped together because they are girls. It's nice for alliteration but not illumination. It's too often a quiet dismissal, trivializing 'female pop' as teenage trash, disposable in critics' minds by comparison to the British Invasion or Garage Rock. But in truth those musics wouldn't exist like they do without this music. And the girls grouped were really a vast range of vocal stylings, genre sounds, age groups, and national origins. It's high time to commend that range and how crucial it has been to the evolution of Rock. Here, we'll use the term Girl Group as an appreciation of a general sonic movement and how female artists shone within it. This is to dismiss the misuse of the term, which treats them as little girls not Rock enough for the boys club, or as sexy dolls fronting machine pop. And this is to disrupt the shopworn cartoon narrative that continually strobes that limited view into the mainstream, instead replacing it with a clarified respect for these equally valuable sonic pioneers. (The far-more expansive history of WOMEN OF ROCK, with Music Players, will be posted separately.) Beside every man there's a woman doing the same things. She just always gets less credit or pay. Remember, the Blues first burned bright on international turntables because of the breakthrough success of Bessie Smith. Women then belted out Swing, herded the Honky Tonks, and were rockin' fillies like the rockabillies. During those times of constrictive attitudes, record producers treated their works like novelty records while raking in the money it brought them. Because women were often less-recorded, it makes their presence and impact seem spotty in the early years of Rock'n'Roll. (Lack of representation ensures lack of recognition). But they were there, always. As that first wave of rockers fell apart from bad luck, treachery, and dumb moves, the early '60s was an open playing field.> In that gulf the women finally got some attention. The age of the Girl Groups took full bloom, flourishing like a hothouse. First, think about the age range of this material. There were handclap pop songs for early teeners at pajama parties; there were romance dreams for the prom girls; there were more wary and intimate songs for the young college women; and there were adult songs, declarative of identity or experience. This was real coming-of-age music for the biggest generation of females the world had ever seen. (But heart music is heart music, which is why it inspired everyone from The Beatles to Blondie, from The New York Dolls to La Luz, for decades to come.) Secondly, it wasn't simply bouffant belles relayed in quartets cheerleading for marital bliss. Within this general vocal pop tradition, there were the soulful shoo-wop sisters, the dreamscape girls, the drama divas, the biker chicks, the party poppers, the dance dolls, the brassy Brits, the soulstress soloists, and -completely neglected by history- the girls from the garage. Along the way (as heard on the Music Player) you could enjoy bossa novas, country soul, rockabilly, surf, Beat Girls, folk, and psychedelia. Being that women make up over half of the world, the pop scope was international, with diverse scenes in the UK, France, Italy, Singapore, Mexico, and more. R: Carole King, Gerry Goffin, and Paul Simon. Also, this wasn't all social engineering from male popsmiths in the Brill building. True, the key positions of the era were held by men; record execs, label owners, managers, most writers and producers, club owners, DJs. But women first began making huge inroads into the industry precisely because of this music. Carole King, Cynthia Weil, and Ellie Greenwich each wrote as many hit classics as practically anyone combined. Let's not forget Motown writers Valerie Simpson, Pam Sawyer, or Sylvia Moy (who also produced many hits). Syreeta Wright started as receptionist at Motown, then co-wrote many of Stevie's hits, and broke through with hits of her own. Chris Clark seemed an unlikely Motown star, being a six-foot blond, but she went from being receptionist to the immortal "Love's Gone Bad", to an Oscar for co-writing the LADY SINGS THE BLUES film, to being a Motown vice president for video. In the current century, it became fact that women outsold men in every genre they performed in. This is the latest legacy of the doors the ladies kicked opened with this music. In heels, no less! Phil Spector; Jimmy Page. Separating sound by ideas of race never works, so the same applies to gender.> It takes everybody to make every thing. Just as varied complexions from myriad cultural traditions helped co-create Soul music, so men from every outlook collaborated with their sisters to create these songs. Certain ones had an indelible effect. The perilous Phil Spector used his 'wall of sound' to surround his wife Ronnie's group, The Ronettes, in epic anthems to love consummated or lost. (Ahem.) Shadow Morton was another production wizard setting new standards with his dramatic work for The Shangri-La's. Burt Bacharach, with his lyricists Hal David and Carole Bayer Sager, wrote nearly baroque arrangements for chanteuses like Dionne Warwick and Sandie Shaw to shine in. Berry Gordy assembled the pop-soul factory of Motown, whose sound and roster influenced absolutely everyone. John Barry's spy themes and brassy horns were another perennial spectre in many of these songs. And quite a few of the kicking rockers by these songbirds (Lulu, Brenda Lee, Jackie DeShannon, Vashti Bunyan) were fueled by young session guitarist Jimmy Page. The support was there, but it was the girls who stood facefront for the future. I'll Keep On Holding On: The women take the spotlight The Gold Standard: The Supremes. Culture is an intersection of ideas in collusion and sometimes collision. The 'Girl Group' sound evolved out of all the harmony groups that preceded it: The Boswell Sisters (the '30s) and the Andrews Sisters (the '40s); the barbershop quartets, classical chorales, and church choirs; the gospel groups like The Swan Silvertones who led into the secular doo wop of The Mills Brothers and The Ravens; the bebop vocalese of Ella Fitzgerald and Lambert, Hendricks, And Ross; and especially the elaborate strings and production behind mature torch singers like Cole, Sinatra, Washington, Bennett, and Cooke. Shake all this up with Rock'n'Roll, Soul, and headstrong youth and you get a heady concoction. Girl Group music is some of the best-produced pop music ever recorded. The post-War torch song era created a pool of crack session musicians working under classically trained arrangers in state-of-the-art studios in New York and Los Angeles. From the simplest dance song to the grandest heartbreak ballad, the craft in these songs is impeccable and timeless. There is a directly relayed throughline from the lush '50s concept albums of Sinatra and Fitzgerald, through the string-scapes behind Girl Group and Motown, onward into Rock's maturation with the Pet Sounds and Sgt. Pepper albums, and beyond. Truly, Girl Group isn't a box, it is a landscape. Girl Group and Doo Wop are retroactive terms for diverse vocal musics that only serve to genderize limits on a reality too boundless for them. These pop confessionals moved all hips and hearts, made by singles and sets of every age, place, and angle. As the Music Player bears out, there were many facets glimmering in that spotlight. SHOO-WOP Martha And The Vandellas with Dusty Springfield. First up, let's hear it for 'the shoo-wop sisters'! The only job they could expect in Detroit was as a maid or in a factory. Motown opened a new world for them to be in high society and have presence. The label was Soul but it had its eye on uptown and Vegas. There was a regal glam to all that sass and swoon. These tight pop melodies with their walloping rhythms galvanized early '60s youth, at home and abroad. Queens like Mary Wells, Martha Reeves And The Vandellas, Kim Weston, Brenda Hollaway, Tammi Terrell, and of course Diana Ross And The Supremes; songs like "Please Mister Postman", "Love Is Like a Heatwave", "Boys" ("Sha-shoo-bop, sha-sha-shoo-bop"), "Where Did Our Love Go?", and "Nowhere To Run". They were matched by their New York sisters, who lived in similar working-class Euro, Afr-Am, and Puerto Rican boroughs with the same dreams. They were the doo wop corner girls now swinging a new modern pop. The songs they strutted had swing, swagger, laughter, and verve. Fingersnappers like The Shirelles, The Ronettes, The Cookies (who became The Rae-lettes, propelling Ray Charles), The Chiffons, and Little Eva; with classic songs like "One fine Day", "Boys", "Be My Baby", and "Give Him a Great Big Kiss". DREAMSCAPE The Caravelles; The Honey Ltd. The 'dreamscape girls' were ethereal. They were the angelic chorales that soothed the troubled soul from a world of radiant echo. They were the idealic self or spiritual other whose siren psalms promised transendence. Close your eyes and swoon to The Paris Sisters' "I Love How You Love Me", The Caravelles' "You Don't Have To Be A Baby To Cry", Les Intrigantes's "Sans Toi", the haunted folk of Vashti Bunyan's "Train Song", or anything at all by The Honey Ltd. DRAMA The Shangri-Las. The 'drama divas' are bold and cinematic. Orchestras with dazzling dynamics underscore their apocalyptic hopes and heartbreaks. The queen is the Shangri-Las' leader, Mary Weiss, in her haunted monologues, trembling in the stark spotlight. She turned the pop record into a vicarious confessional for raw and rapt youth in songs like "Past, Present, and Future" and the shattering "I Can Never Go Home Anymore". That poignant intimacy, with cinerama swells of sound, gets star billing in The Bitter Sweet's dizzying "What a Lonely Way To Start the Summertime", Dawn's neurotic "I'm Afraid They're All Talking About Me", Susan Rafey's softly sinister "The Big Hurt", and Timi Yuro' magesterial "The Love Of A Boy". And first to throw the feminist fist are Dionne Warwick's ardent "Don't Make Me Over", and Lesley Gore's immortal declaration "You Don't Own Me". [See also, Betty Everett's "S.P.C.L.G. (Society for the Prevention of Cruelty to Little Girls)".] BIKERS The 'biker chicks' were raucous, all street accents and gumsmack. It was the original rebel grrrl, who knew about sex, bad guys, worse habits, seamy cities, and danger. And seemed to like all of them. The Crystals shaped it with "He's A Rebel", and The Ronettes crystalized it with their proud Puerto Rican sensuality and smirks. They coiffed their beehive hair perfect just so they could shake it loose in the heat of singing. The Shangri-Las single-handedly owned the genre with "Leader Of The Pack", and their hellion backstage ways; one exasperated rival called them foul-mouthed monsters, which they just laughed at. The biker girls sneered at glam gowns and galas. They wanted life rough and wild. Check out The Whyte Boots with their tough stance and white whips, and their catastrophic "Nightmare". Or brave The Shangri-La's "Out In the Streets", The Girls' "Chico's Girl", The Ad Libs' "On The Corner", and the explicit threat of The Cookies' "Don't Say Nothin' (Bad About My Baby)". DANCEFLOOR "Shirley, Shirley bo Birley Bonana fanna fo Firley Fee fy mo Mirley, Shirley!" The 'party poppers' took the shoo-wop groove and broadened it from the block to the blowout. It was now fun teen pop for the soiree, the zing in the shindig, the twist in the surfari, sprawling from gaiety to downright goofy. Kick your shoes off to "Surfin' Hootenanny" (with vocals by Darlene Love And The Blossoms), Little Eva's "The Loco-Motion", and Patti Labelle And Her Blue Belles' "I Sold My Heart To The Junkman". The party really careens loopy with the manic Tammys' swirling and shrieking through "Egyptian Shumba"*, the jumprope handclaps of The Dixie Cups' "Iko Iko", the crazed organ bouncing The Coupons' "Turn Her Down", Donna Loren's surf with "The Cycle Set", the dizzying tongue-twist of "The Name Game" by Shirley Ellis, and The Gypsies' happy admonition to "Jerk It". *At the "whoa-ah-oh"'s at 2:17, you can hear the precise moment The B-52's were born. "Calling out around the world/ Are you ready for a brand new beat?" The 'dance dolls' were the rhythm regals, getting you into the good groove. They were the latest dance step or bumping sound. If the shoo-wops hopped the block and the party poppers kicked the sock hop, these ladies lit the niteclub and discotheque. Drop the stylus on The Velvelettes' cheeky "He Was Really Sayin' Something", where the lead sounds like she's both laughing and biting your earlobe. Or The Ikettes' sauntering "I'm Blue (The Gong Gong Song)", Martha And The Vandellas' ever-wonderful "Dancing In the Street", Val McKenna's funky "I Can't Believe What You Say", and Rita Pavone's piledriving "Il Geghege". In France, the Yé-yé girls responded with France Gall's "Laisse Tomber Les Filles" (a.k.a, "Chick Habit"), Sylvie Vartan's "Ne Le Decois Pas" ("just like Putty in my hands/ uh huh!"), and Jacqueline Taieb's "On Roule A 160". SURELY BRASSY Shirley Bassey. The 'brassy Brits' were the synthesis of the soul sisters and the drama divas, belting their own soul music on a theatrical scale. Passion is borderless, and these UK women merged US soul, traditional ballading, and their own string-laden theatrical pop. (In truth, the classical strings that Spector and Gordy had so often borrowed, now coming full circle to its origins.) Their escalation from the drama divas brought in soundtrack scores, cabaret flourish, and haute couture. Much of this was personified in Shirley Bassey, whose fullthroated brass and supperclub zazz ramp-lified the spirit of Judy Garland; Shirley's gusto and power dynamizes epics like "Goldfinger" and "My Love Has Two Faces". Their passionate smolder is klieg lights and shadows, bold and theatric. They are triumphant, bereft, and reflective in broad sweeps. Relish Sandy Shaw's "Girl Don't Come", Petula Clark's "Downtown", Lulu's "To Sir With Love", Vicki Carr's spy-twist "The Silencers", the lush ache of Cilla Black's "I've Been Wrong Before" (produced by George Martin), Nita Rossi's bombastic "Untrue, Unfaithful (That Was You)", Jackie Trent's operatic "Either Way I Lose", and US ex-pat P.P. Arnold's take on "The First Cut Is The Deepest". Mina; Francoise Hardy. The mindset of the early '60s was that adults made torch albums and teens made dance pop. But Girl Group and Motown bridged both. Globally, adult performers widened their repertoire to surf the young waves. From Italy with love came Mina's "So Che Mi Vuoi" (Lennon & McCartney's "It's For You"), Catherine Spaak's "Penso A Te" (scored by Ennio Morricone), and Ornella Vanoni's "Il Mio Posto Qual'E". More subtly, Chanson singers of France like Francoise Hardy gave us "Tous Les Garcons Et Les Filles". Conversely, pop teens like Helen Shapiro (England), Caterina Caselli (Italy), and Conchita Velasco (Spain) hinged from this vocal pop to become adult interpreters. SOUL-O Aretha Franklin; Laura Nyro. The 'soul-o'ists' were soul queens from major labels like Atlantic and Stax, and countless minor ones beloved on backwater jukeboxes. Singular artistes with sister wit like Aretha Franklin and Erma Franklin, Dionne Warwick, mavericks Nina Simone and Laura Nyro, south african refugee Sharon Tandy, and british contessa Dusty Springfield. They were the wizened and often wounded heart of mature women. They knew who they were by now and what really mattered. Reflect deeply with Bessie Banks' original version of "Go Now", Dusty's beautiful ache on "I Just Don't Know What To Do With Myself", Nina's reconjuring of "I Put a Spell On You", Aretha's nonplussed bliss on "Save Me", Erma's original of "Piece of My Heart", and Mitty Collier's earnest sweetness on "I Had a Talk With My Man" (which will choke you up on every listen). Soul is for every soul, and here to testify is the country soul of Margaret Lewis' "Reconsider Me", Emma Reade's stirring "I Gotta Be With You", and Julie Driscoll's valorous cover of "The Flesh Failures (Let The Sun Shine In)". GIRLS IN THE GARAGE The Luv'd Ones. And the most unsung of all, the 'garage girls', the all-female bands who bashed out the beat with the best of them. The Girl Groups inspired The Beatles who inspired groups of girls. The crayon history of Rock doesn't tell you that many '60s women worldwide took up the call to play modern Rock as full bands. (Lack of representation ensures lack of recognition). They were the slighted sisters of The Rolling Stones, The Beach Boys, and The Sonics. (A more exhaustive post and Music Player of the garage grrrls will be posted separately.) Folks like The Girls (the Sandoval sisters), The Liverbirds, Goldie And The Gingerbreads, Las Mosquitas (Mexico), The Fair Sect (New Zealand), The Womenfolk, The Luv'd Ones, The Ace Of Cups, The Daisy Chain, and The Feminine Complex saddled Beat, Garage, and Psychedelia sidelong. A wealth of their work is lately coming to light, bringing belated justice to these original punk priestesses. Bust out the fuzz with The Starlets' "You Don't Love Me", the proto-Garage of The Pleasure Seekers's "What A Way To Die", and Les Intrigantes' sunny cover of "Hello Goodbye" in French. These are loose patterns to listen for on the Player that illuminate facets of the prism. But, as in everything, these all overlap and interweave. Within these musical angles lies a composite of the heart, voicing all the concerns and moods one could have. It gave a distinct and new voice to girls and boys everywhere. Besides the great harmonies and melodies, this emotive commonality is what has made these women's music so universal and its influence so eternal. And it resonates in all pop music to this day. _____ Next: Read about and hear their disciples in Part 2: SHE'S A REBEL: Decades Of Songs Influenced By The GIRL GROUPS © Tym Stevens See Also: Part 2 (of 2): - SHE'S A REBEL: Decades Of Songs Influenced By The GIRL GROUPS -WOMEN OF ROCK: The 1950s -WOMEN OF ROCK: The 1960s -The Real History of Rock and Soul!: A Music Player Checklist

Definitely doing my hair like this for a deco ball I am attending next month!!

The lush trees hide a quiet, beautiful terraced house like a little treasure. Tomi Hämäläinen and Marjaana Nikula’s home is located in the seaside village of Tammisalo in eastern Helsinki. Take a tour with us!

Let’s have a look at a kitchen miscellany – images gathered from advertising and other ephemera from the 1950s through the 1970s.

“'Media is everything...Cold-bloodedly throw your body into the fight. You are an instrument of change.'”

Brief biography of Sylvia Plath (1932-1963), the gifted American poet and author of The Bell Jar, whose life ended all too soon by suicide.

Kabukicho is the red-light district of Shinjuku Tokyo and back in the 1960s and '70s, photographer Watanabe Katsumi focused his lens on the nighttime inhabitants of this area. These subjects included prostitutes, transvestites and gang members, whom all agreed to pose for the photographer’s camera. He would then return the next evening and deliver prints to his subjects for a minimal amount of money.

Hair Was Big And Bigger In The 1960s

THIS ARTICLE IS ALSO PUBLISHED ON margaretperry.org. "Mother with her real savvy of life. She adored [father]. She adored us. She was deep. She was witty. Some say I am like her. I hope so, I'd be so proud." (Hepburn 27) On the 106th anniversary of Katharine Hepburn's birth (May 12, 1907), is only seems fitting to pay a Mother's Day tribute to Mrs. Katharine Martha Houghton Hepburn. As much as I admire Katharine Hepburn the film actress, the real heroine of that family was her mother Kit. Mrs. Hepburn was involved in most major causes of the Progressive Reform Era, including woman suffrage, social hygiene, and birth control. She worked tirelessly for women's rights in a way that both enabled and encouraged her oldest daughter to live a life of independence many women of the time could only dream of. Katharine Martha Houghton was born in Corning, NY in February, 1878. Her father Alfred Houghton was the younger brother of the head of the famous Corning Glass Company, Amory Houghton. Kathy had one older half-sister, Mary, and two younger sisters, Edith and Marion. Unfortunately, a combination of weak nerves, pressure at work, and an overbearing bully of an older brother drove Alfred to suicide in 1892, leaving his wife Carrie Garlinghouse to raise their three girls alone. "My mother talked a lot about her [Carrie Garlinghouse]: her beauty, her strength of character - her determination that her daughters get an education and live lives independent of the very dominating Amory Houghton Corning Glass group. Her credo: Go to college! Get an education!" (Hepburn 13) Carrie Houghton often attended lectures on women's rights at the Women's Union Coterie in Buffalo with friends, and she believed "no topic was too controversial or advanced for the girls" (Leaming 27). Although Carrie had desperately wanted to attend college as a young women, her father had disapproved of education for girls. As a mother, she threw herself into preparing her daughters for Bryn Mawr College, one of the "Seven Sisters" women's colleges on the east coast. About a year before Kathy was to start college, Carrie contracted stomach cancer and tragically passed away at the age of 34, but not without communicating the importance of college to her eldest daughter: "Carrie's message to Kathy was to allow nothing to distract the girls from the goal their mother had set. No matter what the executors might say, it was up to her to keep her sisters together and get them to Bryn Mawr. Kathy ... remembered her mother's words a 'a divine command.'" (Leaming 38) The sixteen-year-old Katharine had to fight her relatives tooth and nail for several years, but she and Edith both managed to attend and graduate from the Bryn Mawr College of legendary president M. Carey Thomas. Both sisters continued to Johns Hopkins around the turn of the century, where they would meet their future husbands. Since the classes were seated alphabetically, Edith Houghton sat with Thomas Hepburn and Don Hooker. She took Hooker for herself and let sister Kathy have Hepburn. A few years later, Kit Houghton Hepburn found herself married to a successful doctor, whom she loved, and a couple adorable children. Yet she still felt dissatisfied with her life. "But me, what of me, what of me? Is this all that I am here for? There must be something. I have a Bachelor's degree, I have a Master's degree." She didn't like the idea of simply playing nursemaid to the next generation. Then her husband suggested they attend a feminist lecture given by British suffrage leader Emmeline Pankhurst. The rest is history: "Women. Their problems. The vote. Prostitution. The white-slave traffic. Teenage pregnancy. Venereal disease. Huge public meetings. They discovered many of the problems on Hartford's conscience." (Hepburn 18) Kit Hepburn was President of the Connecticut Woman Suffrage Association until she resigned in 1917 to join Alice Paul's more aggressive National Women's Party. After winning the vote in 1920, Mrs. Hepburn turned her attentions to birth control, becoming a good friend a co-worker of Margaret Sanger. When Katharine Hepburn's films started to become popular in the 1930s, Mrs. Hepburn worried that her controversial political activities would have a negative impact on her daughter's movie work. However, Miss Hepburn encouraged her mother to carry on, stating "I detest the newspaper's reference to her as Katharine Hepburn's mother. My mother is important. I am not" (Leaming 292). Baby Katharine grew up marching in suffrage parades, blowing up "Votes for Women" balloons, participating in any number of athletic activities, and simply living the tomboy childhood her mother encouraged. Kit Hepburn had six children in fifteen years, three boys and three girls. With all her social and political activities, she still managed to make it home for tea time with her family. Bedtime was also her special time with her children, when she enjoyed hearing about their day, reading them bedtime stories, and singing them to sleep. And all six of her adoring children were proud of the work their mother was doing to make the world a better place. "Don't give in. Fight for your future. Independence is the only solution. Women are as good as men. Onward! You don't have too much money, but you do have independent spirits. Knowledge! Education! Don't give in! Make your own trail. Don't moan. Don't complain. Think positively." (Hepburn 14)

Kabul, Afghanistan was once known as the Paris of Central Asia. During the late 1960s, goat-skin coats were Afghanistan’s biggest fashion export, gracing the pages of Vogue and copied by designers for the chicest hippies longing for adventure along the Silk Road. For a December 1969 Vogue issue, ph

Another by Marianne Breslauer c.1934

Birmingham has seen may changes over the years. We take a look back to Brum in a bygone era how it used to look, and how modern day plans are also making a mark on the landscape.

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In 1964, LIFE photographer Michael Rougier and correspondent Robert Morse spent time documenting one Japanese generation’s age of revolt, and came away with an astonishingly intimate, frequently unsettling portrait of teenagers hurtling willfully toward oblivion. The teens and other young adults portrayed in Rougier’s pictures, Morse noted in a 1964 LIFE special issue on Japan, are “part of a phenomenon long familiar in countries of the Western world: a rebellious younger generation, a bitter and poignant minority breaking from [its] country’s past.” Kako, languid from sleeping pills she takes, is lost in a world of her own in a jazz shop in Tokyo. Yoko, 17 years old, Tokyo, 1964. A group of "motorcycle kids," one of numerous subsets of teen subcultures in Tokyo, 1964. Japanese youth, Tokyo, 1964. Listening to jazz, Tokyo, 1964. Lost in the music, Tokyo, 1964. They find violent release in homegrown Japanese Beatles. Dancing to the "Tokyo Beatles," 1964. Rocking out with the "Tokyo Beatles," 1964. Rocking out with the "Tokyo Beatles," 1964. A fan (right) and a "Tokyo Beatle," 1964. Screaming for the "Tokyo Beatles," 1964. "Tokyo Beatles" backstage, 1964. "Tokyo Beatles" backstage, 1964. Japanese youth, Tokyo, 1964. Japanese youth, Tokyo, 1964. [Yoko] often ends her long nights sprawled on a futon in a friend's room. Naron" (at left, stretching) and friends at dawn after an all-night party at the beach. Japanese youth, Tokyo, 1964. Japanese youth, Tokyo, 1964. "Naron" and an unidentified girl at dawn after an all-night beach party, Tokyo, 1964. Japanese youth, Tokyo, 1964. Japanese youth, Tokyo, 1964. The teen in the center is the 17-year-old leader of a pill-popping crew of jazz fans. He's known only by his nickname, "Naron," a popular sleeping pill brand. Morse wrote in his notes that Naron was "bright and amusing when he's off the pills." Japanese youth, Tokyo, 1964. Japanese youth, Tokyo, 1964. Japanese youth, Tokyo, 1964. Yoko, 17 years old, Tokyo, 1964. Yoko, 17 years old, Tokyo, 1964. Sometimes [Yoko] goes down to the port in Yokohama to watch the ships sail off to the places she only wishes she cold go. At sunset, her 'day' begins again. (Photos: Michael Rougier—Time & Life Pictures/Getty Images)