Rare Outtakes of KISS From the Photoshoot for the Album Cover of “Dressed to Kill” (1975)

Dressed to Kill is the third studio album by Kiss, released on March 19, 1975. It was produced by Casablanca Records president Neil Bogart and the band itself as the label’s financial situation at the time did not permit the hiring of a professional producer.

The album cover was photographed on October 26, 1974 by Bob Gruen. While the cover depicts Kiss in business suits, the only member of the band who owned one was Peter Criss. The suits worn on the cover by the rest of the band were owned by manager Bill Aucoin. The original vinyl release of the album also had the Kiss logo embossed around the picture. The photograph of the band on the album cover was taken on the southwest corner of W23rd Street and 8th Avenue looking North in New York City.

The name Dressed to Kill was come up with after Gruen’s photographs. Up to then, the third Kiss album was going to be entitled Kiss at Midnight.

“We were working on a photo novella for Queen magazine (now Harper’s Bazaar UK),” said Bob Gruen. “The story was about Kiss in their secret identities going to work in the morning. You can see that they’re wearing suits, so no one would recognize that they were Kiss. Nobody knew who they were, it was still early days, and Kiss wasn’t well known at all, even in New York. You have to be more than weird to get attention here. People kind of glanced at them, they may have thought it was a little early for Halloween. It takes a lot to shock a New Yorker.”

“Two things really distinguish Dressed to Kill,” said Ace Frehley. “The first was the album cover, which featured the four of us standing on the corner of 8th Avenue and 23rd Street wearing suits and ties in full makeup. We’d done something similar for a Creem photo shoot and liked the concept so much that we went with it for the album. Here we are world; just regular guys going to work!”

“We were in the subway,” Gruen added. “We took one picture where they’re going into the phone booth pulling off their coats and ties. And then, we actually went to a different subway because I didn’t want the picture to go backwards in the page. I wanted them to run into a phone booth and then run out in the same direction – so that they weren’t running back towards themselves. As we came out of the subway, I said, ‘Why don’t you stand over by the lamp post, let’s take a couple of pictures.’ We had no thought that it was going to be an album cover. It was really just part of this comic book. If you look at the suits, Gene is wearing my suit – which is why it’s three sizes too small for him. And he’s wearing my wife’s clogs – which is why his feet look like a monster. He looks like he’s got hoofs instead of feet. Ace is also wearing my suit and my shoes. Had I known how much they’d be worth, I would never have given those shoes away to Goodwill 40 years ago. I remember the white shoes, they had a stain on them and I wasn’t going to wear them, so I gave them away.”

See more»

20 Vintage Portrait Photos of Teenage Boys From the Mid-19th Century

Teenage boys in the mid-19th century typically wore clothing that reflected the formal and modest styles of the era. In the early part of the century, boys’ fashion was influenced by adult men’s styles, with a focus on neatness and propriety.

For the upper classes, boys wore tailored suits, often in dark colors, with waistcoats, high collars, and cravats or ties. They might also wear trousers or breeches, depending on their age. In rural or working-class families, clothing was simpler and more practical. Boys often wore loose shirts, sturdy trousers, and jackets, with caps or hats for practicality. The clothing was typically made from durable fabrics, as they needed to withstand the physical labor involved in their daily lives.

Footwear for all classes ranged from sturdy boots for working boys to polished shoes for those in more formal settings. Hairstyles were generally short, but neatly kept, with some boys sporting neat, swept-back styles.

Here is a set of vintage photos showing the teenage boys' styles of the 1850s and 1860s.

See more»

Nirvana Bassist Krist Novaselic Kissing Dave Grohl and Kurt Cobain at the End of SNL in 1992

Nirvana performed “Smells Like Teen Spirit” and “Territorial Pissings” on Saturday Night Live on January 11, 1992. But the historic made for TV moment came during the end credits of the show when Krist Novoselic, Dave Grohl and Kurt Cobain decided to “piss off the rednecks and homophobes,” by French kissing each other.

SNL refused to show the Nirvana kiss on future repeats of the episode. When asked about the kiss Novoselic was quoted as saying that the kiss was “spontaneous” and not planned.

Following Nirvana’s performance at SNL’s show, the following Monday, students with Kool-Aid pink hair were spotted in schools across America. Kurt hadn’t washed his hair in a week and had dyed his hair a strawberry and grape Kool-Aid color that made his hair look like it was covered in “dried blood.”

Polaroids of The Traveling Wilburys

The Traveling Wilburys were a British-American supergroup formed in Los Angeles in 1988, consisting of Bob Dylan, George Harrison, Jeff Lynne, Roy Orbison and Tom Petty. They were a roots rock band and described as “perhaps the biggest supergroup of all time.”

The Traveling Wilburys came together almost serendipitously in 1988. George Harrison (of The Beatles) was working on a B-side for his single “This Is Love” and needed a studio and a group of musicians to help record it. He enlisted Jeff Lynne (of Electric Light Orchestra), Roy Orbison, Tom Petty, and Bob Dylan—each a major star in their own right.

The chemistry among the group was undeniable, and they decided to form a band, adopting the playful pseudonym “The Traveling Wilburys” and fictional backstories as half-brothers with the last name “Wilbury.”

Just weeks after the release of their debut album, Roy Orbison tragically passed away from a heart attack in December 1988. His death added a poignant layer to the success of Traveling Wilburys Vol. 1, as fans cherished his contributions to the group.

The Traveling Wilburys were more than just a supergroup—they represented a celebration of friendship, collaboration, and pure love for music. Despite their short run, their work left a lasting impact, influencing later supergroups and reinforcing the idea that music could transcend egos and stardom.

The group never officially disbanded but ceased recording after Vol. 3. Their music has since been celebrated through reissues and tributes, cementing their legacy as one of rock's most extraordinary collaborations.

See more»

35 Studio Portrait Photos Show What Men’s Hairstyles Looked Like in the 1970s

1970s men’s hairstyles were diverse, ranging from long, flowing locks to shorter, more tailored cuts. Popular styles included the shag, characterized by layered, tousled hair; the bowl cut, which had a blunt fringe around the head; and the afro, embraced by Black men, celebrating natural texture and volume.

The mullet also gained popularity, with short hair in the front and long in the back. Additionally, men often sported feathered styles, similar to those of rock stars, where hair was softly layered and styled with volume.

Take a look at these vintage photos to see what men’s hairstyles looked like in the 1970s.

See more»

Jimmy Page, the Man Who Knows How to Rock a Beard in the 1970s

Jimmy Page, the founder and guitarist for Led Zeppelin, was known as “Bearded Jimmy” during a period in the 1970s when he had a beard and bucket hat. Page eventually shaved his beard because he thought it was too messy and that other people’s beards were starting to look the same.

“I got tired of the beard, it was too messy,” said Jimmy Page. “A lot of people had beards at the time, and I realized they were all starting to look the same, so I shaved mine. The unfortunate thing is that I don’t. I don’t have one. camera to record the process, because obviously when you have a huge beard, you take it off in stages. You can have a big mustache that looks like it came out of the French revolution, à la D’Artagnan and little by little. It goes and the sideboards remain. You see the fashion clock rewind decades when the razor hits. Then I completely shaved: ‘Oh, is this a teenager?’ Not quite, but no stubble, nothing. It was fun to do.”

Facial hair was a hallmark of the rock and countercultural movements of the 1970s, often symbolizing rebellion, freedom, and a laid-back lifestyle. Page’s occasional embrace of a bearded look fit well within the aesthetic trends of the time. His facial hair was always an extension of his persona—an enigmatic and versatile artist who could transition between clean-shaven elegance and rugged rock-and-roll charm effortlessly.

Here, some iconic images from the 1970s show Page with a fuller beard, especially during times when the band wasn’t actively touring or when he adopted a more casual, off-stage look.

See more»

1890 New Year’s Day Greeting Card Made by Prominent Early Seattle Citizens

Prominent early Seattle citizens Henry Yesler, Bailey Gatzert, and Moses Maddocks made a New Year’s Day tradition out of carrying together greeting cards to their friends in town, and probably getting their fill of seasonal snaps in return. They were close friends, loved to play pranks on each other, and at one time or another each held the office of Mayor of Seattle.

Henry Leiter Yesler (1810-1892) was a lumberman who established the Seattle's first steam-powered sawmill in 1852, and was Seattle's mayor from 1874-1875 and 1885-1886. Bailey Gatzert (1829-1893) came to Seattle in 1869 to run the Schwabacher Brothers and Company's hardware store. As of 2018 Mr. Gatzert is Seattle's only Jewish mayor, serving from 1875-1876. Moses Rideout Maddocks (1833-1919) arrived in Washington Territory in 1858 to work as a logger, then began a successful real estate career. Mr. Maddocks won a special election in 1873 to serve the two remaining months of the previous mayor's term.

The card pictured here was given by the three men as they visited friends on January 1, 1890, as part of a New Year’s Day tradition they had begun in 1871. The photograph on this card shows all three men; from left, Mr. Maddocks, Mr. Gatzert, and Mr. Yesler.

18 Candid Photographs of George Harrison and Eric Clapton Together

Eric Clapton first met The Beatles in December 1964, a time when he was still with The Yardbirds. After his group acted as one of the support acts for the Fab Four’s Christmas Show at London’s Hammersmith Odeon, his connection proved to be so strong that he straddled both The Beatles’ professional and personal lives. Clapton didn’t just collaborate with the band as a whole, but he also played with each of the four members independently on their solo endeavors.

“It’s easier nowadays than it was in the past,” Harrison said in an interview with Goldmine magazine in 1992. “Because in the 1960s we were all very much tied up with being Beatles or Cream, and stuff. Well, actually we worked with Eric back in, I’d say, 1964, when he was in the Yardbirds, but I didn’t really get to know him until a show at a little club in London where the Lovin’ Spoonful were playing. It was John [Lennon] and I who went to see the Spoonful, and after the show we would go and hang out with John Sebastian and the gang, and get into trouble or whatever. And I just saw this guy there who looked very familiar. There was something about him, and he seemed real lonely, just sitting up on the road boxes backstage at this club. And I said, ‘Hey, you want to come with us, come and hang out?’”

There was always a member of the band with which he connected more permanently, however, and he became best friends with George Harrison long after working with one another. What’s more, they even ended up sharing an ex-wife, Pattie Boyd. Clapton confessed his love for Boyd to Harrison in 1970. Clapton wrote the song “Layla” to express his feelings for Boyd. He also wrote a letter to Boyd asking about her feelings for him, but she thought it was from a fan. Boyd married Clapton in 1979, but they divorced in 1989.

Even after all the drama and heartbreak, Harrison and Clapton remained friends and continued to play music together right up until the very end. Theirs was a friendship that was tenderly enjoyed by both members. Harrison invited Clapton to play on the Beatles classic to distract himself from the band and to explore the guitar world. He also contributed to Clapton’s projects, and they often performed together in live settings.

They remained close friends until Harrison’s death in 2001. Clapton said that he thought of Harrison as an older brother and respected his judgment and values.

See more»

Punk Rock Utd, an All-Star Team of Various Musicians of the Late-1970s London Rock Scene

Punk Rock Utd: an all-star team of various musicians of the late-1970s London rock scene playing charity football matches in 1979 against Shoot! Magazine and a TV sporting celebrities team and ending up playing at Stamford Bridge Chelsea FC ground, as captured by Bob Legon for Smash Hits.

L-R, back row: Bill Stewart (Island Record’s talent spotter), Gen X’s Billy Idol, Robert (4″Be2″s roadie), Sex Pistol’s Paul Cook  and Gen X’s Tony James.

Front row: Mike James (Tony’s brother), 4″Be2″s /John Lydon’s younger brother Jimmy, Sex Pistol Steve Jones, 4″Be2″s Paul Young, Gerry O’Donnell (loan from Celtic), the Skids’ Richard Jobson and Thin Lizzy’s Phil Lynott on the far right playing “spot the ball,” to quote the original caption.

London promoter, DJ, manager and member of 4"Be2" and The Bollocks Brothers Jock McDonald along with Faebhean Kwest of Cuddly Toys and Raped organized the event and Killing Joke’s Youth, one-hit reggae wonder Dan-I and some more presumably took part as well, while the part of the hooligan crowd was performed by The Upstarts’ Tomy Mensi. 

“Yes the punk rock 11 back in late 1970s Paul Cool as wing and Phil Lynnopt as centre forward a deadly combo… We played one match on the Chelsea Ground pitch...” – Billy Idol

Studio Portrait Photos of ’60s Young Men

Studio portraits of young men in the 1960s reflected the era’s changing fashion and social attitudes. Early in the decade, young men often wore formal clothing—suits, ties, and neatly groomed hair—reflecting the conservative style of the time. By the mid-to-late ’60s, influenced by the counterculture, portraits began to show more relaxed and casual looks: longer hair, turtlenecks, patterned shirts, and denim jackets became popular.

Photographers favored natural, less rigid poses, with subjects often depicted in a more expressive, laid-back manner. The influence of rock stars, like The Beatles, and the growing youth rebellion led to a more individualized, less conventional approach to studio portraiture. Light and shadow techniques, along with minimalistic or textured backgrounds, were commonly used to enhance the mood and personality of the subject.

Here below is a set of vintage photos from Jan Paul Arends that shows portraits of young men in studios from the 1960s.

See more»

When Young Elvis Presley Met the Legendary B.B. King in Memphis, Tennessee in 1957

When we think of musical legends, a few names come to mind instantly: B.B. King, the King of Blues, and Elvis Presley, the King of Rock ‘n’ Roll. Their legacies are cemented in the annals of music history, but perhaps lesser known is the genuine bond these two giants shared, a bond that crossed racial and musical boundaries. B.B. King, always humble, had a remarkable story to tell about Elvis—a story that set the record straight about the man he knew behind the icon.

“When Elvis appeared he was already a big, big star. Remember this was the fifties, so for a young white boy to show up in an all-black function took guts,” King once recalled. This candid statement highlights a pivotal moment in both their careers and the cultural environment of the time. Elvis’s decision to attend and perform at predominantly African-American events wasn’t just about music; it was about paying respect to the roots from which he drew inspiration.

“I believe he was showing his roots and he seemed proud of those roots,” King continued. “After the show, he made a point of posing for pictures with me, treating me like royalty.” Elvis’s gesture was more than just a photo op; it was a public acknowledgment of the deep influence of blues and rhythm and blues artists like B.B. King on his own musical style. “He’d tell people I was one of his influences. I doubt whether that’s true, but I like hearing Elvis give Memphis credit for his musical upbringing,” King mused.

Their friendship didn’t end there. Fast forward to 1972, when B.B. King found himself in need of a career boost. Elvis, then a major draw at the Hilton Hotel in Las Vegas, stepped in to help his friend. “Elvis helped me get a good gig at the Hilton Hotel while he was playing in the big theater. He put in a call for me and I worked in the lounge to a standing room only crowd,” King remembered fondly. This favor spoke volumes about Elvis’s character. While his fame could have made him insular, he chose instead to lift others, especially those he admired.

“Elvis fans came in different colors, but their love for good music was all the same,” King reflected. This sense of unity through music was something Elvis cherished and it made the lounge, where King played, a gathering place for true music lovers. “They were always a good audience,” King added, highlighting the impact of Elvis’s support on his performances.

After the lights dimmed and the audience left, King and Presley would often find themselves together in Elvis’s suite. “Many nights I’d go upstairs after we finished our sets and go up to his suite. I’d play Lucille [King’s guitar] and sing with Elvis, or we’d take turns. It was his way of relaxing.” These images of two musical icons, stripped of the glitz and glamour, simply enjoying each other’s company and sharing the music they loved, is both poignant and powerful.

“I’ll tell you a secret. We were the original Blues Brothers because that man knew more blues songs than most in the business—and after some nights it felt like we sang every one of them,” King joked. His humor, however, underscores a truth about Elvis’s devotion to the blues. He wasn’t just a performer who dabbled in different genres; he was a student of music who respected its roots and its masters.

But what King valued most in Elvis was his unwavering respect. “When we were hanging out in the Hilton in the 70s, Elvis had not lost his respect, his ‘yes sir,’ his love for all fields of music. And I liked that.” King’s words are a testament to a side of Elvis that often gets overlooked—a side that admired and acknowledged the contributions of African-American artists to the fabric of American music.

The friendship between B.B. King and Elvis Presley serves as a reminder that music transcends boundaries. It brings people together, irrespective of race or genre, and has the power to forge bonds that last a lifetime. While B.B. King may have doubted his influence on Elvis, the respect and admiration the two shared was mutual, sincere, and deeply rooted in their shared love for the blues.

30 Studio Portrait Photos of Victorian Men From the Mid-19th Century

Victorian men in the mid-19th century had a distinctive style that reflected the social norms and values of the era. They commonly wore tailored suits that included a waistcoat, a long frock coat or tailcoat, and matching trousers. The frock coat was popular for daytime, while tailcoats were reserved for formal occasions.

Top hats were very fashionable for formal wear, while bowler hats became popular for everyday use. Other styles, like the straw boater, were worn during leisure activities. Leather boots and shoes were typical, with variations for formal and casual wear. Ankle boots were common, often paired with spats for a more polished look. Accessories included pocket watches, gloves, and canes, which added to the overall sophistication of their attire.

The mid-Victorian period saw a surge in facial hair. Mustaches, sideburns, and full beards were common, with styles often emphasizing masculinity and virility. Hair was typically short and well-groomed, often parted to the side. Some men sported longer hair at the back, with a neat appearance.

Take a look at these vintage photos to see what men looked like from the mid-19th century.

See more»

A Four-Man-Trip on an Excelsior 7 in 1913

Pictured here is Toronto Canada native, C. McDonald on his Excelsior 7. Notice that he is carrying three passengers with him, partially on the motorcycle and partially on the wicker sidecar. The four men made the 40 mile trip from Toronto to Hamilton to participate in a motorcycle hillclimb in the summer of 1913. Traveling at 20 miles per hour, it was a dusty four hour round trip.

In 1913, the Excelsior was the hot motorcycle to own. Just a few months earlier in December of 1912, an Excelsior became the first motorcycle to break the 100 miles per hour. The “7” in the model’s name referred to the seven horsepower output of the engine. That engine was typical of it’s day, being a F-head style 61 cubic inch v-twin. This engine was mated to a single speed transmission and stopping was accomplished by a rear coaster brake.

According to the photo, this motorcycle was actually entered in some events. It’s hard to believe that it could have completed a hill climb with four riders, but perhaps that’s how they got the slowest time award.

(via Riding Vintage)

The Toxic Twins: 30 Amazing Photographs of Steven Tyler and Joe Perry of Aerosmith From the 1970s and 1980s

There are few partnerships in rock ’n’ roll that have been as fruitful or combustible as that of Aerosmith singer Steven Tyler and guitarist Joe Perry. Tyler and Perry – aka The Toxic Twins – have led the Boston band to huge commercial success over the past 50 years on albums such as Toys In The Attic, Rocks, Permanent Vacation and Pump.

But their relationship has sometimes been dysfunctional and explosive. Perry famously quit Aerosmith in 1979, before returning five years later.

“He’s probably my best friend through all of it,” Perry told Classic Rock magazine. “We just know we’re different people. Even through the 1970s, we were the ones that would go off on a scuba diving trip together.”

When Joe Perry worked as a waiter at a fast food bar, he first met Steven Tyler as a rowdy customer. Perry “did everything from making the French fries to sweeping the floor and taking out the trash.” Steven’s family had a place near the lake in New Hampshire and he’d come up every summer with one of his bands.

“The first time I met him, I didn’t really meet him, so to speak,” Perry recalled encountering Tyler for the first time, months before they became bandmates. “His family had a place up there, a bed and breakfast kind of thing, and every summer he’d come up from New York with one of his bands. I remember them rolling in and basically behaving like what they thought rock stars should do, which was throw food at each other. So they left and I had to clean up after them.”

The next summer, Perry’s band which included future Aerosmith bassist Tom Hamilton was playing at a local club and Tyler was in the crowd. He said that’s when he officially met him, because Tyler was looking for a backup band, so that he could audition with a demo for The Jeff Beck Group.

Perry said that when the three of them got together, and ended up jamming for hours, that’s when Tyler realized they could be a band. At the time, Steven Tyler was a drummer/singer, but he didn’t want to drum anymore. That’s when Joey Kramer was invited into the band.

The song that they got together to record was “I’m Down” by The Beatles.

See more»