There is something truly magical about holding a piece of television history in your hands. I’ve just added a stunning vintage press photo to my collection, and it’s a real gem from the set of I Dream of Jeannie. This isn't just a publicity shot; it’s a window into the golden age of sitcoms, captured on a Saturday back in June 1966.

The back of the photo carries that classic NBC typewriter text, detailing a hilarious mix-up from the episode "My Master, the Doctor." In the scene, Tony (the incomparable Larry Hagman) idly wishes he were a great violinist and then a surgeon. Jeannie (the radiant Barbara Eden), ever the devoted—if literal—genie, obliges him by blinking him right into an operating room! Seeing the two of them in their surgical scrubs, with Jeannie as the world’s most glamorous assisting nurse, perfectly captures the whimsical chaos that made the show a household staple.

What always strikes me about this series is the fascinating tie to the U.S. Space Program. Set in Cocoa Beach, Florida, just a stone's throw from Cape Kennedy, the show aired during the height of the Space Race. Tony Nelson wasn’t just a "master"—he was a high-level NASA astronaut. This created a brilliant tension: Tony was a man of science and military discipline, constantly trying to hide a 2,000-year-old magical entity from his straight-laced colleagues. NASA was actually quite supportive of the show, and the production often used stock footage of actual rocket launches to add a layer of 1960s realism to the fantasy.

Looking at this photo, you can practically feel the chemistry between the leads. Larry Hagman was a comedic force of nature long before his "J.R. Ewing" days. His physical comedy—the frantic double-takes and the "oh-no-not-again" expressions—was the perfect foil to the magic. And then there is Barbara Eden. To say she was gorgeous is an understatement; she was luminous. But more than her beauty, she brought a sense of innocent mischief to Jeannie that made the character iconic. Whether she was popping Tony into a tuxedo or an operating gown, she did it with a "blink" and a smile that captured the heart of the world.

HERE is a house that the fun-loving family will take to its heart. The wide-open spaces of the king-sized front room—a combination living-dining room and den—are the answer to a party-giver’s prayer. Except for the coat closet, there is not even a suggestion of a partition to get in the way when you are entertaining a crowd. You will especially appreciate this feature if you are active in the affairs of a church or club to which you frequently open your home.

Besides providing ample space for entertaining and everyday living, this plan offers almost unlimited possibilities for originality in interior decoration.

The hall adjacent to the living area insures privacy in the bedrooms and provides access to the bathroom, kitchen and breakfast room. The bedrooms have plenty of closet space, and their doors and windows are arranged to allow cross ventilation.

Closets in the hall take care of bedding and out-of-season clothing, while there is storage space in the bathroom for linen and laundry. In addition to the usual fixtures, the bathroom has a convenient built-in lavatory and dressing table with a large mirror above. The kitchen has a step-saving arrangement of the work space and a breakfast area at one end.

A handy utility room is connected with the kitchen by a breezeway, which provides a covered passage to the car port.

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source: The Progressive Farmer – Distinctive Southern Homes | 1950

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There's a particular thrill that comes with expanding a collection, especially when it delves into the rich history of cinema. This week, I had the distinct pleasure of adding a fantastic lot of stills from the 1937 classic, The Last Gangster, to my ever-growing archives. Each black and white image, crisp and evocative, serves as a tangible link to a golden era of Hollywood, a time when narratives of crime and consequence captivated audiences.

For those unfamiliar, The Last Gangster is a compelling pre-Code crime drama starring the incomparable Edward G. Robinson. He plays Joe Krozac, a powerful mobster whose life takes a dramatic turn when he's imprisoned, only to face a changed world and a grown son upon his release. The film explores themes of redemption, reputation, and the enduring shadow of a criminal past, all wrapped in the gritty realism that defined the genre. It's a testament to the power of early cinematic storytelling and Robinson's magnetic presence.

Speaking of Edward G. Robinson, it's impossible to discuss classic Hollywood gangsters without acknowledging his monumental contribution. More than almost any other actor, Robinson, alongside contemporaries like James Cagney, created the archetype of the Hollywood gangster. His intensity, his piercing gaze, and his masterful command of dialogue forged an image that has permeated popular culture for decades. What many might not immediately realize is that this iconic figure of American cinema was born Emanuel Goldenberg in Bucharest, Romania, to a Jewish-Romanian family. His journey from an immigrant background to becoming one of Hollywood's most revered actors is a testament to his talent and determination, adding another layer of depth to the characters he so brilliantly brought to life.

Beyond his legendary acting career, Robinson was also a man of immense cultural sophistication with a deep and abiding love for art. He was a passionate art collector, amassing an extraordinary collection of Impressionist and Post-Impressionist masterpieces throughout his life, including works by Van Gogh, Picasso, Gauguin, and Cézanne. This facet of his personality, often overshadowed by his on-screen persona, reveals a man of refined taste and intellectual curiosity. It's fascinating to consider the complex individual behind the tough-guy roles, a man who could seamlessly transition from portraying a hardened criminal to appreciating the delicate brushstrokes of a Renoir.

Holding these stills in my hands, I don't just see images from a film; I see fragments of history, echoes of a brilliant career, and a connection to the enduring legacy of Hollywood's golden age. They are a welcome and cherished addition to the collection.

HERE is a three-bedroom house that should appeal to the conservative home builder. The exterior is in brick featured by a bay window in the living room, and the garage is detached.

The front entrance is dignified and in excellent taste, and enters directly into a living room, the principal feature of which is the picture window on one side and the fireplace on the other. An unusual feature of the living room is an alcove for books. This enters a bedroom which can easily be converted into a study or den. Adjacent to the living room is the dining room, with exposures on two sides, and separated from the living room by sliding doors.

Between the dining room and the kitchen is the breakfast room, accessible from the hall and equipped with a built-in sideboard and corner china cabinets. The kitchen, which adjoins the breakfast room, has the usual kitchen appointments.

The bedrooms are of generous size and well ventilated, with large closets and direct connections with baths. One bath is accessible from the hall, for visiting guests. The hall is the center of all activity and contains the usual appointments of telephone desk, mop and broom closet, and linen storage cabinets. The garage is located directly back of the house, is connected with the kitchen by means of the service porch, and has in it a laundry and toolroom. This garage may be placed anywhere else on the site, if you wish. A design of landscaping is suggested for the garden lover, and the toolroom can easily be adapted to a workroom by installation of necessary facilities.

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source: The Progressive Farmer – Distinctive Southern Homes | 1950

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HERE is presented the rambling-type house developed to meet the particular requirements of the small-home builder in the South.

Generous porches with low sweeping roofs are designed for outdoor living and dining, and for the development of recreation and hobby areas. The kitchen is small and designed to provide the greatest convenience in minimum space. It has a streamlined cabinet at the north end, and space for the hot-water heater, range, refrigerator, and a small table.

The isolation of the sleeping units from all noise of operation of the household makes this plan particularly desirable. The hall is minimum in size.

The bath is in an ideal location for convenience of the sleeping units, and still close enough to the semipublic spaces to make its use convenient for guests.

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This house was planned for a young family—it is a house designed to grow. The original unit, composed of three rooms and bath, has all the essentials of comfortable living. The rooms are of good size, the exterior has attractive lines and good proportion, and the arrangement affords the maximum in convenience.

A generous, covered porch is supported by iron trellises on which climbing vines may be trained.

From the porch one enters a foyer into which all three rooms open. This foyer gives a further effect of spaciousness and eliminates traffic through the living room in reaching the bedroom and kitchen.

The living room features an attractive open fireplace, and the windows in this room are grouped in such a way as to provide plenty of light and ventilation.

The bedroom has an ample closet and a private bath with shower. Windows on three sides of the bedroom give the good ventilation so necessary in our warm Southern climate.

The kitchen has a built-in dining space immediately to the right of the door, where it is out of the way of sink-to-stove traffic. Sink, drainboards and cabinets are on the right; stove, refrigerator and water heater on the left. There is a window at the end of the breakfast nook and another above the sink. In the original unit the back door opens directly into the yard.

The extension provides for a bedroom, a bathroom with tub (accessible from hall), a dining room (this room can be used as a third bedroom if the family prefers), three large closets, and a service area just outside the kitchen.

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source: The Progressive Farmer – Distinctive Southern Homes | 1950

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