A Historic Graduation at Little Rock Central High

Little Rock Central High School lives in American history as one of the landmark battlegrounds of the civil rights movement. President Dwight D. Eisenhower called in the national guard after the nine black students chosen to integrate Little Rock Central following the Supreme Court’s ruling in Brown vs. Board of Education were initially barred from entering. LIFE’s coverage of their first day of school produced some of the most memorable photos in the history of the magazine.

That was in the fall of 1957. In May 1958, LIFE photographer Grey Villet came back to Arkansas when Ernest Green was set to become the first black student to graduate from Little Rock Central.

Villet’s photos capture a day that had some of the familiar elements of graduation—the gathering of friends and family and the pride of a moment of achievement. But other images mark it as a moment in history. Martin Luther King Jr. was there (he would sit with Green’s family during graduation and go largely unnoticed), and national guard troops were also on hand to safeguard the ceremony. Then there are Villet’s shots which show Green as the lone black face among crowds of white students, which hints at the reality Green and the rest of the Little Rock Nine faced on a daily basis.

“It’s been an interesting year. I’ve had a course in human relations firsthand.” That was Green’s brief comment in the story that ran in LIFE on his graduation.

That assessment was, obviously, an understatement, as Green and the other members of the Little Rock Nine endured harassment from white students throughout the school year. As an adult, Green gave a lengthy interview about Little Rock Central which is available at the American Archive of Public Broadcasting. In it he said “I think there is no question that the nine of us thought that the sacrifice we were doing was worth it, and if having to do it over again, I would do it the same way.”

He also detailed the drama of graduation day, from the down-to-the-wire question of whether he would pass physics to the anxiety he felt walking across the stage for his diploma:

I had been there nine months and had thought that all I needed to do was to graduate, just get out of there, and that it would be impossible for white people to say that nobody black had ever graduated from Central High School. So the graduation was in May. I was having difficulty with one course, it was a physics course, and almost up to the last minute didn’t know whether I was going to complete it successfully so that I would be able to, to get out of there, but as things were, I got a fairly decent grade out of it. And at the graduation ceremony, one of the guests was Martin Luther King. He was speaking in Pine Bluff, Arkansas AM&N, at the black college there, and came up to sit with my mother, and Mrs. Bates [Daisy Bates, the president of the Arkansas NAACP], and a couple of other friends in the audience. And all I could think of, there were six hundred and some odd students graduating that night, it was in the stadium, the place was packed, cameras, lights, to record this event, and I said, now, I can’t walk across this stage and stumble. [laughs] And all I figured that I had to do was to get up to the principal, take that diploma, and walk off the other end and it would be over. I would have done my duty and been able to have a relaxing summer. Because it really wasn’t, certainly wasn’t the way to go to go to school under that kind of pressure.

Green, a former Eagle Scout, did make it across that stage despite his nerves, and from there he continued his education at Michigan State, where he earned a bachelor’s and master’s degrees. He would go on to serve as the U.S. Assistant Secretary of Labor under Jimmy Carter.

In 1993 Green’s life was dramatized in Disney’s made-for-TV movie The Ernest Green Story, in which he was portrayed by Morris Chestnut. That film, by the way, had its premiere at Little Rock Central High School.

Ernest Green, one of the Little Rock Nine, on the day of his graduation from Little Rock Central, 1958.

Grey Villet/Life Picture Collection/Shutterstock

Ernest Green with his mother on the day he became the first black student to graduate from Little Rock Central, 1958.

Grey Villet/Life Picture Collection/Shutterstock

Ernest Green, the first black student to graduate from Little Rock Central, at home with his graduation gifts, 1958.

Grey Villet/Life Picture Collection/Shutterstock

Ernest Green, the first black student to graduate from Little Rock Central, on his graduation day, May 1958.

Grey Villet/Life Picture Collection/Shutterstock

Ernest Green, one of the Little Rock Nine, became the first black student to graduate from Little Rock Central, 1958.

Grey Villet/Life Picture Collection/Shutterstock

The national guard was on hand at for the graduation ceremony at Little Rock Central that included Ernest Green, the first black student to graduate from the school, 1958.

Grey Villet/Life Picture Collection/Shutterstock

Ernest Green, the first black student to graduate from Little Rock Central, on his graduation day, 1958.

Grey Villet/Life Picture Collection/Shutterstock

Ernest Green, the first black student to graduate from Little Rock Central, on his graduation day, 1958.

Grey Villet/Life Picture Collection/Shutterstock

Ernest Green, the first black student to graduate from Little Rock Central, on his graduation day, 1958.

Grey Villet/Life Picture Collection/Shutterstock

Birds: The World’s Most Remarkable Creatures

The following is from LIFE’s beautifully illustrated new special edition, Birds: The World’s Most Remarkable Creatures, available at newsstands and online:

The first bird I fell in love with—my “spark bird”—was soaring in the northeastern Florida sky one May many years ago, its pointed wings spread gracefully and its deeply forked tail gently twisting to guide its curving flight. The black-and-white coloration was distinctive, and I rushed to a local used bookstore for what would become the first of many field guides on my shelves. A few flips of the pages, and I knew I’d seen a swallow-tailed kite, an elegant raptor that is a summer visitor to Florida and the southeastern United States. 

Tens of millions of birders have had similar encounters with their own spark bird. In the United States alone, more than 45 million people are bird watchers. Roughly $4 billion is spent annually on birdseed and foods such as suet, nuts, and nectar, while another $2 billion is spent on binoculars, spotting scopes, and other equipment. Birds are the focus of conservation programs and citizen science projects such as the Great Backyard Bird Count; art projects like the Audubon Mural Project in New York City, which highlights 314 bird species; and movies like Happy Feet (about penguins) and The Big Year (about a birding competition). 

That so many people love birds may be partly because there’s a bird for everyone. The more than 10,000 known bird species come in an extraordinary variety, and they can be found—almost literally—everywhere. 

Birds thrive in all habitats, from fierce roadrunners in rocky deserts to colorful toucans in tropical jungles. You don’t need to live next to a wildlife refuge or nature preserve to enjoy a multitude of bird species—even the busiest cities are home to swallows and sparrows, hawks nesting on skyscrapers, ducks in park ponds, and hummingbirds in flower beds. Taking a trip to the beach? Watch for sandpipers running from the waves, pelicans floating on the water, and gulls flocking on the dunes. In rural areas, there might be quail, magpies, and wild turkeys at the edges of farm fields, while suburban yards can be flush with thrushes, warblers, and buntings. Wherever we are, birds provide us with an active, living connection to nature.

Birds’ often vibrant colors can distinguish a species in a beautiful way. The brilliant red of the northern cardinal stands out against winter snows, while the bright hue of the blue jay is a bold splash of color among the leaves. Birds come in every color, and some—like the painted bunting, with his blue head, lime-green back, and rich red chest—are a rainbow all by themselves.

The varied hues have a purpose. Brighter colors can help birds attract stronger mates—as a general but not ironclad rule, the more colorful of the species are the males, with female birds often more muted, more demure, in their coloring. In other cases, a mottled pattern provides camouflage to protect nesting birds, and some birds, such as the northern pygmy owl, even have false “eyespots” on the back of their head to fool potential predators.

The sight of birds in flight suggests a sense of freedom—from the awesome dive of a peregrine falcon to the swooping curves of a barn swallow, or even the quick flitting of a house wren. The long-distance migrations of birds, flying hundreds or even thousands of miles between their summer and winter habitats, highlight their endurance and perseverance, as well as a kind of navigational intelligence. Birds rely on landmarks and stars to guide their journeys. 

There’s a variety in how they fly as well. Consider the hours-long flights of albatrosses out at sea as they soar on air currents; the frantic, adrenaline-inducing flights of pheasants scattering from predators; or the flittering flights of foraging warblers navigating the high trees without hitting a single branch.

And of course, there’s their songs. Chirps, whistles, coos, and warbles are as familiar as the somewhat less melodious screeches, squawks, hoots, and quacks. Some birds, such as mockingbirds, thrashers, and catbirds, are outstanding mimics and imitate not only other birds but also other animals—as well as car alarms and ring tones. 

Birds sing to attract mates and to defend their territory, with more complex songs indicating better health and greater experience to lure the very best mates or defend larger territories. Other songs and calls communicate information about food or predators, and while in flight, flocks of birds often call to one another to maintain proper spacing with their airborne neighbors. 

The reasons why humans appreciate birds are almost as diverse as birds themselves. The bill of a roseate spoonbill, the hovering of a hummingbird, the gleam of an eagle’s eye, the trill of a nightingale in the gloaming: Maybe one of those birds is your spark bird, long since catalogued or quite literally just up around the bend.

Here is a selection of photos from LIFE’s new special edition exploring the beauty of birds, Birds: The World’s Most Remarkable Creatures.

phototrip/iStock/Getty Images

The secretary bird, native to Africa and found south of the Sahara desert, stands about four feet tall.

Mark Newman/The Image Bank/Getty Images

A red- billed blue magpie can use its wedge-shaped beak to open shells.

eiffel/500px/Getty Images

The wild flamingo owes its distinctive hue to a diet that includes that includes shrimp and algae, which contain carotenoids that, when metabolized, create those fiery-colored feathers.

Jonathan Ross/iStock/Getty Images

During migration, snow geese travel in large flocks and stick to fairly narrow routes that provide winds to follow, good visibility, and precipitation-free periods.

Spondylolithesis/iStock/Getty Images

The king vulture is more colorful than other vultures and, unlike other colorful birds, it is bald, which is believed to help prevent disease-laden animal remains from festering in dense plumage.

miroslav_1/iStock/Getty Images

Lapwings often build their nests in rough or broken ground to help camouflage the eggs.

Andrew Linscott/E+/Getty Images

Known for their smarts, blue jays can mimic the calls of hawks to let other jays know a hawk is nearby.

GummyBone/iStock/Getty Images

Mandarin duck males In spring and early summer have elaborate, colorful plumage. Females are a little less eye-catching, with gray feathers and a muted bill. After the mating season, the males’ feathers molt to brown and gray as well.

Vicki Jauron, Babylon and Beyond Photography/Moment/Getty Images

In the vast landscape of Mongolia’s Altai Mountains, ancient Kazakh hunters on horseback used eagles to track their prey. The tradition was passed down through generations. Today, the practice has become a source of tourism revenue from visitors who pay to see the famed birds in action.

Timothy Allen/Stone/Getty Images

The House That Wilt Built

Wilt Chamberlain lived large in every sense of the term. As an NBA star he scored a record 100 points in a game, and he was a multiple-time champion and MVP. Off the court he shocked people with the claim in his 1991 autobiography A View from Above that he had slept with 20,000 women in his life.

In 1972 the 7’1″, 275-pound center for the Los Angeles Lakers built a house which matched the proportions of his life—and lifestyle. And his new home, which he called Ursa Major (after one of his many nicknames, the Big Dipper) was featured in the March 24, 1972 issue of LIFE.

The magazine explained why Wilt the Stilt needed a special refuge:

Even when he isn’t on the court contending with the likes of Kareem Abdul-Jabbar, Wilt Chamberlain endures endless irritations—ducking through doorways, showering in a crouch, trying to sleep in beds designed for ordinary citizens. So in an understandable indulgence he has built a bachelor pad big enough “to really turn me on.”

He spent $1 million (the equivalent of about $7.2 million in 2023) building the Bel-Air home, which was photographed for LIFE by Ralph Crane, and from the moment you arrived, you had no doubt you were at Wilt’s house. The front door at Ursa Major was 14 feet high, and the swimming pool 15 feet deep. He had a wine rack built at his eye level. Then there was Wilt’s “X-rated” room, as LIFE termed it, with floor-to-ceiling mirrors and a fur-lined waterbed built into the floor.

If you want to hear more about the home from Wilt himself, he talked about Ursa Major in this video as a dream come true. Chamberlain died in 1999 of congestive heart failure at age 63, in bed at his Bel-Air home.

Wilt Chamberlain’s custom-designed home in Bel-Air was built on a World War II anti-aircraft gun sight, 1972.

Ralph Crane/Life Picture Collection/Shutterstock

Basketball legend Wilt Chamberlain outside his custom-built Bel-Air home, 1972.

Ralph Crane/Life Picture Collection/Shutterstock

The dining area at Wilt Chamberlain’ Bel-Air home included a 16-foot chandelier made of Venetian glass and custom-made chairs that cost $17,000.

Wilt Chamberlain’s House

Wilt Chamberlain at his custom-designed Bel-Air home, 1972.

Ralph Crane/Life Picture Collection/Shutterstock

Wilt Chamberlain’s housekeeper at work in the 25-by-6-foot cedar wardrobe closet in his Bel-Air home, 1972.

Wilt Chamberlain’s House

Wilt Chamberlain’s custom-designed home in Bel Air featured a bedroom with a retractable sliding panel above the bed, 1972.

Ralph Crane/Life Picture Collection/Shutterstock

Wilt Chamberlain’s custom-built home in Bel-Air included an “x-rated room” paneled with mirrors, covered in purple velvet and dominated by a fur-covered waterbed, 1972.

Ralph Crane/Life Picture Collection/Shutterstock

Wilt Chamberlain’s custom-built home included a wine rack placed at the eye level for the 7’1″ basketball star, 1972.

Wilt Chamberlain’s House

A Model Protest

As protests go, no one would mistake this one for the March on Washington, the marches in Selma, the marches for gay rights march, the labor strikes led by Cesar Chavez, or any of the other important social actions covered by LIFE magazine.

But what the model protest covered by LIFEs Wallace Kirkland in 1946 lacked in social significance, it made up for in novelty value. The pictures have a silliness that makes them play like stills from a 1940s version of Zoolander.

The object of the protest was Coronet, a general interest magazine that published from 1936 to 1971. The models were protesting because Coronet was switching from using models on the cover (as it did, for example, in this issue from 1941) to illustrations that were more in the Normal Rockwell vein (see this cover from 1952).

Most of Kirkland’s photos show the six protesters in their black dresses marching outside the magazine’s Chicago office, carrying signs with slogans such as “Coronet Unfair to Cover Girls” and “David Smart is a Meanie!” Smart, also the co-founder of pioneering men’s magazine Esquire, was the publisher of Coronet. The photos show the models eventually leaving the sidewalk and making their way into Smart’s office for a confrontation so unserious-looking that he seems to have appreciated the stunt as much as anybody.

Models protest Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

Models protest Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

Models protest Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

Models protest Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

Models protest Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

Models protest Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

A model picketed in front of the offices of Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

Models protest Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

Models protest Coronet magazine, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

The State of Men’s Hair, 1969

In 1969 LIFE photographer Yale Joel set out to document men’s hairstyles, and the result is this glorious cache of photos. His story never ran in the magazine (one imagines the legendary photographer having a conversation with the magazine editors in which they say “Uh, Yale, these are cool, but we’re kind of busy with the moon landing and Woodstock and the war in Vietnam and the Charles Manson killings and all that.”)

But all these decades down the road, these photos of men’s hairstyles are their own window into that wild era. It’s as if the hair was an externalization of a world gone wild, where nothing was neat or simple.

Because this story never ran, we don’t much about these men that Yale Joel photographed, although the rich variety of faces suggests that he was taking pictures of ordinary people rather than male models. There’s even some question of whether all of this hair is real. A few of the photos were taken in a salon where wigs are visible in the background, and one photo is of a woman wearing a glued-on mustache.

The ambiguity fits the era too. It was a time to question everything.

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Woman trying on a moustache piece, 1969.

Yale Joel/Life Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

Men’s hair trends, 1969.

Yale Joel/LIFE Picture Collection/Shutterstock

“Only the Seams are Real”: Painted Fashion From Hermes

The Dec. 1, 1952 issue of LIFE featured clothing meant to trick the eye, at least for a moment.

The dresses, from the storied French house Hermes, featured designs in the trompe l’oeil style. The dresses had come out the previous year in Europe and “were soon fooling eyes and causing conversations at France’s fashionable resorts,” LIFE wrote. In 1952 the dresses came to America via the shop of dressmaker Herbert Sondheim (who happens to be the father of composer Stephen Sondheim).

“Everything in the dresses is an illusion—pockets, collars, buttons are all printed on in carefully haphazard strokes; only the seams are real,” LIFE wrote. “Each master design is spaced out, then reproduced on fabric by a complicated screen printing process.”

The story featured pictures by Gordon Parks, and it’s no mystery why a photographer might be intrigued by fashion that was built on surface illusion. But the magazine, despite devoting several pages to the story, was stinting in its praise, calling the clothing “eye-catching but not functional.”

Indeed, given that a common complaint about women’s clothes is the lack of pockets, painting fake pockets onto dresses is borderline cruel.

A woman models a Hermes trompe-l’oeil raincoat in Paris. The decorations painted directly on the fabric included buttons, pockets and a hood on the back.

Gordon Parks/Life Picture Collection/Shutterstock

A model showed off a Hermes raincoat in the trompe l’oiel style with a painted hood on the back that sold for about $100 in Paris, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

Hermes’ trompe l’oiel dresses, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

Hermes’ trompe l’oiel dresses, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

A belt that was part of the line of Hermes’ trompe l’oiel fashion, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

This Hermes trompe l’oiel dress sold for $29.95 in 1952 (the equivalent of about $340 in 2023).

Gordon Parks/Life Picture Collection/Shutterstock

Hermes’ trompe l’oiel dresses, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

Hermes’ trompe l’oiel dresses, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

This dress with a painted-on tie in the trompe l’oiel style sold for $39.95 in 1952.

Gordon Parks/Life Picture Collection/Shutterstock

Hermes’ trompe l’oiel dresses, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

A model held the material that, when cut and sewn along the sides, would become a dress in Hermes’ trompe l’oliel line, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

Hermes’ trompe l’oiel dresses, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

Hermes’ trompe l’oiel dresses, 1952.

Gordon Parks/Life Picture Collection/Shutterstock

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