Mother Teresa: The Portrait of Christian Charity

The following is from the introduction of LIFE’s new special tribute issue Mother Teresa: Her Life and Her Mission. It’s out on the 25th anniversary of her passing and is available at newsstands and online:

In living memory, she is a wizened, weathered figure draped in a simple white sari trimmed in blue, so stooped from long years of hard labor that she seemed smaller than her listed height of five feet. But this was no “little old lady,” no frail object of patronizing sympathy. Far from it. She was rugged, tough as nails, and to the end of her 87 profoundly consequential years on earth in 1997 bore an undimmed glow. That rutted olive-toned face, etched with the sorrows and cares of a suffering humanity, would illuminate in a mesmerizing smile, radiating a spirit, passion, and magnetism that moved nations and generations.

She was, of course, Mother Teresa—winner of the Nobel Prize for Peace, canonized Saint Teresa of Kolkata in 2016. A Roman Catholic nun, she founded the Missionaries of Charity, a religious order that has served the desperately impoverished, the sick, and the dying, among other marginalized groups, since 1950. Twenty-five years after Mother Teresa’s death, the order numbers nearly 5,000 missionary sisters spread over more than 600 locations in more than 130 countries, not to mention an army of priests and lay volunteers who pitch in around the world. “Thanks to her work with the ‘poorest of the poor,’ as she put it,” notes Father James Martin, S.C., a Jesuit priest who collaborated with the Missionaries of Charity in Jamaica, “Mother Teresa became a kind of shorthand for Christian charity in the 20th century.”

She was an unlikely international icon—an overused term, perhaps, but surely apt in her case. Born Agnes Bojaxhiu in 1910 to a bourgeois Albanian businessman and his wife in Skopje, now the capital of North Macedonia, she was bright and pious—like her mother, from whom she learned generosity to the less fortunate—but seemingly an otherwise unremarkable girl. Early on, though, Agnes did feel an unusually strong call to religious service, rooted in deep devotion to Jesus Christ, along with a fascination with missionary work in India that intensified in adolescence. At 18, after some anguished deliberation, she joined the Loreto order, Dublin-based nuns with a team of sisters working in Kolkata (the city then called Calcutta). Taking the name Teresa, she bravely left her beloved home and family for good.

For two decades Teresa taught school while bringing supplies and solace to Kolkata’s slums, working in total obscurity—indeed, you’d be hard-pressed to find a photograph of her taken in the 1930s or ’40s. The story might well have ended there. But in September 1946 she experienced a strange epiphany—a direct call from Jesus, she said—to start an entirely new religious order, one that would minister to society’s forgotten men, women, and children, the abject, the diseased, those living and dying in the streets while others looked away.

With relentless zeal, Mother Teresa pressed the church hierarchy—and finally won approval to launch her order, known as the Missionaries of Charity. She required of her sisters only what she demanded of herself, a vow “to devote themselves out of abnegation to the care of the needy who, crushed by want and destitution, live in conditions unworthy of human dignity.” The expressed purpose of the order was to serve the poor by living among them, sharing in their experience, treating each tortured soul with kindness—and, even in the direst circumstances, exuding good cheer. “Let every action of mine,” she often said, “be something beautiful for God.”

To a privileged Westerner who recoils at a dirty public restroom or a homeless person on the subway, Mother Teresa’s idea of beauty might be unimaginable. She and her sisters got right down in it, wiping up excrement, cleaning maggots out of indigents’ open sores, caressing broken bodies as they took their last breaths. In the early days, the sisters would roam the city begging for money and food, for themselves as well as their wretched clientele. “There were times during the first three or four months,” Navin Chawla, one of Mother Teresa’s biographers told Time, “when she’d be humiliated, and tears would be streaming down her cheeks.”

But the fervent girl from Skopje kept at it, attracting followers and patrons, growing her order exponentially. Mother Teresa started hospices so the terminally ill could die “a beautiful death”; with little, if any, regard for their own safety and health, she and her missionaries cared for the blind and disabled, orphaned children and abandoned aged, alcoholics, drug addicts, and  prostitutes looking to turn their lives around. Over the decades, she rushed to aid victims of epidemics, famines, and disasters, both natural and manmade, all over the world—including regions reduced to rubble by war.

What makes Mother Teresa’s accomplishments all the more remarkable is that, while harboring a fierce love of Jesus, she spent the latter half of her life wondering if those feelings were unrequited. Private writings—published after her death in Come Be My Light, a 2007 book by Father Brian Kolodiejchuk, who had been assigned to make the case for Mother Teresa’s sainthood—revealed a persistent sense that God had abandoned her. And yet she never wavered from her life’s work, which at times required the skills of a diplomat, general, or CEO. “Along with her faith, Mother Teresa brought a remarkable capacity for hard work, an ability to inspire people—not just her sisters, but Christians around the world—and a great talent for organization,” says Father Martin.  “She was also no fool when it came to fundraising and enlisting people’s support, all on behalf of the poor.  She was as ‘gentle as a dove and as wise as a serpent,’ again, for the poor and the sick whom she served. And if that sounds cagey, it shouldn’t: It’s what Jesus asked of his disciples in the Gospel of Matthew.”

She drew her share of criticism. She was a hard-line religious conservative, vehemently against abortion and contraception (hardly surprising for a Catholic nun), and held extremely traditional views on the role of women. At times, she accepted donations from questionable sources, and conditions in some of her facilities were found wanting. But these are minority opinions, and Mother Teresa’s reputation remains secure. In 1985, AIDS was still very much a disease with unknown implications. Many were dying, and the illness was highly stigmatized. That year, Mother Teresa opened a 14-bed hospice for terminally ill AIDS patients in Greenwich Village. She carried on her mission through some of modern history’s most tumultuous decades, roiled by political and social upheaval, stained by cataclysmic wars both hot and cold. She was one of the culture’s few constants, her persona as unvarying as her wardrobe. And though she was constantly showered with accolades, she never lost her essential humility and humanity. 

It’s tempting to imagine Mother Teresa in recent years, as the world grappled with a global health crisis, European cities were turned to rubble, and other calamities unfolded. No doubt the intrepid nun would be right in the thick of things. In an era upended by technology, would she post inspirational memes on Twitter? Earn the exalted title of influencer? 

This much is clear: In the quarter century since masses of mourners watched Mother Teresa’s body borne through the streets of Kolkata, no one has come close to filling her battered, famously ill-fitting sandals.

Here is a selection of images from LIFE’s new special tribute issue, 25 years later: Mother Teresa: Her Life and Her Mission.

Michael Collopy

Agnes Bojaxhiu, the future Mother Teresa, circa 1920, with her parents and brother on her day of confirmation.

Photo by Vittoriano Rastelli/Corbis via Getty Images

Famines had made life in Kolkata so dire in 1943 that corpse removal trucks like this one would travel the streets to remove the dead.

Bettmann/Getty Images

Mother Teresa, a Roman Catholic nun and founder of a religious order knows as the MIssionaries of Charity, at a hospice for the destitute and dying in Kolkata, 1969.

Terry Fincher/Hulton Archive/Getty Images

Mother Teresa in Belfast, Northern Ireland, where she had come to start a mission in 1971.

Peter Kemp/AP/Shutterstock

Mother Teresa in Beirut in 1982, with one of the 37 mentally handicapped children who were being moved from a hospital that had been bombed to a Missionaries of Charity school there.

Alexis Duclos/AP/Shutterstock

Mother Teresa at a pro-life rally in Canada, 1988.

Bernard Weil/Toronto Star via Gerry Images

Pope John Paul II visited the hospice founded by Mother Teresa in Kolkata, 1986.

Francois Lochon/Gamma-Rapho via Getty Images

In 1995 Mother Teresa celebrated in Kolkata after nuns completed their ten years of training to join her order.

Linda Schaefer/Moment Editorial/Getty Images

Here’s Some Old-Time Texas Football For You

The photos from the practices of the St. Mary’s Rattlers don’t look like your ordinary football photos, and there’s a reason for that. A few of them really.

The photos were taken by legendary LIFE photographer Alfred Eisenstaedt back in 1939, so the passage of time is certainly an issue. But even for football photos of that era, the look is unusually antique. The sparseness of the San Antonio setting also adds to their distinctive feel. But another factor is the unique background of the St. Mary’s squad.

LIFE visited St. Mary’s at a time when the football program was on the rise, and also on the rebound from extinction. The school has disbanded football from 1931 to 1935 during the depths of the Great Depression, and the team made its return largely thanks to entirely to the entrepreneurial spirit of a local oilman named John “Mose” Sims. Simms instigated the team’s return, and his role might be described as a hybrid between a coach, athletic director and booster gone wild. According to the school’s history of the team, “Simms would negotiate a deal with the University where he would field football and basketball teams in return for tuition, dormitory space and books for players.”

Sims also had the instincts of a showman, and it was his idea to dress the team in gaudy red-white-and-blue uniforms in honor of the Texas state flag, even though the school’s colors were blue and gold. (The team’s return in 1936 coincided with the Texas centennial). His attention-getting tactics clearly worked on the editors of LIFE, which devoted a couple pages on St. Mary’s in its Oct. 14, 1939 issue, right a feature on Alabama in a section on college football. The story, headlined “St. Mary’s of Texas Knows How to Round Up a Good Team” played to the image of the rugged Texan cowboy by showing Simms recruiting a steer-wrestler. (The story writer, lacking a crystal ball, did not mention what would become the most historic aspect of St. Mary’s football, which is that one of the programs early coaches was future president Dwight D. Eisenhower).

While LIFE declared that the school was “well on its way to becoming a national power,” the St. Mary’s football program did not last. Simms’ time with the team ended after the 1940 season, and while the Rattlers gave it another go in 1941, football ended with the start of World War II. Today the University competes in 12 sports, but football is not one of them.

The ephemeral nature of the program only adds to the particular mystique of Eisenstaedt’s photos. Instead of being part of a continuum—Alabama football, then and now—they represent a specific time and place, one where the uniforms were flamboyant, the landscape was sparse, and the athletes were young and lean. These pictures are what it would look like if you were trying to capture the essence of the sport of football when it was a lanky teenager, just starting to come into itself.

St. Mary’s football practice, San Antonio, 1939.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

St. Mary’s football practice, San Antonio, 1939.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

St. Mary’s football team, San Antonio, 1939.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

John Simms, the coach and creator of St. Mary’s football in the 1930s.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Henry Tutor, a St. Mary’s football player, worked as cowboy on home cattle ranch in Texas, 1939.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

St. Mary’s football practice, San Antonio, 1939.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

St. Mary’s football practice, San Antonio, 1939.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

St. Mary’s Football Team, San Antonio

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

St. Mary’s Football Team, San Antonio

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

St. Mary’s Football Team, San Antonio

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Saint Mary’s football team practice, San Antonio, 1939.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Saint Mary’s Football Team

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

Saint Mary’s football team practice, San Antonio, 1939.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

St. Mary’s football team practice, San Antonio, 1939.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

St. Mary’s football practice, San Antonio, 1939.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

The Saint Mary’s football team lived in an unfinished qymnasium, 1939.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

The team bus for St. Mary’s football, 1939.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

The Saint Mary’s team bus parked outside the school, San Antonio, 1939.

Alfred Eisenstaedt/LIFE Picture Collection/Shutterstock

The Beach Boys: From Surf Stardom to Musical Revolution

The following is adapted from the introduction to LIFE’s newly released special issue The Beach Boys: The Music, The Life, The Good Vibrations, available at newsstands and online:

The year was 1963, and the Beach Boys were already making waves with hits such as “Surfin'” and “Surfin’ U.S.A.”

Then one day Brian Wilson, the band’s co-founder and leading visionary, was driving when he screeched his car to the side of the road and cranked the volume on his AM radio.

Crackling through the static came Ronnie Spector’s voice, dripping in echo atop a lush dream of overlaid pianos, horns, castanets, and strings. She was singing, “Be my little baby, say you’ll be my darling, be my baby now.” 

Sitting behind the wheel, Brian, then 21 years old, locked into a tune like never before.  

I went, ‘My, god, wait a minute, no way!’” he remembered. “It was like getting your mind revamped. It’s like, once you’ve heard that record, you’re a fan forever.”  

The Ronettes’ “Be My Baby,” released in August 1963, epitomized the grandeur and aspirations of a handful of young pop-music auteurs. Ronnie sang, with equal parts sweetness and smokiness, a song written to capture the blooming age of the teenager. Phil Spector produced it to eclipse that age. In the decades ahead, the song would influence artists as diverse as Bob Seger and Lana Del Rey. But first, and most important, it cast its spell on Brian Wilson.  

When “Be My Baby” came out, the Beach Boys were already stars. Brian, along with brothers Dennis and Carl, cousin Mike Love, and neighborhood pal Al Jardine were providing the soundtrack to a national surf craze. The pop classics they had put on the radio would already have been enough to make a mark on music history.

But when Brian heard “Be My Baby,” it pushed the Beach Boys to redraw the boundaries of their music, and of rock and roll. Spector’s sound inspired Brian’s lavish productions and layered harmonies with his bandmates. In a few short years, they would graduate to songs that contained symphonies and albums organized by master plan. They were on their way to creating their masterpiece album Pet Sounds and singles such as “Good Vibrations” that would expand the possibilities of what popular music could be. Their art and craft would in turn influence the Beatles, the Who, Pink Floyd, and countless others.

Through the decades, the Beach Boys would flourish and flounder and face moments of tragedy and strife. They would also be appreciated, finally, as architects of innovation and experimentation, as well as the creators of many awesome pop hooks. It’s a story with more layers than music fans would have expected when they accepted that first invitation to come on a surfin’ safari with the Beach Boys.

The story is from LIFE’s new special issue The Beach Boys: The Music, The Life, The Good Vibrations. Here are a selection of photos from that issue.

Michael Ochs Archives/Getty Images

The Beach Boys joined Capitol Records for their first major-label deal in 1962. The group then included (left to right): Brian Wilson, Carl Wilson, Dennis Wilson, David Marks and Mike Love. Marks briefly performed with the group until he was replaced with the return of founding member Al Jardine..

Michael Ochs Archives/Getty Images

The Beach Boys posed with a Corvette in their first photo session since Al Jardine returned to the band in Novermber 1963. From left to right: Brian Wilson, Jardine, Dennis Wilson, Carl Wilson, and Mike Love.

Michael Ochs Archives/Getty Images

The Beach Boys (Brian Wilson, Mike Love, Dennis Wilson, Al Jardine and Carl Wilson) posed with Ed Sullivan after performing on his variety show in 1964.

Michael Ochs Archives/Getty Images

The Beach Boys performed on The Andy Williams Show in 1965.

Michael Ochs Archives/Getty Images

The Beach Boys in 1975, as the band headed into a turbulent period in which Brian Wilson would struggle with psychological demons and Mike Love would assert control over the group.

RB/Redferns/Getty Images

This 1990s version of the Beach Boys featured Al Jardine, Carl Wilson, Bruce Johnston, Brian Wilson and Mike Love.

L. Cohen/WireImage/Getty Images

Brian Wilson performed in 2006, during the ceremony for his induction into the UK Music Hall of Fame.

Samir Hussein/Getty Images

There’s Quaint, and Then There’s a Story on Phone-Obsessed Teens from 1956

In 2022 teenagers spending an average of seven hours a day engaged with their screens. There’s plenty of reason to wonder why this is ruinous—addictive algorithms, the highs and lows of being liked or ignored on social media, and so on.

But a LIFE photo essay from 1956 shows that while the power of the cellphone is new, the phenomenon of teenagers being addicted to phones goes back to the days of the rotary dial.

In 1956 LIFE staff photographer Grey Villet shot a photo essay documenting the teenage obsession with telephones. The subject was timely back them because the 1950s were the decade in which in became landlines became more common than not in American homes. Then as now, teenagers loved to use phones to connect with their friends.

Villet’s essay never ran in the magazine, so we don’t know much about the people in the story, including where they lived or their exact age. But Villet shot enough pictures of them away from home to confirm that they were high school students.

The details of their lives are secondary, though, to the landline era that Villet captured so vividly.

There’s the picture of a teenaged girl running down the stairs after her little brother has answered the phone. The photo captures the particular panic of a personal call being intercepted by a nosy sibling in the same home.

Another picture shows mother trying to wrest the receiver from a daughter who has been tying up the line. And another of a brother popping into her room, presumably checking to see when she will be done.

But Villet’s piece de resistance is a photo sequence of a teenage girl in her room, going through physical contortions over the course of a long phone conversation. She is on her back, then flipped over, legs akimbo. And then she slides halfway off the bed, and then all the way down to her floor. If George Balanchine had choreographed a ballet titled “Teenage Girl Talks on Phone, 1956” this is what it would look like.

That was all decades ago, and now the percentage of households with landline only is in the low single digits. Since 2014 households with only cellphones became the most common sort.

The most hilariously dated aspect of Villet’s 1956 essay is not the sight of an entire household sharing a phone that performs no additional functions. It’s the photos that Villet took of the kids outside the house. We see them at a basketball game, trying on a dress at a store, and at a school dance. It’s not clear exactly what the point of those shots was meant to be back then, but what stands out now is that these kids are enjoying all kinds of activities without a cellphone in sight.

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

Photo essay on teenagers and telephones, 1956.

Grey Villet/LIFE Picture Collection/Shutterstock

A Surreal and Starry Tour of The Universal Studio Lot

Universal has been around since the beginning of cinema. Founded in 1912, it is now the oldest surviving studio in the United States. The company has given us such memorable creations as Abbott and Costello, Norman Bates, E.T., the dinosaurs of Jurassic Park and the drivers of the Fast and Furious series, just to name a few.

Tourists wanting a peek behind the curtain of how movies are made have been flocking to the famous Universal Studios tour 1964. The year before that—and not long after the studio had been acquired by a new corporate overlord, MCA— LIFE photographer John Dominis took a personal journey around dream factory, and his pictures from that visit are delightfully surreal.

In one photo, extras in cowboy costumes ate lunch at the studio commissary while another Native American extra stood patiently behind them. In another, a man walked through the lot carrying boulders on his shoulders, looking like he was accomplishing some Herculean task when he was in fact carrying props made of rubber.

And what is more surreal that seeing the stars of the silver screen in everyday life. The photos of Cary Grant and of Gregory Peck seem to have been taken after Dominis bumped into these legendary leading men as they were walking about. Dominis also catches actors Tippi Hedren and Angie Dickinson at work. Hedren is in a screen test for the Alfred Hitchcock movie Marnie, while Dickinson is having makeup done, and that is likely the strangest picture of the bunch. A makeup artist is creating a mask for her, and the contrast between the cool glamour of the movie star and the disembodied faces from other masks looming behind her looks like it could be the setup for a horror film.

Dominis’s pictures hint at why the Universal tour remains such an attraction. In most businesses the rule is that you’re better off not knowing how the sausage is made, but movies are the exception. Going behind the scenes only deepens the attraction.

The Universal studio lot in Hollywood, 1963.

John Dominis/LIFE Picture Collection/Shutterstock

Actor Cary Grant at the Universal studio lot in Hollywood, 1963.

John Dominis/LIFE Picture Collection/Shutterstock

WIth a commisary counter full of movie extras clad as cowboys. lone Native American extra Iron Eyes Cody stands waiting for a seat during lunch break in filming of a Western TV show at Universal Studios, 1963.

John Dominis/LIFE Picture Collection/Shutterstock

Actress Tippi Hedren screen testing for Alfred Hitchcock’s movie Marnie at Universal Studios, 1963.

.John Dominis/LIFE Picture Collection/Shutterstock

Makeup artist Bud Westmore prepared actress Angie Dickinson for mask-making at Universal City Studios in Los Angeles, California, 1963.

John Dominis/LIfe Picture Collection/Shutterstock

The Universal studio lot, Hollywood, 1963.

John Dominis/LIfe Picture Collection/Shutterstock

A prop man pulled a cart at the Universal studio lot, 1963.

John Dominis/LIfe Picture Collection/Shutterstock

A prop man pulled a car at the Universal lot, Hollywood, 1963.

John Dominis/LIfe Picture Collection/Shutterstock

A prop man pushed a stuffed lion at the Universal lot in Hollywood, 1963.

John Dominis/LIfe Picture Collection/Shutterstock

Universal studio lot, Hollywood, 1963.

John Dominis/LIfe Picture Collection/Shutterstock

Men at work on the Universal lot in Hollywood, 1963.

John Dominis/LIfe Picture Collection/Shutterstock

Cats gathering for a feed at the Universal lot in Hollywood, 1963.

John Dominis/LIfe Picture Collection/Shutterstock

Universal studio lot, Hollywood, 1963.

John Dominis/LIfe Picture Collection/Shutterstock

Universal studio lot, Hollywood, 1963.

John Dominis/LIfe Picture Collection/Shutterstock

Universal studio lot, Hollywood, 1963.

John Dominis/LIfe Picture Collection/Shutterstock

Universal studio lot, Hollywood, 1963.

John Dominis/LIfe Picture Collection/Shutterstock

The Universal studio lot in Hollywood, 1963.

John Dominis/Life Picture Collection/Shutterstock

Actor Gregory Peck, Universal studio lot, 1963.

John Dominis/LIfe Picture Collection/Shutterstock

People traveling by wagons in a scene from a film at Universal studio lot in Hollywood, 1963.

John Dominis/LIfe Picture Collection/Shutterstock

A prop man carried large rubber rocks at the Universal studio lot, Hollywood, 1963.

John Dominis/LIfe Picture Collection/Shutterstock

Prop men tossed a rubber rock at the Universal studio lot in Hollywood, 1963.

John Dominis/Life Picture Collection/Shutterstock

A night view of the Universal studio lot, Hollywood, 1963.

John Dominis/LIfe Picture Collection/Shutterstock

Seeds of Inspiration: Wonderful Watermelon Moments

The watermelon is a big red signal of summer. And as the photo at the top of the story suggests, there is something inherently fun about this juicy and oversized fruit. In that photo from the old game show Play Your Hunch, the couple had to guess the weight of the watermelon, and you would be hard pressed to name anything else in the grocery aisle that would make the challenge as zany as that hefty—we’ll guess 19 pounds—piece of produce.

The wonderful watermelon popped up many times over the years in the pages of LIFE, and in all kinds of settings. It was once even the centerpiece of a boozy beach blowout.

A 1948 story in LIFE carried the oh-so-tantalizing title Fun on the Beach: Summer Finds Americans Shedding Clothing and Inhibitions at Seaside. The watermelon was the star of the party, as revelers turned it into a vehicle for alcohol. One caption spoke enviously of the young people “stretching out and sipping spiked watermelon punch.” The photos here give rich documentation of the party people arriving at the San Diego beach with watermelons in tow, infusing the watermelons with alcohol, and then drinking from the watermelons as day turned to night.

LIFE has on more than one occasion gone to the farms to show where these mighty melons are harvested. LIFE staff photographers Wallace Kirkland, chronicler of so many scenes of American agriculture, took photos of a watermelon harvest in Illinois in the 1940s, and the legendary Loomis Dean documented workers in the fields of Imperial Valley in Califlornia, showing in one beautiful picture how the laborers formed a human conveyer belt to help get the melons into the back of a truck.

In 1960 LIFE applied a deliriously dramatic headline, “Major Melon Massace in Metuchen” to the story of a watermelon eating contest in New Jersey. A local real estate agency had sponsored the contest in an example of old-school brand building. The photos, in addition to showing cute kids chomping away, show how watermelons have evolved between then and now, because all those melons had the black mature seeds that have all but been eliminated from the product on sale in today’s grocery stores. (Seedless watermelons, a testimony to the power fo plant breeding, began to take over the market in the 1990s, ). At the New Jersey contest those black seeds inspired gamesmanship among contests who picked them out before the contest’s official start. The story closed with a quote from one boy who hadn’t. He complained, “I swallowed so many seeds I’m going to grow a watermelon patch in my stomach.”

A spiked watermelon beach party in San Diego, 1948.

Allan Grant The LIFE Picture Collection/Shutterstock

Spiked watermelon beach party in San Diego, 1948.

A spiked watermelon beach party in San Diego, 1948.

Allan Grant The LIFE Picture Collection/Shutterstock

Spiked watermelon beach party in San Diego, 1948.

A spiked watermelon beach party in San Diego, 1948.

Allan Grant The LIFE Picture Collection/Shutterstock

Spiked watermelon beach party in San Diego, 1948.

A spiked watermelon beach party in San Diego, 1948.

Allan Grant The LIFE Picture Collection/Shutterstock

Spiked watermelon beach party in San Diego, 1948.

A spiked watermelon beach party in San Diego, 1948.

Allan Grant The LIFE Picture Collection/Shutterstock

Migrant workers harvesting watermelons in the Imperial Valley, California, 1947.

Loomis Dean/LIFE Picture Collection/Shutterstock

Migrant workers harvesting watermelons in the Imperial Valley, California, 1947.

Loomis Dean/LIFE Picture Collection/Shutterstock

Workers harvesting watermelons in the Imperial Valley, California, 1947.

Loomis Dean/LIFE Picture Collection/Shutterstock

An Illinois watermelon harvest, 1946.

Wallace Kirkland/LIFE Picture Collection/Shutterstock

A little boy eating watermelon by the handful while sitting on a pile of melons, 1946.

Wallace Kirkland/Life Picture Collection/Shutterstock

Watermelon harvesting, 1943.

Wallace Kirkland/LIFE Picture Collection/Shutterstock

Watermelon harvest, 1943.

Wallace Kirkland/LIFE Picture Collection/Shutterstock

Scene from a watermelon harvest, 1943.

Wallace Kirkland/LIFE Picture Collection/Shutterstock

Watermelon-eating contest, New Jersey, 1960

Joe Scherschel/LIFE Picture Collection/Shutterstock

After the watermelon-eating contest, New Jersey, 1960.

Joe Scherschel/LIFE Picture Collection/Shutterstock

Watermelon eating contest in New Jersey, 1960.

Joe Scherschel/LIFE Picture Collection/Shutterstock

Watermelon contest, 1960.

Joe Scherschel/LIFE Picture Collection/Shutterstock

Watermelon contest, 1960.

Joe Scherschel/LIFE Picture Collection/Shutterstock

Watermelon contest, 1960.

Joe Scherschel/LIFE Picture Collection/Shutterstock

Watermelon-eating contest, New Jersey, 1960.

Joe Scherschel/LIFE Picture Collection/Shutterstock

Watermelon-eating contest winners Barbara Walp, 10, and Willy Jones, 13, were crowned king and queen of the watermelon festival by Miss New Jersey, Susan Barber, 1960.

Joe Scherschel/LIFE Picture Collection/Shutterstock