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What Did Valentines Day Cards Look Like 200 Years Ago?

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What Did Valentines Day Cards Look Like 200 Years Ago?

In the late 19th century, few things telegraphed yearning like a card adorned with paper lace, gold foil and a couple exchanging a coy glance.

Today, such a card would evoke an eye roll.

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The evolution of cards from the treacly confections of Victorian England to the quippy missives of today reflect both shifting design aesthetics and broader cultural customs around romance. As the borders of socially accepted relationships have shifted, so have the cards. Where once there was poetry, now there are drawings of pizzas.

“Greeting cards are a reflection of society,” said Carlos Llansó, executive director of the Greeting Card Association, a trade organization that represents roughly 4,000 independent card makers.

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Valentine’s Day cards today are less formal, precious and prescribed, Mr. Llansó said, because our understanding of love has become more expansive.

Lottery and lace

Historians struggle to trace the exact origins of Valentine’s Day — some pinpoint the holiday to a curiously unromantic Pagan festival in Rome that involved goat slaughter and nudity — but they tend to agree that its association with romance was most likely established in England.

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Early Valentine’s Day celebrations, dating as far back as the 17th century, were only loosely associated with love and often revolved around a lottery, said Sally Holloway, a cultural historian at the University of Warwick whose research focuses on love, marriage and courtship in 18th century England.

People would pull names out of a hat and select someone to be their Valentine from February through Easter.

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“Your Valentine could be your neighbor, it could be a colleague, it could be a member of your family,” Dr. Holloway said. “You’d pin the name of the person who you’d been given as your Valentine to your clothes.” Matched pairs would exchange gifts, dance together and maybe write funny riddles or poems for each other.

A confluence of rapid social changes in the late 1700s and early 1800s, including the idealization of marrying for love rather than for economic advantage, Dr. Holloway said, helped to transform Valentine’s Day into a commercialized celebration of romantic love with a partner of your choosing.

Click on an image to look at the details.

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This period dovetailed with the advent of new printing technologies and mass production, as well as an expansion of postal services, making Valentine’s Day cards a popular component of courtship rituals.

They presented, in many ways, a rare opportunity to directly convey desire within the confines of an otherwise buttoned-up Victorian society, where bold romantic declarations could be both risky and risqué. At the time, the responsibility of pursuing a marriage partner fell to men, and women tended to avoid overtly signaling affection.

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But on Valentine’s Day, those rules were flipped.

“For one day a year, the language of love became the preserve of women,” Dr. Holloway said. And because it was considered a daring and even racy act to send a Valentine’s Day card, women “couldn’t put their name to it,” Dr. Holloway said. It is why so many cards from that era contain only vague, brief greetings, sometimes with a question mark at the end, adding a whiff of mystique.

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The custom arrived in the United States in the mid-1800s, and crafty, entrepreneurial women fueled its commercialization.

Esther Howland — often referred to as the “mother of the American valentine” — is said to have first received a Valentine’s Day card from someone in Britain in 1847 and was inspired to create her own version.

“It was her idea to essentially create an assembly line of women putting together these really complex Valentines,” said Jamie Kwan, an assistant curator at the Cooper Hewitt, Smithsonian Design Museum. The cards were handmade, and Howland “imported materials from the U.K. and Germany to incorporate into these cards.”

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Estimates suggest she sold between $75,000 and $100,000 worth of cards a year, roughly the equivalent of $3 million today.

Embracing new ideas of love

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Over time, innovation around the craftsmanship of cards slowed, and it was their imagery that began to reflect a rapidly changing culture.

In 1910, Hallmark entered the industry and quickly became one of the largest and most recognizable card makers. The brand’s earliest Valentine’s Day cards relied heavily on the Victorian symbols of love from the previous century: hearts, Cupids and lovebirds.

By the 1930s, Hallmark started printing cards with boundary-pushing images of couples embracing and, by 1945, dancing.

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“It used to be that we used a lot more traditional forms of creative crafts, like engraving, calligraphy and lace,” said Jen Walker, a vice president of Hallmark’s creative studios. Eventually, consumers found those aesthetic details less enticing.

“We are a consumer led brand — so we followed the consumer and what their needs were,” she added.

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But Hallmark cards did not display Black couples until 1970, and the company did not introduce Valentine’s Day cards for those in same-sex relationships until 2008.

‘There isn’t even a heart on it’

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In the mid 2000s, Valentine’s Day cards went through another major shift.

In 2013, Emily McDowell, a writer, product consultant and business adviser, designed a Valentine’s Day card to better reflect some of the difficult-to-categorize situationships she had been in.

The card had no illustrations. It was plain and white with text on the front that read: “I know we’re not, like, together or anything but it felt weird to just not say anything so I got you this card. It’s not a big deal. It doesn’t really mean anything. There isn’t even a heart on it. So basically it’s a card saying hi. Forget it.”

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She put it up on Etsy, anticipating that only a handful of people would buy it.

Within days, she sold thousands, she said, and had to stop accepting new orders. The success prompted her to quit her job in advertising and start her namesake brand. The next year, she released another card that also instantly became a hit. It read: “There’s no one I’d rather lie in bed and look at my phone next to.”

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Over the past 13 years, the company has sold millions of similarly witty cards. (Ms. McDowell left the company in 2022, and it was acquired by Hachette Publishing last year.) While Ms. McDowell’s early designs feel commonplace now, they were among the first in an industrywide move away from the stilted, saccharine Valentine’s Day cards of previous decades.

Many independent card designers today, Mr. Llansó explained, continue to tap into a consumer demand for plain-speaking, authentic cards. As a result, some of the more popular designs feature references to the state of the world. Others nod to cultural iconography, like Labubus or the enduring appeal of sweatpants. Not all of them are intended for romantic partners, and many can be used in other kinds of relationships.

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Mitzi Sampson, the founder of the card company Mitzi Bitsy Spider, said her best-selling card was one that featured a grinning raccoon holding up a sign reading “you are TRASH to me.”

Ms. Sampson said she designed that card in 2023 for her sister “because she loves raccoons and because I love her.”

That, she added, is exactly what consumers want now. Not frills or grand proclamations, but an intimate knowledge of the receiver and “the simple recognition that says I know you, I see you, I choose you.”

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James Burrows, director of classic shows ‘Cheers’ and ‘Friends,’ dies at 85

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James Burrows, director of classic shows ‘Cheers’ and ‘Friends,’ dies at 85

Director James Burrows attends the “Will & Grace” start of production kick off event and ribbon cutting ceremony at Universal City Plaza on August 2, 2017 in Universal City, California.

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LOS ANGELES — James Burrows, who helped create volumes of laughter as director of more than a thousand episodes of such classic television comedies as “Cheers,” “Taxi,” “Friends” and “Will and Grace,” died Friday. He was 85.

His family confirmed his death in a statement to People, saying he “passed away peacefully today surrounded by his family.” No location or cause of death was provided.

Burrows spent his career behind the camera specializing in situation comedies. Few viewers recognized him or knew his name, other than to see it flash quickly on the screen in the opening credits. But they knew his work.

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Burrows got his start in television relatively late at age 35 in 1974, directing episodes of “The Mary Tyler Moore Show,” “The Bob Newhart Show,” and “Laverne & Shirley.”

He co-created “Cheers,” directing 243 of the 273 episodes, as well as all 246 episodes of “Will and Grace.”

He also helmed multiple episodes of such hits as “Frasier,” “Friends” and “Mike & Molly,” and the pilots of “Two and a Half Men” and “The Big Bang Theory.”

“When I direct a television show, I try to reach that sweet spot where the best script meets the best performance and the best chemistry between performers,” Burrows wrote in his 2022 memoir “Directed by James Burrows.” “Hitting that exact moment, where these factors land in combination, results in the sweetest and most enduring laugh.”

His family said, “Burrows understood that great comedy was never simply about laughter. It was about humanity, connection, and truth. That understanding became the foundation of a career that forever changed television.

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“But beyond his remarkable achievements, Burrows will be remembered for something even greater: his kindness, generosity, and unwavering belief in the people around him. He possessed a rare ability to make everyone better and was known for remembering every person he met by name, making colleagues at every level feel seen, valued, and appreciated,” the family statement said.

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Beer, with a twist? SoCal dads find solidarity through an unexpected activity

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Beer, with a twist? SoCal dads find solidarity through an unexpected activity

For a few minutes, the atmosphere inside Captain Fatty’s Brewery in Santa Barbara County was quiet, different from the usual Friday night clamor.

On this late May evening, the 15 men gathered there were contemplating tackling something few had previously had the courage or skill to take on. Austin Nieves, a recent transplant to the area and the man who had brought this brave group together, broke the strained silence by handing out beers.

Within minutes, the men, who ranged in age from 30 to 60, began chatting among themselves.

Then they started braiding hair.

The May 22 event — Goleta’s version of the viral U.K.-inspired “Pints and Ponytails” night — was sold out. The idea is to have expert hairstylists train uninitiated or intimidated fathers on how to comb and braid their kids’ hair, using salon-type head mannequins but in a setting for bros.

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“When the first guys got there, they were stiff,” said Nieves, a Pasadena native who moved to Santa Barbara in April 2025. “Then after that first beer, they went from sitting around the edge of the bar to jumping right into learning and giving it a shot.”

Dads group members Dan Ucko, left, and Eric Schalla participate in the hairstyling event at Captain Fatty’s Brewery in Goleta.

The gathering was one of several father functions by the Santa Barbara Dads group, which Nieves founded last spring.

May’s papa party offered, along with the suds, a learning experience and camaraderie among fathers, which Nieves believes is much needed.

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“When my wife had our son, she immediately became part of at least five mom groups and classes that offered her help, advice, friendship and training,” Nieves said. “As a first-time father, I really only had my brothers, who had children themselves, to turn to.”

Scientific studies have shown that as fathers have taken a more active role in child rearing, they’ve faced loneliness, doubt and confusion.

Researchers Chris Knoester and David J. Eggebeen wrote in 2006 in the “Journal of Family Issues” that fatherhood leads “to declines in feelings of well-being and participation in social activities” as fathers spend less time with friends.

Clinical psychologists Hillary Halpern and Maureen Perry-Jenkins documented that the transition from single life to fatherhood is often accompanied by a roller coaster of emotions. And researchers from Stockholm’s Karolinska Institute determined in a 2021 study that fathers might require help “during their transition to fatherhood.”

Eric Drachman, of Santa Barbara, center, pays close attention as hair stylist Chi Jou Lin, left, teaches

Eric Drachman, of Santa Barbara, center, pays close attention as hair stylist Chi Jou Lin, left, teaches a group of dads how to style their daughters’ hair.

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A mannequin head sits on a tripod at Captain Fatty's Brewery

A detail of one of the mannequin heads.

One such way to assist men is specifically a fathers group, according to the 2021 study.

Most men “were mostly satisfied with participating in father groups and described that they positively impacted their relationship with their partner and child.”

The increased contact also helped improve “their self-confidence and family equality and decreased their loneliness.”

Nieves agreed that his leisure time and focus changed sharply after the birth of his child, Hudson, now 3 years old, as did his friend group updates.

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“They were talking about all this crazy fun or TV shows and I was talking about my son being able to lift his head,” Nieves said. “That’s when I knew I had to branch out.”

Nieves, then living in Costa Mesa with his wife, Katie, created the Orange County Dads club in October 2023.

Dads learn how to style their daughters' hair on a mannequin.

Scientific studies have shown that as fathers have taken a more active role in child rearing, they’ve faced loneliness, doubt and confusion.

His group of merry men held meetups at coffee shops, beer halls and the zoo, hosted holiday hootenannies and even offered CPR classes.

Its success helped spawn a chapter in the Whittier area.

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Though strictly a fathers club, the group, Nieves said, has grown thanks to wives and partners sharing his social media posts with their husbands.

Mikhail Alfon, founder of Blue Light Media, a social media strategy agency, took his son, Santos, to multiple Orange County meetups.

“This is our first child and obviously life changes a lot,” said Alfon in a social media post. “Finding peers and friends that are in the same stage of life is great.”

That sense of community, however, faced a challenge as Nieves and his family purchased a home in Santa Barbara and moved in April 2025.

Childhood friends Peter Aguilar and Fredy Medel, from left, style a mannequin's hair.

Peter Aguilar, left, and Fredy Medel work on their technique. Medel’s partner, Daniela Fajardo, holding their 1-year-old daughter, Faylani, records the event.

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Within a month, however, he had established a Santa Barbara-based dads group. Their first meetup was in May 2025, and they’ve made a point to gather once a month.

Austin Jones, a Santa Barbara-based real estate agent and investor, found Nieves through Instagram.

“I’m a husband, a dad and businessman, and it ends up being a lot of hats but very little support, at times,” Jones said. “It’s nice to find people in the trenches with you.”

Jones was intrigued by Pints and Ponytails as he’s battled the hair-care needs of his 2 ½-year-old daughter, Noa, and her textured, curly locks.

In a short while, Jones had gained enough confidence in whipping his mannequin’s hair into a ponytail that he vowed to try with his daughter soon.

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“I was only pretty good at putting on a headband before this,” he quipped.

The six mannequin heads and the hour of instruction came courtesy of Santa Barbara cosmetologist Chi Jou “Belle” Lin, who offers area mobile services.

“I saw the social media post and a lot of people reached out to me to teach the class,” Lin said. “I had to help.”

Lin said the mannequins she brought varied in hair length and type, from straight to coily, but also fine in texture, as she tried to replicate young children’s hair.

A pint sits among hairstyling tools.

A pint of beer, hairstyling tools and sprays.

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She also taught the fathers basic hair-care techniques, including shampooing, detangling, checking for lice and how to tie ponytails and braids.

Even if they started out reticent, the fathers became active participants, asking questions about creating a neat French braid, what to do about tangled ponytails and how to deal with frightened children, Lin said.

“I was really impressed with the dads and their skills and the real-life questions,” said the stylist, who has personal experience at home in her 2 ½-year-old daughter, Lotus. “Not all men have the courage to ask questions.”

For Nieves, the secret in gaining new dads and retaining others is simplicity.

“If you open the door, the fathers will follow because everyone can use some help,” Nieves said. “But they just need to know it exists and they’re not alone.”

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Dads cheers one another while attending a Santa Barbara Dads Group event called "Pints & Ponytails."

Dads Gabriel Sandoval, left, Jose Guerrero and David Talavera toast one another at the May 22 Santa Barbara County Dads’ “Pints and Ponytails” event in Goleta.

Days after the Goleta get-together, Santa Barbara dad Eric Drachman became a celebrity at the preschool of his daughter, Noa, who is soon to be 3.

“When the videos of the event were posted, the teachers at the school recognized me,” Drachman said. “They would ask my daughter, ‘Who did your hair?’”

The query that means most, however, is when Noa asks her father to fix her hair.

“She asks occasionally,” he said. “It‘s such a fun dynamic we have.”

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This Pride month, teen flicks are recasting familiar tropes with a queer sensibility

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This Pride month, teen flicks are recasting familiar tropes with a queer sensibility

Stacy Clausen and Joe Bird in Leviticus.

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Summer movies aimed at high-schoolers — comedies, romances, horror flicks — have been a tradition for ages. Think Fast Times at Ridgemont High, Dirty Dancing and the original Friday the 13th, which all drew hot-weather crowds back in the 1980s.

This summer, the movies are queer — not just in casting, but in method and purpose. These three teen flicks transform familiar movie styles by bringing them an LGBTQ sensibility.

A raunchy comedy: She’s the He

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You know the drill: a bonkers lose-my-virginity plan is hatched by inseparable high-school best buds who are so eager to get girls to notice them, they can hardly think straight.

So, they don’t think … straight. For reasons that could only make sense to horny 17-year-olds, Ethan and Alex decide the way to catch the attention of the school’s hottest girls is to pretend to be trans.

Filmmaker Siobhan McCarthy uses that premise to tell a sweet story about Ethan (who realizes mid-scam that she really is trans), while also mocking some of the more ridiculous transphobic notions — “bathroom scare,” anyone? — that have been politically weaponized recently.

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When the whole football team decides that donning women’s attire is a small price to pay to get access to the girls’ locker room, McCarthy prompts boisterous laughs while also establishing how idiotic and unlikely this scenario would be in real life. Casting trans men — say, team captain played by Emmett Preciado — as the cis male characters allows McCarthy to further poke at conservative anxieties.

As leads Alex and Ethan, Nico Carney (a sharp trans comic whose read on toxic masculinity proves hilarious), and Misha Osherovich (sweetly affecting as Ethan discovers her true self) head a terrific, mostly trans and non-binary cast. And a similarly queer team behind the camera helps make She’s the He a raucous, touching, seriously fun charmer — think Some Like It Hot meets American Pie with a Heartstopper vibe.

The romance: Girls Like Girls

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This gentle teen love story sprang from a hit song Hayley Kiyoko released in 2015. The music video that accompanied the song pictured a budding lesbian romance and has since racked up over 160 million YouTube views. In 2023, Kiyoko penned a young adult book version, which debuted at the top of bestseller lists. Now, she’s brought all of those elements together in a movie about Coley (Maya da Costa) and Sonya (Myra Molloy), two 17-year-old girls navigating a summer romance that takes both of them by surprise.

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