30 Stunning Portraits of Jackie Collins in the 1950s and ’60s

In the 1950s and ’60s, long before she became the world-renowned “Queen of Hollywood Glamour,” Jackie Collins was a starlet in her own right, possessing a magnetic beauty that rivaled the characters she would later create. These early portraits capture a fascinating era of her life, showcasing a young woman with striking features and a rebellious, avant-garde spirit.

During this period, Jackie was often seen with her signature dark, voluminous hair and a fashion sense that blended the structured elegance of the fifties with the bold, liberated “Mod” style of the sixties. Whether she was posing for soft-lit studio headshots or candid street snaps, there was always a glint of sharp intelligence and mischief in her eyes, a hint of the sharp-witted observer who would one day pull back the velvet curtain on the scandals of the rich and famous.

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Beautiful Portraits of Ann Margret During the Filming of ‘Murderers’ Row’ (1966)

The 1966 spy-spoof Murderers’ Row solidified Ann-Margret’s status as the ultimate “it-girl” of the 1960s, a blend of fiery energy and undeniable cinematic charisma. In these portraits taken during the film’s production, she perfectly embodies the Swinging Sixties aesthetic, portraying the character of Suzie with a playful, high-octane allure.

Whether she was donning futuristic metallic outfits or her signature voluminous red hair, Ann-Margret’s presence on set was electric, capturing the vibrant transition from classic Hollywood glamour to the bold, rebellious spirit of the Mod era. These images don’t just showcase a beautiful actress, they archive a moment when her talent and “dynamo” persona were at their absolute peak, making her the perfect co-star for Dean Martin’s suave Matt Helm.

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Rod Stewart and Jeff Beck During Filming of the Video “People Get Ready” in Oxnard, California, 1985

In May 1985, Rod Stewart and Jeff Beck filmed the music video for their cover of Curtis Mayfield’s “People Get Ready” in Oxnard, California. Captured by photographer Jeffrey Mayer, the production marked a significant reunion for the former Jeff Beck Group bandmates.

The shoot took place primarily at a train station and surrounding areas in Oxnard. The video was directed by D.J. Webster. The sepia-toned video follows a storyline where Stewart writes a letter inviting Beck to Los Angeles to play guitar. Beck is seen traveling via train boxcars while Stewart waits for him at a station, eventually culminating in a hug and a guitar solo. The video premiered on June 3, 1985, coinciding with the song's release on Jeff Beck’s album, Flash.

Photos from the set typically show Beck playing a butterscotch Fender Telecaster. Despite the song being a major hit and receiving heavy MTV rotation, the filming session was one of the few times the duo collaborated during that era, as a subsequent planned tour was canceled after only a few shows.

Amazing Photographs of Elton John Flying Handstands on His Piano in the 1970s

Elton John’s piano handstands became one of the most iconic sights of 1970s rock ‘n’ roll, perfectly capturing the high-energy, acrobatic showmanship of his “Goodbye Yellow Brick Road” era. He would typically kick his piano stool aside and launch into the move with his hands firmly planted on the piano keys and his legs extended into the air.

John was already performing this move as early as 1970 at Doug Weston’s Troubadour in Los Angeles and in 1971 concert footage. He was famously photographed performing a handstand on his piano in London in 1972 by Terry O'Neill; in this session, he performed the stunt while wearing heeled boots and sunglasses. One of his most iconic handstands occurred during the Midsummer Music festival at Wembley Stadium in 1975, a moment recently immortalized by a gravity-defying wax figure at Madame Tussauds London.

These “flying handstands” were part of a broader repertoire of piano acrobatics, including playing from contorted positions and jumping off the piano, often while wearing flamboyant costumes like bejeweled jumpsuits and platform shoes.

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Alice Bruno: The Elegant Muse of Mid-Century Fashion

Alice Bruno was the embodiment of sophisticated mid-century glamour, a model whose poise and versatility made her a favorite of top fashion photographers in the 1950s. With her razor-sharp cheekbones, expressive eyes, and an innate ability to command the lens, she became a prominent face in high-fashion editorials and commercial campaigns alike.

Whether she was draped in the architectural silhouettes of Christian Dior or showcasing the refined elegance of British labels like Frank Usher, Bruno possessed a “chameleon-like” quality that allowed her to transition effortlessly from icy haute couture to warm, approachable charm. Beyond her striking looks, she was celebrated for her professional discipline, helping to define the era of the “sophisticated mannequin”, where modeling was not just about beauty, but about the art of storytelling through movement and style.

Take a look at these stunning vintage portraits to see the captivating grace of Alice Bruno, one of the most iconic faces of the 1950s.

Alice Bruno wearing knit fashion from Tina Leser, photo by Horst P. Horst, Vogue, April 15, 1950

Alice Bruno in a wonderful suit with buckles and pleating by Lilli Ann, hat by Mr. John, photo by George Hurrell, Harper's Bazaar, March 1950

Alice Bruno, suit by Lilli Ann, Vogue, April 1, 1950

Alice Bruno in a bewitching black, pleated chiffon dress with touches of Valenciennes lace exclusively at I.Magnin & Co., Vogue, February 1, 1951

Alice Bruno in creaseless jersey suit by Leonard Arkin, hat by Robert Dudley, Harper's Bazaar, April 1951

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Chicago in the Mid-20th Century Through Fascinating Vintage Photos

Life in Chicago in the late 1950s and early ’60s was the personification of the American Dream in its mid-century prime. Known as the “City of Broad Shoulders,” Chicago was a bustling hub of industry, jazz, and architectural innovation. The skyline was beginning to reach new heights, while the streets below hummed with the sound of “L” trains and the neon glow of movie palaces in The Loop.

This was an era of stark contrasts: from the sophisticated shoppers on the Magnificent Mile to the vibrant, soulful blues clubs of the South Side. Families flocked to newly built suburbs, yet the city’s heart remained in its diverse neighborhoods, where local diners and busy lunch counters served as the social glue of the community.

It was a time of transition, captured in the black-and-white elegance of street photography, marking the peak of Chicago’s industrial might before the winds of social change began to reshape the urban landscape. These fascinating photos, taken by Laird Scott, showcase life in Chicago in the late 1950s and early 1960s.

Man reading newspaper, Chicago, 1958

Boy and mom, South Halsted and West Maxwell, Chicago, 1959

Chicago urban renewal, 1959

CTA bus driver, 25 cent ride, Chicago, 1959

Delivery van, Chicago, 1959

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Ozzy Osbourne With His First Wife Thelma Riley

Ozzy Osbourne was married to his first wife, Thelma Riley, from 1971 to 1982. Their relationship was marked by the early success of Black Sabbath and was frequently described by Ozzy as a “tumultuous” period shaped by his severe struggles with drug and alcohol addiction.

The couple met at a Birmingham nightclub called the Rum Runner where Thelma worked. They married shortly after in 1971 in a registry office. They had two biological children together: Jessica (born 1972) and Louis (born 1975). Ozzy also adopted Thelma’s son from a previous relationship, Elliot.

“She was beautiful and I wanted to talk to her,” Ozzy wrote in his memoir, I Am Ozzy. “I pulled her on the dance floor.”

Ozzy has admitted to being a “terrible husband” during this time, noting that his constant touring and substance abuse made him largely absent from his children’s lives. He later confessed to being unfaithful and even physically abusive toward her during his “nightmare” years.

The couple separated in 1982, and their divorce was finalized in 1989. After the divorce, Thelma retreated from public life and worked as a school teacher in Leicestershire, England. She removed all traces of her ex from her life so thoroughly that some of her neighbors and colleagues had no idea she had ever been married to the Prince of Darkness. 

In his 2009 autobiography, I Am Ozzy, the rock legend expressed deep regret for how he treated Thelma, calling their marriage a “big mistake” because she did not deserve the “hell” he put her through. Sharon Osbourne has since described the blended family dynamic as “complex” but noted that she remains close to Ozzy’s son Louis.

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