Amazing Photos From CREEM Magazine From the 1980s Featured Rock Stars Posing With Their Personal Cars

In the 1980s, CREEM Magazine—Detroit’s legendary “America’s Only Rock ‘n’ Roll Magazine”—continued its iconic “Stars Cars” series. While the feature reached its peak of absurdity and popularity in the late 1970s, it remained a staple through the early-to-mid 1980s, capturing the era’s rock royalty alongside their (often excessive) vehicles. The series was known for its irreverent, “tongue-in-cheek” captions that poked fun at the rock stars' egos while celebrating the car culture of the Motor City.

In the 1980s, the series shifted from the muscle cars and jalopies of the 1970s toward the flashy, high-luxury, and hair-metal aesthetic of the new decade. In November 1980, the magazine featured Bernie Taupin with a Rolls-Royce. The caption famously parodied his own lyrics: “It’s a little bit funny, owning a Rolls-Royce, but I hope you believe me, I don’t get a choice.” In January 1984, it featured Vince Neil of Mötley Crüel with a group of women in a photo that blurred the lines between a car advertisement and a rock shoot. The caption mocked the lengths bands would go to for publicity. Though a 1970s icon, Ted Nugent’s zebra-striped Ford Broncos were frequently mentioned or featured in CREEM contexts into the 1980s, embodying the magazine's Detroit roots.

Unlike modern glossy car magazines, CREEM’s “Stars Cars” was intentionally unpolished. It often used candid or slightly awkward photos to humanize (or ridicule) stars who were trying to look “cool” next to their Ferraris, Mercedes-Benzes, or tour vans.

Because CREEM was based in Detroit, the car was more than just a prop; it was a symbol of the working-class audience the magazine served. “Stars Cars” bridged the gap between the unattainable lifestyle of a rock god and the everyday reality of a reader in a car-obsessed city.

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Jean Geoffroy: The Painter of Childhood and Schools

Jean Geoffroy (1853–1924), who often signed his works with the pseudonym Geo, was a distinguished French painter and illustrator renowned for his heartfelt and realistic depictions of children and social life. He rose to fame during the French Third Republic, a period marked by major educational reforms, and he became the unofficial chronicler of the new public school system.

Geoffroy’s work is characterized by an extraordinary empathy. He had a unique ability to capture the quiet concentration of students in a classroom, the playful energy of the playground, and even the somber reality of children’s hospitals and night shelters. His masterpiece, “En classe” (In Class), remains an iconic representation of the 19th-century French classroom.

Through his meticulous attention to detail and soft, natural lighting, Geoffroy elevated everyday scenes of humble life into poignant works of art, leaving behind a visual legacy that continues to be a primary source for understanding the social history of childhood in France.

A Drawing Lesson in Primary School

A Minor Adjustment

A Simple Pleasure

Arrival at School

At the Fountain

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Photos of Teenage Alyssa Milano During a Photoshoot for LIFE Magazine in 1987

In 1987, Alyssa Milano participated in a notable photoshoot for LIFE magazine that captured her as a burgeoning teen icon during the height of her Who’s the Boss? fame. The 1987 photoshoot featured a classic “teen girl” aesthetic of the era, showcasing Milano with her signature thick, dark hair and expressive features that made her a staple in 1980s pop culture.

By 1987, Milano was one of the most recognizable young actresses on television, playing Samantha Micelli on the ABC sitcom Who’s the Boss?, which had premiered in 1984. That same year, she made several high-profile appearances, including the 14th Annual American Music Awards alongside Corey Feldman and the ABC Affiliates Party.

Beyond LIFE, she was a frequent cover star for youth-oriented publications like Movie Mirror and international magazines such as Japan’s Privacy. 1987 marked the beginning of her publicized relationship with fellow teen star Corey Haim, which lasted until 1990.

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Silvana Pampanini: The Radiant Icon of Post-War Italian Cinema

Silvana Pampanini (1925–2016) was a legendary Italian actress and a quintessential sex symbol who dominated the silver screen during the 1950s. Her rise to stardom began with the 1946 Miss Italy contest, where, despite not officially winning, the public’s overwhelming protest in her favor launched her into immediate national spotlight.

Known as one of the original “maggiorate”, the term used for the voluptuous and charismatic beauties of the era, Pampanini paved the way for future icons like Sophia Loren and Gina Lollobrigida. Throughout her prolific career, she appeared in over 60 films, showcasing her versatility in both comedies and dramas while working alongside greats such as Totò, Vittorio De Sica, and Marcello Mastroianni.

With her striking beauty, vibrant personality, and immense popularity that stretched across Europe and Latin America, Pampanini remains an enduring symbol of Italy’s post-war cinematic revival and the glamour of the “Golden Age.”

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30 Stunning Portraits of Betty Grable in the 1940s

Betty Grable (December 18, 1916 – July 2, 1973) was an American actress, pin-up girl, dancer, model, and singer. Her 42 films during the 1930s and 1940s grossed more than $100 million, and for 10 consecutive years (1942–1951) she placed among the Quigley Poll’s top 10 box office stars (a feat only matched by Doris Day, Julia Roberts and Barbra Streisand, although all were surpassed by Mary Pickford, with 13 years). The U.S. Treasury Department listed her as the highest-salaried American woman in 1946 and 1947, and she earned more than $3 million during her career.

In the 1940s, Grable was the quintessential Hollywood “Girl Next Door” and the most celebrated pinup of World War II. Her blend of wholesome charm and athletic talent made her the top-earning female star in Hollywood by the end of the decade.

Grable’s breakout came in 1940 with Down Argentine Way, where she replaced Alice Faye and became 20th Century Fox’s biggest star. She was voted the #1 box office draw in the world in 1943, outranking male icons like Clark Gable and Humphrey Bogart. She starred in a string of lavish hits including Moon Over Miami (1941), Coney Island (1943), Pin Up Girl (1944), and Mother Wore Tights (1947).

By 1947, the U.S. Treasury Department listed her as the highest-salaried woman in the United States, earning over $300,000 annually.

In 1943, she posed for her most famous photo, a back-view shot in a white bathing suit, looking back over her shoulder. This image became a symbol of home for millions of G.I.s and was famously painted onto bomber planes and tanks. Her studio, 20th Century Fox, famously insured her legs for $1 million with Lloyds of London as a publicity stunt.

Betty Grable continued her successful career while raising two daughters, Victoria (born 1944) and Jessica (born 1947), defying the era’s industry standard that motherhood ended a star’s “sex symbol” appeal.