50 Stunning Portraits of a Very Young and Beautiful Rita Hayworth From Her Early Film Career in the 1930s

Rita Hayworth (October 17, 1918 – May 14, 1987) was an American actress, dancer, and pin-up girl. She achieved fame in the 1940s as one of the top stars of the Golden Age of Hollywood, and appeared in 61 films in total over 37 years. The press coined the term “The Love Goddess” to describe Hayworth, after she had become the most glamorous screen idol of the 1940s. She was the top pin-up girl for GIs during World War II.

Born Margarita Carmen Cansino in 1918 in Brooklyn, she came from a family of dancers. Her father, Eduardo Cansino, was a Spanish flamenco dancer, and her mother, Volga Hayworth, was an American showgirl. In the early 1930s, she performed professionally with her father in a dance act called The Dancing Cansinos, appearing in nightclubs and even in short films.

Cansino took a bit part in the film Cruz Diablo (1934) at age 16, which led to another bit part in the film In Caliente (1935) with the Mexican actress Dolores del Río. She danced with her father in such nightspots as the Foreign and the Caliente clubs. Winfield Sheehan, the head of the Fox Film Corporation, saw her dancing at the Caliente Club and quickly arranged for Hayworth to do a screen test a week later. Impressed by her screen persona, Sheehan signed her to a six-month contract at Fox under the name Rita Cansino, the first of two name changes during her film career.

During her time at Fox, Hayworth was billed as Rita Cansino and appeared in unremarkable roles, often cast as the exotic foreigner. In late 1934, aged 16, she performed a dance sequence in the Spencer Tracy film Dante’s Inferno (1935), and was put under contract in February 1935.  She had her first speaking role as an Argentinian girl in Under the Pampas Moon (1935).  She played an Egyptian girl in Charlie Chan in Egypt (1935), and a Russian dancer in Paddy O’Day (1935). Sheehan was grooming her for the lead in the 1936 Technicolor film Ramona, hoping to establish her as Fox Film’s new Dolores del Río.

By the end of her six-month contract, Fox had merged into 20th Century Fox, with Darryl F. Zanuck serving as the executive producer. Dismissing Sheehan’s interest in her and giving Loretta Young the lead in Ramona, Zanuck did not renew Cansino’s contract. Sensing her screen potential, salesman and promoter Edward C. Judson, with whom she would elope in 1937,  got freelance work for her in several small-studio films and a part in the Columbia Pictures feature Meet Nero Wolfe (1936). Studio head Harry Cohn signed her to a seven-year contract and tried her out in small roles.

Cohn argued that her image was too Mediterranean, which limited her to being stereotyped in “exotic” roles that were fewer in number. He was heard to say her last name sounded too Spanish. Judson acted on Cohn’s advice: Rita Cansino became Rita Hayworth when she adopted her mother’s maiden name.  Therefore, Cohn argued, people were more likely to regard her as a classic “American.” With Cohn and Judson’s encouragement, Hayworth also changed her hair color to ginger red hair and had electrolysis to raise her hairline and broaden the appearance of her forehead.

Hayworth appeared in five minor Columbia pictures and three minor independent movies in 1937. The following year, she appeared in five Columbia B movies. In 1939, Cohn pressured director Howard Hawks to use Hayworth for a small, but important, role as a man-trap in the aviation drama Only Angels Have Wings, in which she played opposite Cary Grant and Jean Arthur.

Cohn began to build up Hayworth in 1940 in features such as Music in My Heart, The Lady in Question, and Angels Over Broadway. That year, she was first featured in a Life magazine cover story. While on loan to Warner Bros., Hayworth appeared as the second female lead in The Strawberry Blonde (1941), opposite James Cagney.

Off-screen, she was shy and soft-spoken, a sharp contrast to the sultry glamour she would later become famous for. She spent much of the decade learning how to project herself on film — dancing, posing, and acting — setting the stage for her rise in the 1940s as one of Hollywood’s greatest stars.

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40 Amazing Photos of Ace Frehley of Kiss in the 1970s

Ace Frehley, the lead guitarist and co-founder of the legendary rock band Kiss, has died aged 74. The musician, who inspired a generation of guitarists and performed on Kiss’ first nine albums, died on Thursday in a New Jersey hospital after suffering injuries during a recent fall, his family said in a statement.

“We are completely devastated and heartbroken,” Frehley’s family said. “In his last moments, we were fortunate enough to have been able to surround him with loving, caring, peaceful words, thoughts, prayers and intentions as he left this earth. We cherish all of his finest memories, his laughter, and celebrate his strengths and kindness that he bestowed upon others. The magnitude of his passing is of epic proportions, and beyond comprehension. Reflecting on all of his incredible life achievements, Ace’s memory will continue to live on forever!”

His longtime bandmates, Kiss’ Paul Stanley and Gene Simmons, wrote in a statement: “We are devastated by the passing of Ace Frehley. He was an essential and irreplaceable rock soldier during some of the most formative foundational chapters of the band and its history. He is and will always be a part of Kiss’ legacy. Our thoughts are with Jeanette, Monique and all those who loved him, including our fans around the world.”

Born Paul Daniel Frehley in New York City in 1951, he co-founded Kiss in 1973 with singer Paul Stanley, bassist and part-time singer Gene Simmons and drummer Peter Criss.

Frehley invented and embodied the “Spaceman” or “Space Ace” persona, complete with his signature silver-star makeup and costume, which became a cornerstone of the band’s comic book-style characters. He designed the band’s now-iconic lightning bolt logo.

His playing style was noted for its “aggressive, atmospheric, and melodic” sound, adding a blues-rock edge to Kiss’ hard-charging rock. His distinctive solos, such as the one on “Detroit Rock City,” were a key element in the band's sound. He pioneered the use of “special effects” guitars that became synonymous with Kiss’ theatrical live shows, including his Gibson Les Paul that would emit smoke from its pickup and sometimes shoot pyrotechnics or rockets.

Frehley wrote or co-wrote several classic Kiss songs. His song “Cold Gin” (from the 1974 debut album) remains a fan favorite and a staple in the band’s setlist for decades. He played on all of the band’s classic and most commercially successful albums of the decade, including Kiss (1974), Hotter Than Hell (1974), Alive! (1975), Destroyer (1976), Rock and Roll Over (1976), Love Gun (1977), and Alive II (1977).

When all four members released solo albums on the same day in 1978, Frehley’s album, Ace Frehley, was the most commercially successful of the four, featuring the Top 20 hit single “New York Groove.” This success led to an increased songwriting role for him in the band’s later 1970s albums like Dynasty (1979).

Ace Frehley was integral to Kiss’ golden age in the 1970s, defining their look, providing their distinctive lead guitar sound, and delivering some of their most enduring songs. He had left Kiss in 1982 after feeling conflicted about the band’s direction and struggling with substance abuse. In 1984, Frehley formed a new band, Frehley’s Comet, which released two studio albums but failed to take off.

Here’s a collection of 40 amazing photos of Frehley in the 1970s:

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Hayley Mills: The Quintessential Disney Star

Born 1946 in London, British actress Hayley Mills is the daughter of actor Sir John Mills and writer Mary Hayley Bell. She first gained critical attention with her debut performance in the crime drama film Tiger Bay (1959), for which she won the BAFTA Award for Most Promising Newcomer.

Mills quickly rose to international fame after being signed to a five-year contract with Walt Disney. She became the most popular child actress of the early 1960s, starring in six Disney films, including: Pollyanna (1960), for which she received a special juvenile Academy Award, and The Parent Trap (1961), where she famously played the dual role of twins Susan and Sharon.

Outside of Disney, Mills was highly acclaimed for her role in Whistle Down the Wind (1961), an adaptation of her mother’s novel. She later transitioned into more mature roles and continued her career in film, television, and on stage, eventually receiving the Disney Legend Award for her contributions.

Through her timeless grace and joyful spirit, Hayley Mills remains the quintessential Disney star — a symbol of the pure magic that continues to inspire generations.

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Portobello Road on a Saturday in 1967

Portobello Road in 1967 was the beating heart of Notting Hill’s weekend life, a kaleidoscope of sights, sounds, and scents that drew Londoners and visitors alike. On Saturdays, the street became a bustling theatre of everyday life, with stalls spilling over with antiques, vintage clothing, records, and curious treasures. The air was thick with the mingled aromas of roasted chestnuts, fresh bread, and produce, creating a sensory feast that matched the lively chatter of traders and bargain hunters.

The atmosphere carried the unmistakable flavor of the Swinging Sixties. Young people, dressed in bold mini skirts, paisley prints, and bright colors, strolled alongside older residents who had seen the market through leaner times. Music seemed to drift from every corner—transistor radios blaring the Beatles or The Kinks, and buskers adding to the soundtrack of change. It was a place where wealth and modesty coexisted, with Rolls-Royces inching past Mini Coopers, all weaving their way through the throng.

Yet beneath the style and commerce, Portobello Road was rooted in community. Neighbors gathered outside greengrocers, children turned the kerb into a playground, and cafés brimmed with artists, students, and curious travelers. In 1967, it was more than a market—it was a meeting ground of cultures and generations, where tradition blended seamlessly with the new energy of the times. It stood as a vivid expression of London’s spirit: diverse, dynamic, and alive.

Simone Mirman: The Milliner of Modern Elegance

Simone Mirman (1912–2008) was a celebrated Paris-born milliner who defined hat design in mid-20th century London. Active through the eras of post-war austerity and the Swinging Sixties, she was a master of impeccable craftsmanship and chic modernity.

Mirman’s career reached its zenith when she became a favored designer for the British Royal Family, notably Queen Elizabeth II and Princess Margaret, crafting hats that balanced traditional regal formality with sharp, contemporary lines.

Her work, which blended the boldness she learned working with Elsa Schiaparelli with her own elegant sensibility, ensured that the hat remained a powerful symbol of sophistication during a rapidly changing time in fashion history.

Myrtle Crawford wearing a mushroom-shaped hat of navy straw, the underside lined in white voile and white ribbon round the crown by Simone Mirman, photo by Henry Clarke, Harper's Bazaar UK, July 1950

Myrtle Crawford wearing a little cloche of navy-blue straw with an upturned brim faced in white by Simone Mirman, photo by Henry Clarke, Harper's Bazaar UK, July 1950

Anne Gunning in cinnamon line dress with scalloped collar echoed with white marcella and wrapped rounded overskirt by Mattli, burnt straw hat by Simone Mirman, jewelry by Asprey, photo by Henry Clarke, Harper's Bazaar UK, May 1951

Anne Gunning in classic black barathea suit by Ronald Paterson, wide-brimmed hat in oyster felt by Dior at Simone Mirman, photo by Richard Dormer, Harper's Bazaar UK, November 1951

June Duncan in toast-colored silk shantung suit, double box pleats streak down the back of the jacket and skirt, by Lachasse, velvet banded straw hat by Simone Mirman, photo by Henry Clarke, Harper's Bazaar UK, May 1951

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Some Photographs of Michael Jackson and Whitney Houston Together in the 1980s and 1990s

Michael Jackson and Whitney Houston were close friends who had a brief, secret romance in 1991. Their connection stemmed from understanding the immense pressures of global fame, and they spent time together at Jackson’s Neverland Ranch. According to Jackson’s former bodyguard, he had dreams of marrying her and never truly got over their connection.

Both Jackson and Houston rose to superstardom around the same time, Jackson with Thriller (1982) and Houston with her debut album Whitney Houston (1985). They met several times at award shows and industry events and were very respectful of each other’s talent. Jackson reportedly admired Houston’s voice, calling her one of the few singers who could truly “move people with pure sound.” Houston referred to Jackson as “very close” and spoke to him often during his trial, though he often didn’t want to see people in person.

Jackson’s former bodyguard, Matt Fiddes, claimed in 2012 that the two had a two-week romantic affair in 1991. Fiddes said they “instantly connected as kindred spirits because they understood each other’s massive fame.” He also claimed that Houston “practically moved in” to Jackson’s Neverland Ranch during this short-lived romance.

According to Fiddes, Jackson had deeper feelings and “always hoped the relationship had gone further,” even dreaming of marrying her. Music producer David Gest also claimed that both artists confided in him that they were in love with each other, but Michael didn’t have the courage to pursue it.

Both artists had discussed collaborating on a duet, but it never came to fruition. The two saw each other for the final time at Jackson’s 30th Anniversary concert in 2001. According to Fiddes, they shared an emotional hug and said they loved each other.

Houston was “devastated” by Jackson’s passing in 2009. In an interview with Oprah Winfrey after Jackson’s death, she called him “an extraordinary man” and “a gentleman.” She recalled how, during the 2001 anniversary concert, she saw both of their frail conditions as a sign of their shared struggles with fame and addiction. She said she felt, “This can’t happen. Not both of us, Mike!”

Both stars faced intense public scrutiny, personal isolation, and addiction issues — parallels that made many fans feel they understood each other’s pain. After Whitney’s death, some of Michael’s fans noted how similar their fates were: two immensely gifted artists consumed by the pressures of the industry.

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40 Glamorous Photos of Suzanne Somers in the 1980s

Suzanne Marie Somers (October 16, 1946 – October 15, 2023) was an American actress, author, and businesswoman. She played the television roles of Chrissy Snow on Three’s Company (1977–1981) and Carol Foster Lambert on Step by Step (1991–1998).

Her time in Three’s Company ended in 1981 following a dispute over salary in 1980 where she requested a raise to match the pay of her male co-star, John Ritter, and other male sitcom stars of the era. Her role was reduced for the remainder of her contract, and she was later fired.

Following Three’s Company, she reinvented herself as a live performer. Her husband and manager, Alan Hamel, helped her establish a new image as a nightclub entertainer in Las Vegas, headlining at the MGM Grand for two years and later at the Las Vegas Hilton. She was named Las Vegas Entertainer of the Year in 1984 and 1986. She performed a lively revue with classic stage songs and toured various clubs across America.

Somers appeared in made-for-TV movies like Keeping Secrets and Hollywood Wives, and in talk shows where her charm and humor helped maintain her celebrity status.

Suzanne began to pivot into business and fitness, laying the groundwork for her later success with the ThighMaster (which became iconic in the early 1990s). She also published self-help and fitness books, establishing her as a voice for women’s empowerment and health.

Her 1980s persona was glamorous and upbeat, often appearing in sequined dresses and big, voluminous hair typical of the decade’s style. She projected a mix of California sunshine and showbiz sparkle, maintaining a wholesome yet confident image that kept her in the public eye.

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