30 Fascinating Photos of Teenage Selena Quintanilla in the 1980s

Selena Quintanilla (born Selena Quintanilla-Pérez on April 16, 1971, in Lake Jackson, Texas) was a teenager throughout most of the 1980s, starting her professional music career as a young girl in her family’s band, Selena y Los Dinos. Her father, Abraham Quintanilla Jr., managed the group, which included her older brother A.B. on bass and sister Suzette on drums. They performed Tejano music, blending Mexican, country, and pop influences.

Selena began singing as a child. Around age 9 (around 1980), she performed at her family’s Tex-Mex restaurant, Papa Gayo’s, in Lake Jackson. The restaurant closed due to the 1980s oil glut recession, leading the family to move to Corpus Christi, Texas, declare bankruptcy, and hit the road with the band. They played at weddings, quinceañeras, fairs, nightclubs, and small venues across Texas.

In 1984 (age 13), the band recorded their first LP for Freddie Records (Selena y Los Dinos, later re-released as Mis Primeras Grabaciones). Selena initially sang English songs and learned Spanish lyrics phonetically before becoming fluent.

Tejano music was male-dominated, so Selena often faced criticism and was refused bookings at some Texas venues.

Her popularity surged when she won Female Vocalist of the Year at the Tejano Music Awards in 1987 (at age 15), the first of nine consecutive wins. This helped legitimize her in the genre. In 1989 (still late 1980s/turning into the 1990s), she signed with EMI Latin and released her self-titled debut album, with A.B. becoming her main producer and songwriter.

Selena's 1980s look reflected the era’s trends with big hair, bold makeup, and flashy stage outfits—often sequined, sparkly tops or dresses with shoulder pads, mixed with Western/Texan elements like belts or boots. Off-stage, she wore casual 1980s fashion like high socks, sneakers, jeans, and colorful tops. Her stage presence was energetic even as a teen, performing with Los Dinos in matching or coordinated outfits that evolved into more glamorous, bedazzled looks by the late 1980s.

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Up Close Photos of a Suburban Kitchen in 1967

In the 1960s, the suburban kitchen transformed into a colorful, high-tech hub designed for the modern housewife. Characterized by a bold palette of pastel turquoise, candy-apple red, or harvest gold, these kitchens featured sleek, “space-age” aesthetics with chrome accents and linoleum flooring.

Innovations like built-in wall ovens, double-door refrigerators, and Formica countertops made the space feel futuristic and efficient. It wasn’t just a place for cooking; with the addition of breakfast nooks and wall-mounted corded phones, it became the social heart of the home, reflecting the era's optimism and domestic comfort.

Step inside the vibrant heart of the mid-century home. These up close photos of a suburban kitchen in 1967 capture the textures, colors, and innovations that defined an era of domestic optimism.

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32 Amazing Photos of Charles Chaplin on the Set of “City Lights” (1931)

Charles Chaplin’s production of City Lights (1931) was one of his most ambitious and painstaking projects. He wrote, directed, produced, composed the music for, and starred in this silent romantic comedy-drama (with a synchronized score and sound effects), even as “talkies” were taking over Hollywood.

Filming began in late 1928 and dragged on for over two years due to Chaplin’s legendary perfectionism. The movie tells the story of the Little Tramp who falls in love with a blind flower girl (played by Virginia Cherrill) and tries to raise money for her eye operation.

Chaplin was known for shooting scenes dozens or even hundreds of times to get them exactly right. A famous example is the opening flower-selling scene between the Tramp and the blind girl, it reportedly required 342 takes. He obsessed over tiny details of expression, gesture, and timing, even asking Cherrill to speak her lines aloud during filming (though the film is silent) to capture the right emotional nuance.

Production had its tensions. Chaplin clashed with leading lady Virginia Cherrill (he later called her an “amateur,” and she admitted mutual dislike). He fired his assistant Harry Crocker and actor Henry Clive during the shoot. There were interruptions, including construction work near the studio that forced sets to be moved.

City Lights was immediately successful upon release on March 7, 1931, with positive reviews and worldwide rentals of more than $4 million. Today, many critics consider it not only the highest accomplishment of Chaplin’s career, but one of the greatest films of all time. Chaplin biographer Jeffrey Vance believes “City Lights is not only Charles Chaplin’s masterpiece; it is an act of defiance” as it premiered four years into the era of sound films which began with the premiere of The Jazz Singer (1927).

In 1991, the Library of Congress selected City Lights for preservation in the United States National Film Registry as being “culturally, historically, or aesthetically significant.” In 2007, the American Film Institute ranked it 11th on its list of the best American films ever made.

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Giulietta Masina: The Soulful Muse of Italian Cinema

Giulietta Masina was a singular force in world cinema, often described as the “female Charlie Chaplin” for her extraordinary ability to blend heart-wrenching pathos with whimsical comedy.

As the muse and wife of legendary director Federico Fellini, Masina became the emotional soul of some of his greatest masterpieces. Her performances as the wide-eyed, innocent Gelsomina in La Strada (1954) and the resilient, optimistic Cabiria in Nights of Cabiria (1957)–the latter of which earned her the Best Actress award at Cannes–are considered among the finest in film history.

What made Masina truly remarkable was her expressive, “clown-like” face, capable of conveying profound human suffering and indestructible hope without uttering a single word. She stood in stark contrast to the statuesque, bombshell archetypes of mid-century Italian cinema, offering instead a vulnerable, spiritual, and deeply human presence on screen.

Beyond her collaborations with Fellini, Masina was a highly respected actress in her own right, embodying the poetic realism of the post-war era. Take a look at these vintage photos to rediscover the radiant spirit and incomparable talent of Giulietta Masina, a true legend of the silver screen.

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A Muss at Headquarters During Civil War, Virginia in April 1863

In April 1863, photographer James F. Gibson (often working with the famous Mathew Brady studio team, sometimes misattributed to Timothy H. O’Sullivan) captured a rare, lighthearted moment titled “A Muss at Headquarters.” Taken at Falmouth, Virginia, the image depicts officers of the Army of the Potomac engaged in a choreographed “brawl” for the camera.

While most Civil War photography focused on the grim aftermath of battle or formal portraits, this stereograph is a famous example of "camp life" humor. It features a group of Union officers and staff staging a chaotic scene. The men are seen using swords, fists, bottles, and even a shovel to mimic a rowdy headquarters dispute. The camp at Falmouth, which served as the winter quarters for the Army of the Potomac prior to the Chancellorsville campaign.

This photograph is a rare example of wartime levity, showing soldiers “roughhousing” and posing in exaggerated, tumbled positions over barrels and crates during the downtime before the Chancellorsville campaign. The image remains a favorite among Civil War enthusiasts because it subverts the era’s typically stiff and somber photographic style, capturing a moment of genuine (if rehearsed) levity.

Impressive Posters by Emilio Vilà in the 1920s

Emilio Vilà (1887–1967) was a Catalan painter and poster artist whose vibrant, sophisticated work became an essential visual component of the Art Deco and “Années Folles” eras.

Moving from Spain to Paris in the early 20th century, Vilà quickly established himself as a master of the portrait, specializing in capturing the magnetic allure of the era’s most famous women, including stars like Mistinguett and Josephine Baker. His style was a unique blend of classical Spanish passion and Parisian avant-garde flair, characterized by bold lines, expressive use of color, and an uncanny ability to infuse his subjects with a sense of modern, independent spirit.

Beyond his canvases, Vilà was a pioneer in the world of commercial art and advertising. His theatrical posters and magazine covers for publications like Le Rire and Frou-Frou defined the aesthetic of the “Roaring Twenties,” turning everyday advertisements into collectible masterpieces. In the late 1920s, he returned to his roots in Llagostera, Spain, where he founded his own museum, ensuring that his legacy as a chronicler of beauty and glamour would endure.

Step into the dazzling world of the 1920s through the vibrant brushstrokes and iconic posters of Emilio Vilà.

Flapper with rose head-dress poster maquette, 1921

A. Batschari Cigarettes, 1925

Beauty, Bloom of Youth, Crème Simon, Paris, 1925

Lampe Iris, circa 1925

Nail polish advertisement poster maquette, 1925

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30 Wonderful Publicity Photos of Elizabeth Montgomery as Samantha Stephens in “Bewitched”

Elizabeth Montgomery starred as Samantha Stephens, the charming, good-hearted witch at the center of the classic ABC sitcom Bewitched (1964–1972). She played the role across all 254 episodes, making her one of television's most iconic leading ladies of the era.

Montgomery portrayed Samantha as a powerful witch who marries a mortal advertising executive named Darrin Stephens (first played by Dick York, later by Dick Sargent). Samantha tries to live a normal suburban housewife life, often promising to give up magic at her husband’s request, but she frequently uses her powers (with a signature nose twitch) to fix problems caused by her eccentric witch family, meddling mother Endora (Agnes Moorehead), or everyday chaos.

Her performance stood out for its perfect blend of warmth and relatability. Montgomery made Samantha feel like a loving wife and mother who was down-to-earth despite her supernatural abilities. She brought charisma, physical comedy, and emotional depth, turning what could have been a gimmicky fantasy show into a heartfelt domestic comedy.

She also played Samantha’s flamboyant, mischievous cousin Serena (starting in season 2), often credited under the pseudonym “Pandora Spocks” to keep the dual role a fun secret for viewers. Many people didn’t realize it was the same actress due to the stark personality contrast.

One of the show’s most memorable elements was Samantha’s way of casting spells: a quick twitch of her nose (accompanied by a sparkling sound effect and visual effects). Montgomery actually came up with this herself, her husband and the show’s producer/director, William Asher, noticed her natural habit of twitching her upper lip when impatient and suggested incorporating it. In reality, it was often a subtle upper-lip movement combined with clever editing, camera tricks, and sound cues to create the illusion of the nose moving independently. She reportedly grew tired of repeating it over the years, but it became one of TV’s most enduring visual gags.

The role earned Montgomery five Primetime Emmy nominations for Outstanding Lead Actress in a Comedy Series (1966–1970) and multiple Golden Globe nominations. Bewitched was a massive hit, topping ratings for several seasons and remaining a beloved classic for its mix of fantasy, humor, and family dynamics.

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