Portraits of Teenage Janet Jackson Taken by George Rodriguez in 1978

These 1978 portraits of Janet Jackson taken by legendary Chicano photographer George Rodriguez capture the future pop icon at just 12 years old. Often photographed alongside her siblings, including her sister La Toya Jackson and her brother Michael Jackson, these sessions documented a critical transition period for the Jackson family.

Long before she became a defining pop icon of the 1980s, Janet built an impressive resume as a child actress, using television to establish an identity separate from her famous brothers. At just 10 years old, Janet made her formal television debut on this CBS variety show alongside her siblings. She regularly performed musical numbers, danced, and participated in comedy skits.

Producer Norman Lear handpicked Janet to play Penny Gordon Woods, a young girl rescued from an abusive household by Willona Woods, on Good Times (1977–1979). Tackling such intense, heavy subject matter on a major sitcom showcased her emotional depth and vulnerability to millions of viewers. Following her time on Good Times, Janet instantly jumped into a starring role as Jojo Ashton in this ABC sitcom A New Kind of Family (1979), further cementing her status as a network television regular.

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Cool Off With Yvonne Craig

Yvonne Craig was a former professional ballerina who brought a unique grace to her modeling and acting roles, including her performance as the green-skinned Orion slave girl Marta in Star Trek. Here are some striking photos of Craig eating ice-cream on ice in a bikini, ca. 1964:

In the early 1960s, Craig reached a new level of fame by starring as the leading lady in two Elvis Presley films. She is often remembered as one of the few costars who maintained a genuine, lifelong friendship with Presley. She played Dorothy Johnson in It Happened at the World’s Fair (1963) and Azalea Tatum in Kissin’ Cousins (1964).

Between 1964 and 1966, she guest-starred in several high-profile series, including The Man from U.N.C.L.E., The Wild Wild West, Voyage to the Bottom of the Sea, and McHale’s Navy. She appeared in the cult science fiction film Mars Needs Women (1966) and played a Russian ballet dancer in the spy parody In Like Flint (1967).

In 1967, Craig landed her most famous role as Batgirl/Barbara Gordon in the third season of Batman. She was hired to boost the show’s ratings and appeal to female viewers. 

30 Portraits of a Young Pierce Brosnan in the 1980s

The 1980s was the definitive breakout decade for Pierce Brosnan (born May 16, 1953), transforming him from a struggling British stage actor into an international television heartthrob and a household name in America. It was a decade defined by effortless charm, tailored suits, and a massive “what if” moment that altered the course of action-movie history.

After making brief appearances in British films like The Long Good Friday (1980), Brosnan moved to Southern California in 1982. In his very first Hollywood audition, he landed the titular role in the NBC romantic detective comedy-drama Remington Steele (1982–1987), starring alongside Stephanie Zimbalist. Brosnan played an unnamed ex-con man and thief who assumes the identity of a fictional male boss invented by private investigator Laura Holt (Zimbalist) to get clients to take her agency seriously. He channeled the classic Hollywood panache of Cary Grant, mastering the art of “suit acting”—balancing dashing sophistication with a touch of self-deprecating comedic clumsiness. The show became a massive hit, pioneering the slow-burn, “will-they-or-won’t-they” romantic dynamic that defined 1980s television and cementing Brosnan as a major sex symbol.

Brosnan’s suave, sophisticated performance on Remington Steele made him the obvious choice to succeed Roger Moore as James Bond. In 1986, NBC canceled Remington Steele due to dropping ratings. Sensing his opportunity, Bond producer Albert R. Broccoli offered Brosnan the role of 007 for the upcoming film The Living Daylights.

However, the massive publicity surrounding Brosnan becoming the new Bond sparked a sudden surge of interest in Remington Steele. NBC capitalized on the hype and used a contractual loophole to reverse their cancellation, renewing the show for a shortened fifth season and forcing Brosnan back to work. Because Broccoli refused to have James Bond appearing in a concurrent TV series, he pulled the offer. The role went to Timothy Dalton instead, forcing Brosnan to wait nearly a decade (until 1995’s GoldenEye) to finally step into the tuxedo.

When Remington Steele finally wrapped up for good in 1987, Brosnan spent the remainder of the decade trying to break out of his “charming rogue” television mold by tackling feature films and high-profile TV miniseries.

By the time the 1980s closed out, Brosnan had proved his range. Though the Bond franchise had slipped through his fingers for the time being, his style, charisma, and heavy presence on American television laid the exact foundation needed to make him one of the biggest movie stars of the 1990s.

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Penry Williams: Elegance and Romance in Italian Life

Penry Williams (1802–1885) was a Welsh painter best known for his elegant depictions of Italian life and landscapes. Born in Merthyr Tydfil, Wales, he trained at the Royal Academy in London before settling permanently in Rome in 1827, where he lived for nearly six decades.

Williams specialized in genre scenes, portraits, and Italian views, often portraying local peasants, Roman festivals, and the picturesque countryside with a refined, romantic sensibility. His works combined neoclassical clarity with the warmth and charm of everyday Italian life, earning him considerable success among British visitors on the Grand Tour.

Williams is remembered as one of the most accomplished Welsh artists of the 19th century and a significant figure in the British artistic community in Rome. These beautiful paintings capture Penry Williams’ refined sensibility, romantic charm, and deep affection for Italian life, cementing his legacy as one of the most graceful Welsh artists of the 19th century.

A Roman and His Ox Cart by Ancient Ruins

A Distant View of Saint Peter's, Rome

A Goatherd on the Roman Campagna

A Mother and Child beneath an Arbour at Evening

A View of Rome from the Tiber, with the Ponte Rotto and the Temple of Vesta

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Yutte Stensgaard: The Sensual Beauty of Hammer Horror

Born 1946, Danish actress and model Yutte Stensgaard became a minor cult figure in British cinema during the late 1960s and early ’70s.

With her striking Nordic beauty, long blonde hair, and sensual screen presence, she is best remembered for her role as the seductive vampire Mircalla/Carmilla in Hammer Film Productions’ Lust for a Vampire (1971). Although her acting career was relatively short, she appeared in several popular British television series such as The Saint, Department S, and The Persuaders!, as well as the cult horror film The Vampire Lovers (1970).

Stensgaard embodied the liberated, glamorous “Swinging Sixties” ideal and remains a favorite among fans of classic Hammer horror. These striking vintage photographs capture the hypnotic beauty, seductive charm, and magnetic screen presence of Yutte Stensgaard, one of the most unforgettable faces of early 1970s Hammer Horror.

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50 Gorgeous Photos of a Young and Beautiful Jane Seymour in the 1970s

Jane Seymour (born Joyce Penelope Wilhelmina Frankenberg on February 15, 1951) is a British-American actress best known for her versatility, timeless beauty, and decades-spanning career in film and television.

Seymour began her acting career in the late 1960s, but rose to international fame as Solitaire, the psychic Bond girl, in Live and Let Die (1973), opposite Roger Moore in his first outing as James Bond. This role propelled her into international fame.

She starred in several historical and costume dramas, showcasing her classic beauty and elegance. Notable works include: The Onedin Line (BBC series, early 1970s), The Strauss Family (1972), and Captains and the Kings (1976 miniseries). Throughout the 1970s, Seymour also appeared in numerous British and American television productions, often cast in roles that highlighted her poise, charm, and ability to portray nobility or romantic leads.

Seymour was known for her regal, timeless beauty, with long flowing hair (often auburn or dark brown), expressive eyes, and a poised demeanor. Her 1970s fashion blended bohemian elegance with classic Hollywood glamour, often seen in flowing gowns, soft fabrics, and natural makeup. She was frequently compared to the great beauties of classic cinema, and her look was both modern and nostalgic, fitting well in period pieces.

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“Born Bound” – Italian Tradition of Swaddling Newborns Abandoned

In Italian cultural history, “Born Bound” (known locally as Nati Fasciati) refers to the ancient, pervasive custom of tightly swaddling newborn infants. The centuries-old practice immobilized infants like “tiny mummies” immediately following birth. It remained a standard child-rearing practice across Italy, particularly within the isolated valleys of northern regions like Trentino-Alto Adige and Friuli Venezia Giulia, until it finally faded during the 1950s and 1960s.

Midwives or grandmothers would stretch the baby’s legs straight with precision, pin the arms to the sides, and wrap the entire body (from feet to shoulders) tightly with bandages or fabric, creating an almost rigid, mummy-like bundle. Babies could remain like this for hours, days, or even weeks.

It was believed to prevent deformities (e.g., bowed legs), promote straight growth, improve sleep, and keep the infant safe and immobile. This was practical in rural areas where mothers had other children and farm work. The tradition was ancient and unquestioned.

It faded in the mid-20th century due to modern pediatric insights on infant development and motor skills. A notable figure was Dr. Fabiani, a young doctor in a Friuli village, who worked respectfully with local mothers and midwife Norma Marcuzzi to introduce evidence-based practices without confrontation. This gradual, empathetic approach helped shift traditions.

This was a localized custom, not nationwide, and reflects broader historical European swaddling practices that emphasized shaping and restraining infants for perceived health and safety reasons.