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. 

1940s Gas Stations: Icons of Service and Style

In the 1940s, gas stations were much more than mere refueling stops; they were vibrant symbols of American mobility and a “service-first” culture.

Architecturally, many stations from this era featured the Streamline Moderne style, characterized by rounded corners, white porcelain-enameled walls, and glowing neon signs that beckoned travelers from the roadside. This was the golden age of “full service,” where uniformed attendants would promptly greet drivers to not only pump gas but also scrub windshields, check oil levels, and inflate tires, all as part of the standard experience. Iconic tall pumps with glass globes or the newer “clock-face” meters stood as technological marvels of the time.

Whether surviving the era of wartime rationing or fueling the post-war travel boom, these stations served as essential community hubs and landmarks of a rapidly motorizing world.

Baker Service

Burnett

Burnett

Cities Service

Cities Service

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Portraits of Steven Spielberg Posing With E.T. the Extra-Terrestrial in 1982

Steven Spielberg’s E.T. the Extra-Terrestrial (1982) is one of his most personal films, inspired by the loneliness he felt as a child after his parents’ divorce. He initially conceived E.T. as an imaginary friend to fill the void of an absent father figure.

Artist Carlo Rambaldi designed the animatronic E.T., blending the features of Albert Einstein, Ernest Hemingway, and Carl Sandburg to give the creature a wise and ancient appearance. The physical character was brought to life by three main actors in suits: Tamara De Treaux and Pat Bilon (little people), and 12-year-old Matthew DeMeritt, who was born without legs and performed E.T.’s “waddling” walk on his hands.

Spielberg famously shot the movie in rough chronological order to help the child actors, including Henry Thomas (Elliott) and Drew Barrymore (Gertie), build a genuine emotional connection with the puppet. To prevent plagiarism, the film was shot under the fake title A Boy’s Life, and E.T.’s design was kept secret until the film’s premiere.

E.T. was nominated for nine Academy Awards, winning four, including Best Original Score for John Williams’ iconic music. The film surpassed Star Wars to become the highest-grossing film of all time, a record it held until Spielberg broke it himself with Jurassic Park in 1993.

Here are images of Steven Spielberg posing with the E.T. prop during production and promotion in 1982:

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