20 Photos of Kathryn Harrold During the 1980s

Kathryn Harrold (born August 2, 1950) is a retired American actress who was a familiar leading lady in Hollywood during the late 1970s, 1980s, and early 1990s. Known for her intelligence, natural screen presence, and distinctive Southern-accented voice, she starred opposite some of the era’s biggest names, including Steve McQueen, Albert Brooks, Arnold Schwarzenegger, and Luciano Pavarotti. After leaving acting, she began a successful second career as a licensed marriage and family therapist.

Harrold began her professional career on the NBC daytime soap The Doctors (1976–1977), portraying Nola Dancy Aldrich. She quickly became a familiar television face, appearing in series such as Starsky & Hutch and The Rockford Files, where she played Dr. Megan Dougherty, a blind psychologist who develops a romantic relationship with Jim Rockford. Those episodes remain among her most memorable television performances.

Harrold’s film career took off in 1979 with the horror film Nightwing, but her breakthrough came the following year as Dotty in The Hunter (1980), the final film starring Steve McQueen. She followed with several notable starring roles: Modern Romance (1981), The Pursuit of D. B. Cooper (1981), The Sender (1982), Yes, Giorgio (1982), Into the Night (1985), and Raw Deal (1986). Although she never became a major box-office superstar, Harrold was respected as a dependable leading actress capable of handling drama, romance, thrillers, horror, and action.

Throughout the 1980s and early 1990s, Harrold remained active on television. She starred in MacGruder and Loud (1985), The Bronx Zoo (1987–1988), I’ll Fly Away (1991–1993), The Larry Sanders Show, where she played Francine Sanders. Later, she made guest appearances on series including Chicago Hope, The Practice, Judging Amy, CSI: NY, Desperate Housewives, and Greek.

Rather than remain in the entertainment industry, Harrold pursued graduate studies at Antioch University Los Angeles, earning a master’s degree. She became a Licensed Marriage and Family Therapist (LMFT) in California and established a private counseling practice in Los Angeles, helping individuals and couples. She retired from acting around 2011 to focus on this new profession.

See more»

Rare Behind the Scenes Photographs From the Making of Queen’s “I Want To Break Free” (1984)

These photographs come from the private archive of Peter Hince, taken during the filming of Queen’s I Want To Break Free music video in 1984 at Limehouse Studios in London’s Docklands and a second studio in Battersea.

As Peter Hince recalled:

“The video for I Want To Break Free was done over two days, a brave tongue-in-cheek move by the band, well received... except in America, where it marked the beginning of the end for their popularity. The second day was the dressing-up in drag day. Fred revelled in it, and the others got into the spirit surprisingly well. John was happy as a grumpy old grandmother but refused currants and sultanas for warts. Brian, though convincing, was unlikely to change careers, and Roger was just a bit too convincing as he shaved his legs for his schoolgirl role. The atmosphere was very good and everyone appreciated that rock stars could make fun of themselves.

“The following morning, I flew to Japan with John, Roger and his assistant Crystal for a three-week promotional tour of the Far East, Australia and Los Angeles for The Works. The other single from The Works was ‘It’s a Hard Life,’ a grand pompous affair the band hated, done at Arri studios in Munich. Fred’s deep-pink, shiny outfit made him look like an overcooked tandoori king prawn.”

The images offer a rare behind the scenes look at that moment, not just the performance, but the atmosphere around it.

Peter Hince began his career in the music business in 1973 as an eighteen-year-old roadie working with David Bowie. Later that year, while touring with Mott the Hoople, he first encountered the then-unknown band Queen, who were supporting the group on their UK tour. During this period, Hince also worked on tours for artists including Lou Reed, Mick Ronson, Supertramp and Roxy Music, among others prominent in the 1970s music scene.

In the summer of 1975, as Queen recorded A Night at the Opera, Hince joined the band full-time. He served primarily as roadie to Freddie Mercury and bassist John Deacon, later becoming head of the band’s road crew. During his more than a decade with Queen, Hince developed a passion for photography. Trusted by the band, he was frequently able to capture set-up and candid moments in the studio, during rehearsals, on video shoots and behind the scenes on tour. Many of these photographs were subsequently used internationally on album sleeves, single covers, posters and other promotional material.

Following Queen’s final tour in 1986, Hince left the music industry and turned his long-standing hobby into a successful career as a photographer. He went on to win awards for his advertising work as well as for his distinctive black-and-white underwater photography. Throughout this period he remained close to Queen, particularly Freddie Mercury, photographing Mercury’s solo projects and attending many of his private events and gatherings.

Based in London and Munich, Peter Hince continues to write, manage his photographic archive, and appear as a corporate and guest speaker on Queen and the music business of the 1970s and 1980s.

See more»

Isabelle Adjani and the Photographers’ Strike at the 1983 Cannes Film Festival

At the 1983 Cannes Film Festival, French actress Isabelle Adjani became the center of one of the most famous red carpet protests in history when photographers put down their cameras and turned their backs on her.

Adjani arrived at the festival to promote her upcoming thriller One Deadly Summer (L'été meurtrier). Deeply frustrated by aggressive media intrusion into her personal life, she actively avoided the press. She refused to attend the traditional film press conference photo ops. She shielded her face with umbrellas and bags whenever photographers approached. She would only pose for a select few photographers who signed strict exclusivity agreements.

The press core felt insulted by her actions and decided to retaliate. On the evening of May 10, 1983, as Adjani arrived at the Palais des Festivals for the formal red carpet premier, the photographers executed a silent strike. Hundreds of photographers placed their cameras directly onto the ground. They turned their backs completely to the steps as she walked by. There were no flashing bulbs or shutter clicks for France’s most sought-after actress.

Despite the tension on the red carpet, One Deadly Summer went on to become a major commercial and critical success in France, cementing Adjani’s reputation as one of French cinema's defining talents of the era. This historic standoff remains a legendary example of the complex, volatile relationship between high-profile celebrities and the paparazzi.

Striking Photographs of Kate Bush During the Photoshoot for Her Single “Babooshka” (1980)

The iconic 1980 Kate Bush photoshoot for the single art of “Babooshka” was captured by her older brother and frequent artistic collaborator, John Carder Bush. Taken in June 1980 to promote the leading single from her third studio album Never for Ever, this visual session perfectly mirrors the song’s themes of deception, dual identity, and marital alienation.

Released in June 1980 as the second single from her third studio album, Never for Ever, “Babooshka” became one of Kate Bush’s biggest global hits, reaching No. 5 on the UK Singles Chart and top-10 positions across Europe and Australia.

While “babushka” is the Russian word for “grandmother,” Bush later admitted she didn’t realize the meaning at the time. She chose it purely for its rhythmic, evocative sound to serve as the pseudonym chosen by the jealous wife sending secret love letters to her own husband.

“Babooshka” features one of the earliest prominent uses of the Fairlight CMI synthesizer’s digital sampling capabilities. The dramatic, shattering glass sounds during the song’s climax were recorded by dropping crockery and glass in the studio, then sampled and sequenced onto the keyboard. The single was backed with “Ran Tan Waltz,” a tragicomic track about a man complaining about his drunken, neglectful wife, contrasting the dark romance of the main track.

Never for Ever debuted at No. 1 on the UK Albums Chart shortly after the single’s release, making Bush the first British solo female artist to top the UK album chart and the first female artist to enter the chart straight at No. 1.

See more»

35 Bold Photos Capturing 1980s Young Fashion

These bold vintage photos, from Steven Martin, perfectly capture the vibrant and rebellious spirit of young fashion in the 1980s. From oversized blazers, neon colors, and shoulder pads to acid-wash jeans, leather jackets, and statement accessories, the images showcase the bold individuality and high-energy style that defined the decade.

Whether on city streets, at parties, or hanging out with friends, these snaps reflect the confidence, creativity, and carefree attitude of 1980s youth culture, a time when fashion was loud, expressive, and unapologetically fun.

See more»

Some Adorable Photos of a Young Jennifer Lopez at High Shool

Before becoming a global superstar, Jennifer Lopez attended Preston High School, an all-girls private Catholic school located in the Bronx, New York, graduating in 1987. During her high school years, she was a dedicated student-athlete and performer, establishing the foundations of her legendary multi-hyphenate career.

Lopez frequently refers to herself as a “tomboy jock” during her youth. Her athletic background was extensive: She competed in middle-distance running events (such as the 800m and 1,500m) at a national level. She even famously claimed to have run a blazing 4:49 mile. She trained as a gymnast, which heavily aided her high-energy choreography skills later in life. She was an active member of the school’s varsity softball team.

Alongside sports, her passion for the entertainment industry began developing right on the high school stage: She actively participated in the school’s musical theater program. She landed a major lead role in a high school production of the musical Godspell, where she sang “Day by Day.”

“I remember watching Rita Moreno in West Side Story and going, ‘That’s what I want to do. I want to sing and I want to dance and I want to act,’” she said.

Upon graduating from Preston High School, she briefly took up a job at a law office and attended Baruch College for a single semester. She ultimately decided to drop out to pursue full-time dance training, which paved the way for her breakout gig as a “Fly Girl” dancer on In Living Color.

34 Stunning Photographs of a Young and Beautiful Stephanie Seymour Taken by Arthur Elgort in the 1980s

Stephanie Seymour (born July 23, 1968) is an American model and actress. During the 1980s and 1990s, she was one of the most popular supermodels, being featured in the Sports Illustrated Swimsuit Issue and on the cover of Vogue, as well as being a former Victoria’s Secret Angel. She had a book published about beauty tips and has participated in advertising campaigns for clothing and cosmetic products.

Arthur Elgort photographed Seymour extensively for Vogue in the mid-to-late 1980s (notably 1986–1989), during her rise as a supermodel. Elgort’s signature style—relaxed, candid “snapshot” aesthetics with natural light, movement, and real-world or studio settings that felt alive—suited Seymour’s youthful, versatile look perfectly. He broke from stiff, overly posed studio work by encouraging models to move freely, often shooting outdoors or in dynamic indoor setups.

Elgort rarely asked models to freeze in rigid, geometric poses. Instead, he shot Seymour in motion—laughing, walking, balancing on furniture, or interacting with her surroundings. Moving out of dark studio spaces, Elgort favored open air, city streets, cafes, and natural daylight. This gave Seymour’s portraits a fresh, sunlit warmth rather than a heavy, artificial polish.

While the clothing remained central to Vogue and commercial assignments, Elgort prioritized Seymour’s natural vitality, athletic posture, and expressive charisma. This emphasis on individual persona was key to birth of the 1980s and 1990s “supermodel” phenomenon. Using lighter, mobile camera setups, Elgort worked quickly, capturing split-second candid reactions between formal takes, moments that often became the final chosen editorial shots.

See more»

Rare Photos of 18-Year-Old Slash at His Home in LA, California in 1983

In 1983, Saul Hudson, better known as Slash, was just 18 years old and still a few years away from global fame with Guns N’ Roses. At that time, he was living in Los Angeles and actively immersed in the local rock scene. He had recently taken up the guitar seriously, having started in his mid-teens after a brief stint on BMX bikes.

Around this time, Slash formed a band with Steven Adler and Duff McKagan called Road Crew, inspired by the Motörhead song “We Are The Road Crew.” The band struggled to find a singer and ultimately disbanded, but it laid the groundwork for future collaborations. The main riff for what would become Guns N’ Roses’ “Rocket Queen” was reportedly written during this period.

Slash was intensely dedicated to playing guitar, often practicing for up to 12 hours a day. He was influenced by bands like Led Zeppelin and Aerosmith, and teachers helped him refine his skills. He was also reportedly playing a B.C. Rich electric guitar and a handmade Les Paul copy around this time.

See more»

20 Portraits of a Young Willem Dafoe in the 1980s

Willem Dafoe (born July 22, 1955) rose to prominence in the 1980s as a striking, intense character actor known for his unique angular features, lean build, prominent cheekbones, and expressive eyes. He started with experimental theater in New York before breaking into film. In the early 1980s, he often played brooding outsiders, biker gang leaders, or villains, leveraging his edgy, non-traditional leading-man look—think sharp facial structure, sometimes with styled or longer hair, and a physical, intense presence.

Dafoe spent the early 1980s anchored in New York City as a core member of the experimental, radical theater collective The Wooster Group. His official film debut was an uncredited role in the infamous box-office bomb Heaven’s Gate (1980), from which he was actually fired during production.

His highly striking, angular face initially typecast him as an outlaw. He played motorcycle gang leaders in Kathryn Bigelow’s directorial debut The Loveless (1982) and Walter Hill’s rock-and-roll fable Streets of Fire (1984). Audiences truly took notice when he played the cold-blooded, stylish counterfeiter Eric Masters in William Friedkin’s neo-noir masterpiece To Live and Die in L.A. (1985).

In 1986, Oliver Stone cast him against type as the deeply empathetic, moral compass Sergeant Elias Grodin in Platoon. The film was a massive success, and the iconic image of a wounded Elias raising his arms to the sky became a defining visual of 1980s cinema. His performance in Platoon earned him his very first Academy Award nomination for Best Supporting Actor.

In 1988, he took on the immensely complex and controversial role of Jesus Christ in Martin Scorsese’s The Last Temptation of Christ. That same year, he starred as an idealistic FBI agent opposite Gene Hackman in the civil rights thriller Mississippi Burning.

Willem Dafoe finished the 1980s showcasing his absolute range by playing a concentration camp prisoner forced to box for survival in Triumph of the Spirit (1989) and a paraplegic Vietnam war veteran in Oliver Stone’s Born on the Fourth of July (1989).

See more»

36 Photographs of Robin Williams on the Set of “Good Morning, Vietnam” (1987)

When Barry Levinson’s Good Morning, Vietnam hit theaters in late 1987, it marked a watershed moment for Robin Williams. Up to that point, Hollywood had struggled to capture his electric, high-wire comedic energy on film without it feeling either overly constrained or scattered. Playing real-life Armed Forces Radio Service DJ Adrian Cronauer proved to be the perfect vessel, giving Williams the freedom to unspool brilliant, rapid-fire improvisations in front of the mic while anchoring the story in the stark, sobering realities of 1965 Saigon.

Because filming in Vietnam wasn’t possible in 1986, production took place in and around Bangkok, Thailand. The heat and humidity were relentless, but the location provided authentic Southeast Asian architecture and vibrant street life to recreate 1965 Saigon.

Levinson reportedly set up multiple cameras in the radio studio set, gave Williams a few basic bullet points, and simply let him riff. Almost all of Cronauer’s frantic, brilliant radio broadcasts were improvised on the spot by Williams in single, unbroken takes.

Outside the radio booth, the film explored the rising tension before full-scale military involvement. Williams struck a delicate balance between irreverent humor and empathetic connections with local Vietnamese civilians and GI soldiers.

The performance earned Williams his very first Academy Award nomination for Best Actor and solidified his status as a major cinematic lead capable of blending top-tier comedy with deep dramatic resonance. In 2000, the film ranked number 100 on the American Film Institute’s “100 Years...100 Laughs” list, containing 100 movies considered the funniest movies in American cinema.

See more»