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July 17, 2026

Photos of 17-Year-Old Phoebe Cates on the Set of Her Debut Film “Paradise” (1982)

Phoebe Cates’ experience on the set of Paradise (1982) was highly stressful, and it ultimately left her with deep regrets about the project. Paradise was her feature film debut,shot when she was just 17 years old, and it heavily modeled itself after the massive success of Brooke Shields’ The Blue Lagoon (1980). However, the reality of the shoot in Israel’s Negev Desert was far from ideal.

Cates was originally a successful teenage model but wanted to transition into acting. After passing a screen test in New York, she was offered the lead role of Sarah. She was highly apprehensive about the extensive nudity required by the script, but she ultimately took the job after her father encouraged her to accept it.

Filming in the harsh Negev Desert from March to May of 1981 proved to be a difficult learning curve. Cates noted in a 1982 interview that she struggled with the self-consciousness of her new career: “As a model, you have to be conscious of the camera; but as an actress, you cannot.”

The primary source of Cates’ distress and subsequent anger toward the film was how the production handled her nude scenes. While she did film several revealing scenes herself, she later discovered that the producers had used a body double to shoot much more explicit, close-up nude shots of her character without her knowledge or consent. The experience completely soured her view of the movie. Upon its release, she made her stance very clear. She later stated, “What I learned was never to do a movie like that again.”

Her co-star, Willie Aames, revealed that Cates was so upset about how she was treated that she completely distanced herself from the film and refused to do any promotional press alongside him. Interestingly, despite hating the film, she did record the movie’s main vocal theme, “Paradise,” which actually became a major pop hit in parts of Europe and Asia.

Fortunately, her very next project, Fast Times at Ridgemont High (released just six months later in late 1982), catapulted her to genuine stardom on her own terms.



























July 16, 2026

26 Amazing Photographs of Ginger Rogers Playing Tennis From the Mid-20th Century

Academy Award-winning actress and dancer Ginger Rogers was a highly accomplished tennis player who took the sport seriously enough to compete at the highest level of American tennis. While best known for her legendary Hollywood dance partnerships, her athletic prowess extended far beyond the studio dance floors.

Her dedication culminated in playing in the mixed doubles draw at the 1950 U.S. National Championships (now known as the US Open) at Forest Hills. At 39 years old, she partnered with Frank Shields (the grandfather of actress Brooke Shields). Though they were eliminated in the first round, competing at a Grand Slam level cemented her status as a legitimate tennis player.

Her former assistant, Roberta Olden, told Fox News that Rogers was a very good tennis player who always beat her even though she was decades older than she was. Rogers initially played the sport alongside Hollywood legends such as Errol Flynn and Katharine Hepburn, but she was looking for a challenge, and she certainly got it at the tournament. Unfortunately, she and Shields lost to a much younger team. Rogers also competed in a celebrity tournament that took place in conjunction with the U.S. Open, but she and her partner lost before the final match.

Observers of her game frequently remarked that the same flawless footwork, balance, and timing that made her a transcendent dancer translates directly to her tennis style. She possessed a strong, competitive drive and continued to play well into her later years.

Rogers was highly influential in styling her own on-court looks, often opting for clean, tailored, and occasionally daring two-piece white ensembles that brought Hollywood elegance to the traditional tennis clubs of the mid-20th century.






50 Glamorous Photos of Barbara Stanwyck in the 1940s

Barbara Stanwyck (July 16, 1907 – January 20, 1990) was at the peak of her Hollywood stardom in the 1940s, becoming one of the era’s most versatile, highest-paid, and respected actresses. She was known for her strong, naturalistic screen presence, professionalism, and ability to excel in screwball comedies, dramas, melodramas, and especially film noir.

She starred in romantic and screwball comedies like Remember the Night (1940) with Fred MacMurray, The Lady Eve (1941) with Henry Fonda, Ball of Fire (1941) with Gary Cooper (earning her second Oscar nomination), Meet John Doe (1941) with Gary Cooper and Frank Capra, and You Belong to Me (1941).

By 1944, she was the highest-paid actress in the U.S., commanding an unprecedented salary of $400,000. Her iconic turn as the seductive, scheming femme fatale Phyllis Dietrichson in Double Indemnity (1944, with Fred MacMurray) earned her a third Oscar nomination and cemented her in film noir history. Other notable films included Lady of Burlesque (1943), the holiday favorite Christmas in Connecticut (1945), The Strange Love of Martha Ivers (1946, as a manipulative murderess with Van Heflin and Kirk Douglas), Sorry, Wrong Number (1948, fourth Oscar nomination as a vulnerable woman overhearing her own murder plot), and others like The Two Mrs. Carrolls (1947) and East Side, West Side (1949).

She worked with top directors (e.g., Capra, Preston Sturges, Billy Wilder) and was praised for her work ethic, versatility (from glamorous con artists to homemakers to tough survivors), and realism. She made dozens of films overall in her career but shone brightest here before transitioning more to TV later.

In the 1940s, Stanwyck had a sleek, elegant, and sophisticated look—often with shoulder-length or upswept wavy hair (sometimes in snoods, popular wartime style), tailored suits, glamorous gowns (many by Edith Head), and a poised, confident demeanor. She went prematurely gray and studios touched it up in photos. Her style mixed glamour with toughness, fitting her “dame” roles perfectly; she remains an icon for 1940s fashion inspiration.






Dorothy Tivis: The Forgotten Muse of Postwar Fashion

Dorothy Tivis (1919–2010) was a pioneering American model, fashion executive, and trailblazing feminist. Born in Fargo, North Dakota, she started her career in journalism before being discovered on a New York subway and rising to prominence as one of the top high-fashion models of the mid-1940s and ’50s.

Tivis made history in 1951 by becoming the first major fashion model to appear in a lingerie advertisement, famously fronting the iconic Maidenform “I dreamed I won the election in my Maidenform bra” campaign. After retiring from modeling, she transitioned into the corporate world, becoming Vice President of Marketing at Genesco and producing groundbreaking runway shows.

A bold innovator, Tivis co-founded “The Forgotten Woman,” one of the first fashion brands dedicated to plus-size women, and remained an active voice in feminism, politics, arts, and animal welfare throughout her remarkable life. These vintage photos beautifully capture Dorothy Tivis at the height of her modeling career in the 1940s.

Dorothy Tivis photographed by Horst P. Horst, Vogue, September 1, 1946

Dorothy Tivis in a gray square-cut double-breasted herringbone tweed suit by Kraus, accented with yellow scarf hat and gloves, photo by John Rawlings, Vogue, September 1, 1946

Dorothy Tivis in black lace skirt and blue satin with black lace jacket by Hattie Carnegie, photo by Horst P. Horst, 1946

Dorothy Tivis in black suit with yellow plaid trim on the jacket, photo by Horst P. Horst, Vogue November 15, 1946

Dorothy Tivis in fitted double-breasted suit by Larry Aldrich, photo by John Rawlings, Vogue, September 1, 1946

1947 Chrysler Town and Country Sedan: An Elegant Postwar Wood-Bodied Classic

The 1947 Chrysler Town and Country Sedan was one of the most stylish and luxurious station wagons of the immediate postwar era. Featuring Chrysler’s signature “woodie” design with rich mahogany and ash wood trim on the sides and rear, it combined the practicality of a family car with the sophistication of a premium automobile.

Powered by a 251 cubic-inch inline-six engine, the Town and Country offered smooth performance and a refined ride. With its elegant two-tone paint, chrome detailing, and distinctive wood paneling, it perfectly embodied the optimistic spirit and growing prosperity of America in the late 1940s.

These photos beautifully showcase the timeless elegance and distinctive charm of the 1947 Chrysler Town and Country Sedan. With its classic woodie styling and luxurious details, the car remains one of the most iconic and desirable American automobiles of the postwar period, a true rolling masterpiece of design and craftsmanship.






Beautiful Linda Ronstadt Photographed by Martha Swope, 1980

In 1980, Linda Ronstadt was at a pivotal, transformative turning point in her life and career, defined by a bold transition from the “Queen of Rock” to a celebrated Broadway theater star.

Frustrated with the limits of stadium rock, Ronstadt shocked the music industry by moving to New York City to star in the New York Shakespeare Festival’s production of Gilbert and Sullivan’s comic operetta, The Pirates of Penzance. She played the innocent, high-soprano lead role of Mabel.

Critics doubted a rock star could handle the demanding operatic vocal ranges required for the part. The show opened in Central Park in August 1980 to rave reviews and massive commercial success. Her performance silenced critics, shattered box office records, and eventually earned her a Tony Award nomination.

Before hitting the stage, Ronstadt released her tenth studio album, Mad Love, in February 1980. The record featured a distinct, aggressive New Wave and punk-infused sound. She covered tracks by Elvis Costello and moved away from her signature 1970s country-rock style. The album was a commercial hit, entering the charts at number five (a record-breaking debut for a female artist at the time) and quickly going platinum.

Visually, Ronstadt debuted a dramatic makeover in 1980 to match her musical shift. She traded her iconic 1970s long hair, peasant blouses, and hoop earrings for a short, spiked, modern New Wave haircut and edgy, minimalist fashion. This striking look was famously captured by photographer Annie Leibovitz for the cover of Rolling Stone, as well as by Martha Swope in her studio portraits:









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