40 Amazing Portraits of Alice Cooper in the 1970s

Alice Cooper (born Vincent Damon Furnier; February 4, 1948) is an American singer and songwriter. With a career spanning more than five decades, Cooper is known for his raspy singing voice and theatrical stage shows that feature numerous props and illusions. He is considered by music journalists and peers to be “The Godfather of Shock Rock.”

Before he was a solo artist, Alice Cooper was the name of a five-piece band consisting of Vince Furnier (vocals), Glen Buxton, Michael Bruce, Dennis Dunaway, and Neal Smith. After moving to Detroit, they found success with the 1971 hit “I’m Eighteen” and the 1972 anthem “School’s Out.” Their 1973 album Billion Dollar Babies hit #1 in both the US and UK, featuring a tour that broke box-office records previously held by the Rolling Stones. Their live shows became legendary for featuring guillotines, electric chairs, fake blood, and live boa constrictors.

The original band split in 1975, and lead singer Vince Furnier legally changed his name to Alice Cooper to launch a solo career. Landmark concept album Welcome to My Nightmare (1975) and its massive stage production solidified his status as a theatrical icon. Later in the decade, Cooper experimented with softer, more mainstream ballads like “Only Women Bleed” and “You and Me.” By the late 1970s, Cooper’s heavy alcoholism led to his hospitalization, an experience he chronicled in the 1978 album From the Inside.

Cooper became a household name, making surreal guest appearances on TV shows like The Muppet Show and The Snoop Sisters. The original band was inducted into the Rock and Roll Hall of Fame in 2011 for their 1970s contributions.

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Two American Businessmen Destroy a Japanese-Made Car, 1982

This image captures a 1982 protest event in northern Indiana where two businessmen, Jim Coleman and Charlie Cobb, publicly smashed a Japanese-made car to protest the influx of Japanese imports and the resulting economic hardship for American auto workers.

The event was a charity fundraiser sponsored by local steelworkers’ union leaders. For a dollar per swing, attendees could take a turn hitting the car with a sledgehammer. The money raised was then used to help the families of laid-off workers in the economically hard-hit steelmaking region. The signs for “Radio Shack” and “Hoosier State Bank” visible in the background indicate the local setting where the event took place.

Jackie Stoloff: The Quintessential Muse of 1950s High Fashion

Jacqueline “Jackie” Stoloff was a celebrated model in the high-fashion world of the late 1940s and early ’50s, epitomizing the era’s transition from post-war elegance to the spirited “Youthquake” movement.

Renowned for her striking bone structure and effortless poise, Stoloff was a frequent presence in the pages of Vogue and Harper’s Bazaar, often working with legendary photographers such as Richard Avedon, Georges Saad and Philippe Pottier. She was more than just a model, she was considered a muse who could embody both the sophisticated “New Look” couture and the emerging, more relaxed styles of mid-century modernism.

Her ability to project a sense of quiet intelligence and refined grace made her one of the most sought-after faces of her generation, leaving an indelible mark on the visual history of 20th-century fashion.

Jackie Stoloff wearing feathered hat by Jacques Fath, photo by Willy Maywald, 1950

Jackie Stoloff wearing wide brimmed black horsehair hat broken by four cross folds evoking a windmill by Caroline Reboux, photo by Philippe Pottier, 1950

Jackie Stoloff in a finely tailored coat-dress by Jacques Fath, photo by Seeberger, Vogue, Paris, November 1950

Jackie Stoloff in black silk crêpe dress printed with large blue butterflies, by Jeanne Paquin, photo by Georges Saad, 1950

Jackie Stoloff in black-and-green pin-checked dress worn nunder a belted tunic jacket by Jean Dessès, photo by Jean Moral, Paris, Harper's Bazaar UK, October 1950

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Key-Book Portraits of Ida Lupino for Use in Promotion of Her Second Film for Paramount, “Come On Marines!” (1934)

In the 1934 pre-Code comedy-adventure Come On, Marines!, 16-year-old Ida Lupino plays the female lead, Esther Smith-Hamilton. The film follows a squad of Marines who are sent into the Philippine jungle to rescue a group of shipwrecked “children,” only to discover they are actually a troop of beautiful young women.

Lupino portrays Esther, the leader of the shipwrecked “beauty chorus.” At this stage in her career, Paramount marketed Lupino as “The English Jean Harlow.” In this film, she sports a platinum blonde coiffure and elegant attire that stays surprisingly pristine despite the jungle setting. She plays the primary romantic interest for Richard Arlen's character, Sergeant “Lucky” Davis, who is tasked with her rescue.

While the Marines are depicted in muddy, wet clothes, Lupino and the other women remain “elegantly dressed and beautifully coiffured” throughout their jungle ordeal. The film features other notable “beauties,” including a very young Ann Sheridan (credited as Clara Lou Sheridan) and Toby Wing. The jungle scenes were shot on the Paramount lot in a studio tank replicated to look like a swamp, as well as at Sherwood Lake.

Come On, Marines! isn’t remembered as a classic, but it’s important in Lupino’s arc: a young British-born actress learning how Hollywood works, long before she’d rebel against it by becoming one of the first major female directors in American film history.

40 Amazing Photos Capture Boston Streets in the Winter of 1960

American photographer Nick DeWolf took these amazing photos which offers a nostalgic journey back to the winter of 1960, capturing the grit and grandeur of Boston’s streets under a heavy blanket of snow.

From the elegant, slush-covered brownstones of the Back Bay to the bustling, frost-nipped corners of Downtown Crossing, these images preserve a frozen moment in New England history. You’ll see vintage sedans navigating icy thoroughfares, residents bundled in classic mid-century wool coats, and the quiet, ethereal beauty of the Public Garden in white.

Whether it’s the glow of streetlights reflecting off frozen puddles or the towering snowbanks lining the curbs, these photographs serve as a poignant time capsule of a city defined by its resilience and timeless winter charm.

Anderson Street, Beacon Hill, Boston, 1960

Acorn Street, Beacon Hill, Boston, 1960

Alley, Beacon Hill, Boston, 1960

Beacon Street, Beacon Hill, Boston, 1960

Beacon Street, Beacon Hill, Boston, 1960

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“Tot-Guard” Child Safety Car Seat Made by the Ford Motor Company

Seat belts may be all right for adults, but try keeping a squirming five-year-old child buckled up for a long automobile ride. It cannot be done, short of resorting to chloroform. In the late 1960s, the Ford Motor Co. showed off its answer: a 5-lb. padded plastic body shield called the “Tot Guard.” The child sits on a molded seat; then a loosely fitting, one-piece leg-and-body “cast” is placed over him. The seat belt loops around in front to secure the entire apparatus, allowing the child to move around inside his cast but also to stay in one place.

The “Tot-Guard” was one of the earliest examples of a child restraint system developed by an American car manufacturer with crash protection in mind. The design was unique at the time, utilizing a large, hollow-molded polyethylene shield that fit over the child's body and was secured by the vehicle’s existing lap belt. This “impact shield” design was intended to distribute impact forces over a larger surface area of the child’s body in a collision.

The system consisted of three main parts: a molded seat base, the large body shield, and a removable foam pad for the inside of the shield. It was a forward-facing only car seat. Ford engineers have tested the device extensively on their own children and claim that the kids ride contentedly for as long as four hours at a time.

While an innovative step, it was not widely used initially. Public education and later government mandates for child restraints were necessary for widespread adoption of car seats. The “Tot-Guard” was designed and tested according to the much less stringent safety standards of the late 1960s and early 1970s, before modern regulations (like the 1971 Federal Motor Vehicle Safety Standards and later updates) were fully in place.

By today’s standards, its design (bulky, minimal padding, reliance solely on a lap belt for the shield) is considered highly unsafe. Modern car seats use advanced materials, five-point harness systems, and rigorous crash testing to offer superior protection. The “Tot-Guard” is now a historical artifact, found in museums like The Henry Ford, and is not legal or safe to use for transporting children today. Modern car seats expire after a certain number of years (usually 6-10 years from the date of manufacture) and should never be used if they are old or have been in a crash.

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Rosenberg Children Read in the Newspaper on June 19, 1953 That Their Parents Have One Day More to Live

On June 19, 1953, just one day before the scheduled execution of their parents, Julius and Ethel Rosenberg, young Michael (10) and Robert (6) were photographed reading the devastating news. The Rosenbergs had been convicted of conspiracy to commit espionage, accused of passing atomic secrets to the Soviet Union during the height of the Cold War. Their trial and execution became one of the most controversial moments in American history, fueling debates about justice, politics, and fear in an era defined by suspicion.

Michael Rosenberg, 10, right, and his brother, Robert, 6, sons of atom spies Julius and Ethel Rosenberg, read June 18, 1953 that their parents had one day more to live. The boys were at the home of friends in Toms River, N.J. The Rosenberg’s execution date had been delayed by a last-minute appeal to the U.S. Supreme Court, which turned a stay down. (AP Photo/Daily News)

After their parents’ execution, Michael and Robert were left orphaned and rejected by most of their relatives, who feared the stigma of being associated with the Rosenberg name. Salvation came when they were adopted by Abel and Anne Meeropol. Abel, a poet and teacher remembered for writing the haunting anti-lynching song “Strange Fruit,” gave the boys not just a home but a nurturing, politically aware environment that helped shape their future. They took the Meeropol surname and grew up determined to build meaningful lives out of a tragic beginning.

As adults, both brothers carved out paths that reflected both intellectual rigor and social commitment. Michael became an economist and professor, while Robert pursued law and later founded the Rosenberg Fund for Children, dedicated to supporting children whose activist parents face persecution. Together, they have spent their lives reassessing the case that defined their childhood—acknowledging Julius’s involvement in espionage while arguing passionately that their mother, Ethel, was unjustly convicted and executed with scant evidence. Their story stands as both a family tragedy and a testament to resilience in the shadow of history.

Ethel and Julius Rosenberg are seen during their espionage trial in New York. They were convicted on this day in 1951 and executed in 1953. (Associated Press)