Their relationship began during a time of great personal and professional transformation for Starr. As the 1970s ushered in new musical movements, the breakup of The Beatles cast a shadow over the band members’ lives, and Starr, along with his new romantic partner, found solace in each other’s company. Their connection symbolized a fusion of artistic creativity and personal camaraderie, as they shared moments of quiet reflection amid the chaos of the music industry. One particularly charming memory from their relationship is captured in photo booth images, candid snapshots of their shared laughter and love during this defining period.

“I met Ringo on a Monday afternoon in May 27, 1974,” said Nancy. “John had rented actor Peter Lawford’s infamous Santa Monica beach home where he and May Pang hosted many get-togethers. Girlfriends and wives were cooking in the kitchen and kids were swimming in the pool. It was a family get-together, rock ‘n’ roll style. A seat was offered to me at the poker table and I found myself next to Ringo.  He was so charming, playful, witty and cute as hell. He might have had sad eyes, but they were twinkling at me that day.”

“After our first date we were hooked on each other,” Nancy continued. “We just continued until one day we were looking for a house together and we were a couple. Our world was fast and on the move all over the world. We had a place in Monte Carlo, England, Amsterdam and LA. Between the recording studios, movie premieres, promotion tours, traveling nine months a year and juggling the children, friends and family we were gypsies — elegant gypsies. Sometimes we would unplug the phones and hide out in our own house not letting anybody know we were in town. Just a few days of old movies, some home made popcorn and our favorite meals. Those days were some of our best times.”

They were in a committed relationship for about six years and got engaged following Ringo’s divorce from Maureen Starkey in 1975. During a romantic holiday in Mexico, Nancy co‑wrote the song “Las Brisas” with Ringo, which appeared on his 1976 album Ringo’s Rotogravure.

Baes published in 1941 an illustrated booklet entitled Histoires de peintres racontées et illustrées par Firmin Baes containing anecdotes relating to painters and their work. Below is a collection of beautiful portrait paintings by Firmin Baes from the early 20th century.

In the 1980s, Engel continued to charm audiences with her signature soft voice, gentle demeanor, and impeccable comedic timing. She was a regular on the short-lived sitcoms Goodtime Girls (1980) as Loretta Smoot and Jennifer Slept Here (1983-1984) as Susan Elliot. Engel made guest appearances on several popular shows, including The Love Boat (1981, 1982) and Fantasy Island (1981). She also had a guest role on Mork & Mindy in 1980, and on The Associates in 1980 as Wendy Turner.

Engel appeared in the TV movie The Day the Women Got Even (1980) as Kathy Scott. She provided voice work for animated features, including The Magic of Herself the Elf (1983) as Willow Song and The Care Bears Movie (1985) as Love-a-Lot Bear. She also had roles in the films Papa Was a Preacher (1985) and Signs of Life (1989).

Françoise Dorléac, born in 1942, was the elder of the two and began her career earlier, quickly establishing herself as a rising star in French film. She was known for her vivacious spirit, sharp wit, and elegance. Catherine Deneuve, born in 1943, rose to fame in the mid-1960s, earning a reputation for her cool, enigmatic beauty and subtle emotional depth. While Dorléac was more extroverted and spontaneous, Deneuve became known for her understated, mysterious screen presence.

The sisters appeared together in Jacques Demy’s musical The Young Girls of Rochefort (Les Demoiselles de Rochefort, 1967), in which they played twin sisters—an affectionate nod to their real-life relationship. The film showcased their chemistry, shared talent, and unique yet complementary personalities.

Tragically, Françoise Dorléac died in a car accident in June 1967 at the age of 25, just months after the release of The Young Girls of Rochefort. Her death deeply affected Deneuve and left a lasting mark on French cinema. Despite her brief career, Dorléac remains a symbol of brilliance and promise, remembered not only for her own work but also for the unique artistic connection she shared with her sister.

These vintage photos capture beautiful moments of Françoise Dorléac with her sister Catherine Deneuve in the 1960s.

“It was several days later when my cramps began. My first symptoms had been a noticeable shortness of breath. I would breathe and exhale and then get the panicky feeling I hadn’t breathed at all. Then I would gasp for another quick breath with the same result. My fingers began to cramp, and then my toes. For a time I could control this unusual cramping by forcibly straightening out my fingers and toes.

“One night in bed I woke up screaming. My arms were cramping from my fingers upward and curling simultaneously so that I could not use one arm to uncurl the other. My wife tried to pull my arm straight with some success, just as my toes began to curl; then my feet and legs bent backward at the knees. I panicked. What was happening to me? Next came the worst. The cramps in my arms advanced into my chest to the muscles that controlled my breathing. If this continued, I wouldn’t even be able to take a breath. I was sure I was dying.”

By the 1960s, the style grew bolder and more experimental. Interiors embraced vibrant colors like orange, avocado green, and turquoise, along with geometric patterns and psychedelic prints. Plastic, molded furniture, and space-age shapes became popular, reflecting cultural shifts and technological excitement.

Both decades valued functionality, but the 1960s leaned more into playful and futuristic design. Take a look at these vintage snaps to see the charm of 1950s and ’60s interiors.