Eleanor Tomlinson decided she wanted to be an actress, aged just ten, while perched on the knee of a Nolan sister.

Which Nolan, I ask.

Tomlinson is sitting on a sofa in a London photographic studio. Now 24, poised, tall and whip-thin in a jumpsuit with an olive green trilby on her head, which she doesn’t remove for the duration of the interview, which is fine, if a bit off-putting. I’m not sure anyone I’ve interviewed remained behatted throughout; not even Marilyn Manson.

Regarding the Nolan:

“Whichever one was in The Bill,” Tomlinson says. (It was Bernie.)

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Leonora Carrington in her studio (1987). Photographed by Kati Horna.

Carrington (1917–2011), through her paintings and sculptures, often explored notions of femininity in the whimsical, dreamlike style of Surrealism. Carrington was born into an upper-class, Irish-Catholic family in England, but struggled to conform to societal standards. She found refuge in art, and in 1936 she enrolled in new art academy founded by painter Amédée Ozenfant in London.


The Beatles spend their evening rehearsing ‘Fool On The Hill’ in Studio Two, EMI Studios, London, photographed by Koh Hasebe (layouts as published by Shinko Music, Pub.). (September 25th, 1967)

A Day In The Life - 30th March 1967: Cover shoot for Sgt. Pepper’s Lonely Hearts Club Band.

Prior to a late night recording session at Abbey Road, The Beatles visit Michael Cooper’s London photographic studio where the cover photographs for Sgt Pepper’s Lonely Hearts Club Band are taken.

The shoot takes place at 4 Chelsea Manor Studios, 1-11 Flood Street, just off King’s Road in Chelsea. The studios opened in 1902, and Cooper established his studio from 22 July 1966.

The Beatles arrive in the late afternoon. The soon-to-be-famous collage, designed by Peter Blake and his wife Jann Haworth, had been assembled in the studio during the preceding eight days. In addition to the front cover shot, The Beatles also pose for the images used on the back cover and the gatefold sleeve.

The cover came about after Paul McCartney came up with the album title. He took some ideas to his art dealer friend Robert Fraser, who suggested they use Blake, Haworth and Cooper to realize the concept.

McCartney’s initial idea is to stage a presentation featuring a mayor and a corporation, with a floral clock and a selection of photographs of famous faces on the wall behind The Beatles. McCartney takes the list and sketches to Peter Blake, who develops the concept further. Further names are added and others fell by the wayside.

Jesus and Hitler are among John Lennon’s choices, but they are left off the final list. Gandhi, meanwhile, is disallowed by Sir Joseph Lockwood, the head of EMI, after he tells them they would have problems having the sleeve printed in India.