Latest news with #Sixties
The Courier
18 hours ago
- General
- The Courier
Tay ferries and Royal Arch star as amateur photographer's photos of 60s Dundee unearthed
Old photographs which capture the changing character of Dundee have been digitised to bring the past back to life. They chart moments of city history and lost landmarks in the 1960s. The photos were taken by Dundonian Ron Wilson, whose lifelong passion for photography started from a young age, inspired by his mother. Ron was a Clydesdale Bank manager and well-known in Dundee. He died aged 69 in 2000. The slides had lain untouched for decades before his family decided to preserve them for future generations, including the grandchildren he never met. They were digitised by Grant Millar from Broughty Ferry, who runs a business converting cine films, videos, slides and negatives from the analogue era. His daughter Fiona Robb, from Kinross, said the collection goes back to 1959. She said: 'We have great memories of family evenings, setting up the projector and screen to look at the slides. 'Dad was interested in capturing events on his camera. 'Because he lived in Dundee for so long, he had a lot of photos of Dundee scenes. 'We wanted to get them digitised to preserve the images and prevent any further deterioration. 'Another reason was that my parents sadly did not get to meet their grandchildren. 'Preserving the photos lets the grandchildren have an idea of what their grandparents were like, as well as seeing their parents' generation growing up. 'It will give them a visual family history.' Ron was born in March 1931 in Dundee. He grew up in Glenprosen Terrace and attended Rockwell School and Harris Academy. After a period of National Service in the RAF, he started working as a bank clerk for the Clydesdale Bank in Dundee High Street and sat his bank exams. He lived in Glenprosen Terrace until he married Marjorie MacKenzie. And it was a double wedding at St David's North Church in August 1959. Marjorie's sister, Elizabeth MacKenzie, also tied the knot with Stanley Watson Millar. Ron and Marjorie moved to Downie Park in Dundee. Fiona was born in 1962 and Murray followed in 1966. The couple were both dedicated members of the High Kirk in Kinghorne Road. In addition, Ron was a keen photographer – both of family and Scottish scenery. Ron's photographs chronicle the transformation of Dundee in the Swinging Sixties. Street scenes include the old Overgate. And the Angus Hotel is shown welcoming visitors. The Grill and Griddle is pictured serving coffee and breakfast. The Tay Ferries are also still sailing in the photographs taken by Ron. The La Scala cinema was still showing movies. The Murraygate cinema had a narrow facade consisting of a large, square tower clad in white tiles and topped by a huge golden globe. It was recognised as the grandest cinema in Dundee. However, the spectacular building disappeared in October 1968. The Royal Arch and Dundee West Station are still standing in Ron's photographs. Dundee West was one of the city's gothic architectural masterpieces. It closed in May 1965 and was then demolished in April 1966. The Royal Arch stood at the junction of Dock Street and Shore Terrace from 1850. However, it was allowed to fall into disrepair and neglect. Slow but steady work started to dismantle the arch in February 1964. It was blown up with dynamite on March 16 1964. But some saw it as a deliberate act of cultural vandalism. The start of construction of the Tay Road Bridge is also recorded by Ron. The Tay Ferries were still in daily use up until the crossing took over. Rubble from the Royal Arch was used as foundations for the approach ramp. Fiona has spent hours admiring Ron's photographs. She said the family is incredibly proud of his collection. They also show private moments which were all the more precious. 'Dad's main camera was a Pentax Spotmatic SP II,' said Fiona. 'He always took it with him on trips. 'I think our grandmother sparked his lifelong passion for photography. 'We can fondly remember our gran using a Ricohflex box camera with the viewfinder on top and trying not to cut people's heads off! 'We remember that, as children, he would get us to stand still for him to photograph family portraits. 'On Christmas Day he got us to arrange our Christmas presents for a photo. 'This was partly so we could remember who to thank. 'My brother Murray and I can remember being a tad impatient with this process, as we were not allowed to play with our presents until the photo was taken. 'Parties and family occasions were also always photographed by my dad.' After stints as a bank accountant in St Andrews and Ayr, he moved with the family to Lochgilphead, in Mid-Argyll, after he was promoted to bank manager. But he never stopped taking pictures. Ron and Marjorie continued to live there after he retired from the bank in 1988. In 1992 they moved to Forfar. Ron always wore a shirt, tie and waistcoat – even after retiring. Fiona described her dad as quiet and reserved 'with a great sense of humour'. 'He was a very good provider to our family and worked extremely hard and conscientiously, doing his best to be helpful to his many customers,' she said. 'He was a devoted husband, father, son, nephew and family man. 'As well as his interest in photography, Dad was also an avid stamp, coin and toy car collector and proudly displayed his car collection in the hall of the family home.' He was also a fan of classic films and musicals. Westerns with John Wayne, Glenn Ford and Alan Ladd were always a favourite. Fiona said: 'He was a church elder and member of the Iona Community. 'He was also a Rotarian.' His idyllic retirement was shattered when Marjorie died in 1994. She was just 58. Ron was heartbroken. 'Dad regained some zest for life but never really recovered,' said Fiona. 'In the last five years of his life, he suffered a series of mini-strokes. 'He died in 2000, aged only 69. 'We are now so very grateful that he took all these photographs, as it gives us a wonderful collection of photos of family occasions, events in the Dundee area and shots of beautiful Scottish scenery. 'Unfortunately, our parents did not live long enough to meet their grandchildren. 'We want to keep our parents' memory alive, via Dad's photos, so that Joel and Lucas will have some idea of what their grandparents were like. 'When asked, people usually described our dad as a lovely man – unless you were one of the very few who he denied a loan to…'
Time of India
22-05-2025
- Entertainment
- Time of India
Remembering George Best: The Manchester United icon whose real life was stranger than fiction
George Best (via Getty Images) On what would have been his 79th birthday, the world remembers George Best, soccer's very first global icon and one of Manchester United 's longest-standing symbols. Born in Belfast, Northern Ireland, in 1946, Best mesmerized the crowd with his phenomenal talent, winsome personality, and life of glory and tragedy. Here are some unthinkable but true facts about George Best that encapsulate the life of a footballer like no other. A teenage debut that announced a star: The legend of George Best undefined George Best was born into a working-class family in Belfast. He had exceptional footballing talent from a young age. Spotted by a Manchester United scout, he left Northern Ireland as a teenager to join the club's youth system, marking the start of a career that would soon captivate the world. Already 17 years old, George Best made his Manchester United debut in 1963. With his blistering pace and hypnotic dribbling, he was instantly different, for he was one of the youngest ever to make an impact on English football then. George Best's fame and appeal gave him the name ' Fifth Beatle ' Such was George Best's fame in the 1960s that he was dubbed the 'Fifth Beatle' by the British media. With hair streaming down his back, modish sense of style, and irresistible charm, Best was a cultural icon far beyond football, the very image of the Swinging Sixties. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Grow and build next-gen AI skills with BITS Pilani. BITS Pilani WILP Apply Now Undo A European champion at the age of only 22 In 1968, George Best played a key role in Manchester United's record-breaking European Cup victory, the club's first ever. His individual winning goal against Benfica earned him his reputation as one of the best players in the world and won him the Ballon d'Or later that year. With 179 strikes from 470 matches, George Best remains on Manchester United's all-time top scorers' list. His strikes were breathtaking—solo runs, volleys, chips—and most of them remain revered today by supporters and football historians alike. A genius plagued with addiction Although he was a genius on the pitch, Best's personal life off of it was marred by struggles with alcohol. His addictions were no secret and ultimately led to his early retirement and decline in health. Despite this, though, he remained honest about his fight, eventually leveraging his experience as a tool to help raise awareness. While he never attended a major international tournament, Best earned 37 caps for Northern Ireland and netted nine times. Not being at football's biggest competitions did not deter him from being widely regarded as the best player ever from the country. After leaving Manchester United in 1974, Best played for several clubs in Scotland, Australia, and the United States, including the Los Angeles Aztecs and San Jose Earthquakes. Though his best days were behind him, fans flocked to see him play wherever he turned out. Following his retirement, Best was a respected football pundit and enjoyed frequent television appearances. His autobiography and candid discussion of addiction brought him sympathy and respect from football supporters across the globe. One of the first global football stars Long before the Internet age of social networking and modern-day football promotion, George Best was the first of the genuine football stars. His mix of flamboyance, skill, and charisma rewrote the definition of football star. George Best passed away in 2005, but his reputation continues to live on. From murals in Belfast to tributes at Old Trafford, he is a testament to natural ability and the slender margin between greatness and disaster. Also read: Who are Manchester United's all-time top goal scorers? Ronaldo's rank might surprise you From teen prodigy to cultural icon, George Best's life is a story that sounds like fiction. But every astonishing story told of him—whether for scoring from apparently impossible angles or partying with stars—is fact. On his birthday, fans remember not just his achievements but the legend that keeps him in mind. Get IPL 2025 match schedules , squads , points table , and live scores for CSK , MI , RCB , KKR , SRH , LSG , DC , GT , PBKS , and RR . Check the latest IPL Orange Cap and Purple Cap standings.
Times
17-05-2025
- Entertainment
- Times
Alison Goldfrapp: I'm obsessed with sweatshirts, the older the better
I have a green and blue mohair scarf from the Sixties that was my mum's, so I'm very sentimental about it. It's beautiful and quite unusual, very bright green and blue. Sweatshirts. It's a weird thing, I get so attached to them. I pick them up when I'm on tour like souvenirs. When they are really ancient and if they are nice cotton they become so cosy. I just can't get rid of them. Off-duty I'm pretty casual, a bit boho, a little chic — boho chic, something like that. On stage it's more graphic, textural. Things that have a good silhouette. The French designer Alexandre Vauthier is incredibly generous and lends me a lot of his wonderful clothes, like the incredible dress I wore
Yahoo
01-05-2025
- Business
- Yahoo
The Earl of Donoughmore, businessman who turned Perdio's hand-held transistor radio into a 1960s hit
The 8th Earl of Donoughmore, who has died aged 97, was a doctor turned businessman who helped develop the Perdio transistor radio into a feature of the Swinging Sixties. Viscount 'Mick' Suirdale, as he then was, bought a 65 per cent share in the fledgling Perdio company (the name was a contraction of 'personal radio') which had been founded in 1956 by a former RAF pilot, Derek Willmott – who adopted newly available transistor technology rather than the bulkier valves of earlier radios to develop a series of stylish models including the Piccadilly ('The Mightiest Midget of Them All!') and, in 1961, the Pall Mall. Floated on the London Stock Exchange in 1962, Perdio flourished as hand-held transistors became all the rage, not least for youngsters tuning to emerging pirate pop-music stations; it also launched the Portorama portable television set. But the acquisition of a large new factory at Sunderland, combined with incursions of cheap competition from the Far East, drove the company into loss and, in 1965, voluntary liquidation. Its assets were in due course acquired by Dansette, a brand best-known for portable record-players, which continued selling Hong Kong-made Perdio radios until the early 1970s. Meanwhile, the fate of the original company gave rise to a leading case in corporate law, Hely-Hutchinson vs Brayhead, which ended in victory for Suirdale. During a failed rescue takeover of Perdio by a company called Brayhead, the chairman of Brayhead – a Mr Richards, who was in the habit of making financial commitments and telling his board afterwards – had guaranteed repayment of debts and losses to Suirdale. But when Suirdale subsequently sued for the money, Brayhead refused to pay on the grounds that Richards had no authority to offer the guarantees in the first place. After the High Court found in Suirdale's favour, Brayhead appealed; but in 1968 the Master of the Rolls Lord Denning ruled definitively that because Brayhead's board had allowed Richards to act as he did, 'actual authority' had been established and the commitments stood. Richard Michael John Hely Hutchinson, always known as Mick or Micky, was born on August 8 1927 into an Anglo-Irish dynasty whose earldom was created in 1800 for Richard Hely-Hutchinson (1756-1825), an Irish parliamentarian and governor of Tipperary. When Mick was 21, he inherited the courtesy title of Viscount Suirdale as the eldest of two sons (and a daughter) of Col John Hely-Hutchinson, who was briefly MP for Peterborough during the Second World War before succeeding as 7th Earl in 1948. His wife Jean, née Hotham, had been in charge of the Red Cross in the East End of London throughout the war, working with Edwina Mountbatten, and was appointed MBE in 1947. Both parents were kidnapped by the IRA in June 1974 from Knocklofty, their estate at Clonmel in Ireland, but released five days later in Dublin's Phoenix Park, thanks to an intervention by the Catholic Church. During the war, Mick had been sent to America and educated at Groton School in Massachusetts, a happy experience. He never forgot the warm welcome he, his siblings and his cousins received in America. His parents, not realising that the North Atlantic was still full of U-boats, brought him back to Britain in 1943 in a convoy that was heavily attacked, with many ships sunk as he stood on the deck of his own – which was not hit. He finished his education at Winchester, which he loathed, before studying medicine at New College, Oxford. He undertook the clinical phase of his training at St Mary's Paddington and went on to do National Service as a medical officer. After finishing his work with the soldiers in the mornings, he would help impoverished women in childbirth in the afternoons and evenings. Later he became a registrar in obstetrics and gynaecology at Westminster Hospital. To supplement his doctor's salary, he became increasingly involved in business. Starting in property investment, he switched to full-time involvement in Perdio and later moved first to Belgium and then to Paris, working in consumer goods (including jam and preserves) for the international conglomerate WR Grace & Co before setting up an investment firm with his business partner Warren Heller. Having inherited the earldom on his father's death in 1981, he moved back to Britain with his first wife Sheila to buy and renovate a manor house at Bampton in Oxfordshire. He sat in the House of Lords (as Viscount Hutchinson in the peerage of the United Kingdom) until hereditary peers were largely excluded in 1999, interesting himself principally in health matters. He also became vice-president of St Luke's Hospital in Oxford. As chairman of Bampton's parish council, Donoughmore's contributions to the village included raising funds to create the recreation ground and its fine pavilion, and to replace the roof of St Mary's church. His filly Ruby Tiger (owned in partnership with the jockey-turned-sculptor Philip Blacker and his wife) won the Nassau Stakes at Goodwood as well as races in France, Germany, Canada and the United States, while his gelding Cyrian (owned with his son Tim) won the Northumberland Plate, known as the 'Pitman's Derby'. A fine fisherman and shot, Mick Donoughmore was admired for his analytical mind as well as his generosity and courtesy. In 1951 he married Sheila, née Parsons, with whom he had four sons, of whom the first, John, Viscount Suirdale, born in 1952, succeeds as 9th Earl. The second, Tim, became a well-known publisher, setting up his own business Headline Publishing (later Hodder Headline) in 1986 with his father as chairman. The third son Nicholas became a noted Dorset-based artist. After Sheila's death in 1999, Mick Donoughmore married in 2001 Meg (Margaret) Morgan, née Stonehouse, who survives him with his sons. Lord Donoughmore, born August 8 1927, died April 25 2025 Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
Yahoo
31-01-2025
- Entertainment
- Yahoo
Shooting Marianne Faithfull and more secret stories behind the greatest rock 'n' roll photos
No home is complete without an iconic rock n roll print on the wall. And no-one has produced quite so many iconic rock 'n' roll images as Gered Mankowitz. You'll know his photos from your mind's eye; when you picture certain musicians you'll likely recall the shots he took, such is their timeless power. The Jimi Hendix shot. The Rolling Stones shot. The Kate Bush shot. 'The key to my work is to try and create an image that the artist can live with, that works for them, that promotes them, that is true to them,' he tells the Standard. Mankowitz talked us about his exhibition at the The Gibson Gallery within the newly opened Gibson Garage, the first contributing photographer in the space, where his best-loved shots will be on display for three months, with signed prints available to buy. The still spritely and hard-working Mankowitz helped form the Sixties and tells us he was always destined to work in showbusiness. His father, Wolf, was a producer, novelist, playwright and very prominent in London's 50s theatre scene. Gered says he was first introduced to the idea of photography when Peter Sellers came over to their house for lunch one day: 'Peter brought with him a full Hasselblad camera kit and a great big Polaroid camera. In those days the Polaroid was really rare: seeing a photo come to life in front of you was magical. Then Peter demonstrated the Hasselblad for me, took it apart showed me all the elements, but he did it in an insane, Goon Show, Swedish chef-type voice. I was weeping with laughter and when he left I said, 'I want to be photographer'.' 'I was very young, rebellious, trying to rock the boat and change the way we saw musicians.' By the time he was 17, in 1963, he had his own studio, in Mason's Yard, a locale which quickly became a hub of the Sixties scene as first the legendary club The Scotch of St James opened in 1965, and then the avant-garde art gallery Indica opened in 1967, the place where John Lennon met Yoko Ono. Mankowitz shot all the greats from that time, but was close to the Stones in particular. He puts his remarkable access and images down to the fact he was a similar age and 'the opposite of a Fleet Street photographer…I was very young, rebellious, trying to rock the boat and change the way we saw musicians. And they all wanted that.' Here Gered takes us through some of his photos, starting with the sadly now departed Marianne Faithfull: Andrew worked with Marianne but I hadn't met him yet. This shoot was in the Salisbury pub in St Martin's Lane. It was about the fourth or fifth shoot I'd done with Marianne. But Andrew loved it and he called me up and that was how I started working with him and the Stones and Andrew's label, Immediate Records. 'Singers are not models. You have to help them.' I had fallen for Marianne, I thought she was beautiful, very funny, very charming. We've had a 60 year friendship. We had a great time on the shoot, and I did a lot of pictures. with the mirror, the lights. She was going through a period of wearing long knee socks which were sweet and sexy. When it comes to posing, you try and guide your subject into a pose that works, you guide them, try and encourage them. Singers are not models. You have to help them. I knew Chas Chandler, who found Jimi in New York at the Café Wah, and brought him to London in 1966. He actually brought him straight from the airport to the Scotch of St James, just off the plane, he'd never been in London before. I then got a call from Chas, saying 'I've got a wonderful new artists you're going to love him, come to the Bag O'Nails club in Kingly Street.' Jimi was playing when I walked in. and the noise, the sound was overwhelming. To be honest, I didn't care for the sound very much that first listen, it was quite raucous and I found it hard to get into it. But I was mesmerised by Jimi, he was extraordinary. All the major guitarists were there, Clapton, Beck. Townsend - they couldn't work out how he was doing it. The guitar was tuned the wrong way, it was upside down, nobody understood. 'But you have to understand that in those days, young men didn't want to smile in photographs, it wasn't cool.' As a visual person, I was struck by how he looked. I met him there, and he was very humble very quiet completely different to how he was on stage. And it was arranged that he should come to my studio, which he did in early 1967. On the shoot he was lovely. Very quiet and humble, modest. And very funny. Very smiley and open and warm. But you have to understand that in those days, young men didn't want to smile in photographs, it wasn't cool. You wanted to be moody and sexy. We kept breaking up. What particularly made us laugh was Mitch Mitchell, the baby faced drummer. He was younger than all of us, and Mitch Mitchell trying to look hard, just broke us up. Jimi would look at this little boy's face trying to be hard and just collapse in laughter. She was divine, she was marvellous to work with, great in front of the camera. She was just instinctive. She had hardly done any professional photography. I was brought in, and was played Wuthering Heights which hadn't been released yet. I just thought, 'this is extraordinary'. And then they played me the video they had made for it and I realised how important dance and movement was to Kate. I went back a few days later to meet her and I think she was only 17. She was lovely. 'The biggest problem with photographing Kate was trying to get her to focus and stop buzzing around and coming up with ideas.' I said I thought it'd be good to photograph you in a leotard and she loved that idea. She just blew us away. She looked absolutely sensational and that's what I tried to capture. She was very free and expressive and animated and hard to pin down. The biggest problem with photographing Kate was trying to get her to focus and stop buzzing around and coming up with ideas. She was continually creating. Her energy level was just overwhelming. I finished the session like a discarded dishrag, sitting on my studio sofa breathing heavily. I said to my assistant, Richard, 'Did we get anything?', and he said, 'well we shot 27 rolls of film, I think we got something.' This is one of my favourite pictures. It was taken at the end of the Rolling Stones' 1965 American tour. I went on that whole tour which was about seven weeks on the road and then they went into RCA studios in Hollywood to record what would become the Aftermath album. Mick and Keith had been under a lot of pressure to write tracks on the road. They'd write in the evenings. I'd been in a recording studio a lot by that time, and I understood the process, when I was able to take my pictures and when to step back. And we were very close, we were good friends by this time. I was just trying to capture the recording process as much as I could. The doodling around, making disparate sounds, which then suddenly would all gel and become a magical thing. If you weren't a musician it was really extraordinary. 'It wasn't a debauched time. I'm sorry to disappoint but that all came later.' Keith here was tuning or just feeling it. It's an intimate picture, he's caressing the guitar. And it's a beautiful guitar, the Gibson Hummingbird. I did a lot of pictures of that time but that particular shot has a magic and intimacy to it. It wasn't a debauched time. I'm sorry to disappoint but that all came later. The business wasn't that wild yet. They had to work. This is what came as a shock to me, how hard they had to work, and how boring touring could be, and how exhausting. They were flying out after each show on their own plane, a little two engine prop airliner from the Forties called a Martin. It was slow! We'd finish the show, get straight into the limousines, and were in the air by midnight, but we wouldn't get anywhere until three or four in the morning and it would be dead. There was no potential for any debauchery! I'm not being coy, the opportunity wasn't there. They weren't the debauched hedonistic band they became only a year or so later. I'd been asked to interview them for the cover of Mojo, in 1996. So early-ish in their career. I didn't think very much of Oasis at the time, I thought they were like a tribute band. And I suggested I photograph them as a sort of pastiche of my Rolling Stones cover of Between the Buttons, because I thought that was an appropriate way of representing them. But when they arrived at the studio, I don't know what had happened, but they were in the most terrible state. Furious. Noel wouldn't talk, he stormed into the studio and threw himself down on a sofa and apparently went to sleep. Liam was just shouting and kicking out at the furniture. I really have no idea what was wrong. 'Noel wouldn't talk, he stormed into the studio and threw himself down on a sofa and apparently went to sleep. Liam was just shouting and kicking out at the furniture.' Fortunately I knew their tour manager and after an hour of this behaviour, I said to him, 'Look is there anything you can do? You should just take them wherever they're going next.' He said, 'let me have a word.' He knew me and my work and managed to convince them that this was an important session for them. Anyway they mellowed down, and soon we had a fantastic shoot. But it was touch and go. And quite alarming. Me and my assistant were quite nervous. They weren't rude to me but it was rude to the room, to not say anything, to look daggers and stomp around and kick furniture. It was rude to everyone - boorish, childlike behaviour. It was an unruly class of small children. But to reiterate, when they came to together, we got a really good shoot. And of course attitude is so important to a band in photography. Projecting the attitude they want captured is key. It's just you have to understand where the line is, where the performance is. That's from the session for her second album Kafunta, and was an attempt to visually introduce her African roots and at the same time have a psychedelic element in the colouration. The session was a big deal for us, and for Immediate Records. It was typical of Andrew to give us the resources and encouragement to do something that was very avant-garde and ahead of its time. 'We all wanted the cover to be astounding. We were constantly trying to do something spectacular.' The actual album cover was a double exposure which was a very brave thing to do. Not for me to shoot but for Andrew to put it on the cover. This shot in the show was one of the other portraits that he did. Her first album was well received so this was really important. We all wanted the cover to be astounding. We were constantly trying to do something spectacular, and we really pulled it off, I'm really proud of it. The difference [between the Oasis shoot and the original Stones shoot] is huge. With Between the Buttons, in late 1966, I was so close to the Stones and so comfortable with them. They used to record through the night and I would hang out at the studio listening, shooting a bit, and just being there. Then one morning as we were leaving the studio, we all tumbled, stoned, hungover, onto the pavement in the early morning light. And I looked at the band as they were shivering, coat collars all turned up, and I said to [their manager] Andrew Loog Oldham, 'Bloody hell, they look just like the Stones.' And he went, 'yes they do, they really do.' I said let's shoot an early morning session, and so we did. 'We dragged them up to Primrose Hill because it was a high point and I thought we'd get good early morning light, which we did.' I had this clumsy filter to go on the front of my camera to give this druggy, stoned blur. We dragged them up to Primrose Hill because it was a high point and I thought we'd get good early morning light, which we did. And we had about 45 minutes before everyone just crashed. Andrew is, was and always will be an inspiration to me. He remains a close friend. He was a brilliant catalyst at bringing the best of out of people. On this particular shoot, Brian Jones was a bit erratic by this time, and I was worried he was screwing up the pictures. He was turning away, pulling his collar up all around him, sort of hiding from the camera. I turned around and said to Andrew, 'I'm worried about Brian.' and he said 'You don't have to worry at all because anything that Brian does can only contribute to the Stones' image. It doesn't matter what he does, he can turn his back, it'll make a great shot.' That was fantastic, it really freed me to do the shoot and disregard Brian's antics. When it comes to posing, you try and guide your subject into a pose that works, you guide them, try and encourage them. Singers are not models. You have to help them. The Gered Mankowtiz Exhibition is showcasing at The Gibson Gallery within the newly launched Gibson Garage London - the ultimate destination for guitar and music fans. To find out more please visit
