Gered Mankowitz Shot Rock & Roll: The Photographer on His Image of Marianne Faithfull

Marianne Faithfull, Salisbury Pub, St. Martin's Lane, London (1964) © Gered Mankowitz

By Gered Mankowitz

This photograph of Marianne Faithfull in the Salisbury Pub in London’s St. Martins Lane, is probably one of the most important photographs I have taken.

I had known Marianne for a few months having met her when she was promoting her first single “As Tears Go By” around June of 1964, and had immediately fallen under her spell. She was gorgeous, bright & funny and I started photographing her the next day! After a few months of taking photographs and hanging out I suggested that we shoot a session in the Salisbury with my eye on producing an image for an album cover. The pub landlord was accommodating and we spent a couple of hours taking various different portraits. This shot was one of my favourites – the composition, those socks – it just looked gorgeous, but Decca Records rejected it on the grounds that the men reflected in the mirror behind Marianne were  distracting and were looking at her in a lecherous manner! They ended up using a far less interesting image from the same session and this shot lounged in my archive, unseen until the 80s.

However, her manager at the time was Andrew Loog Oldham and he loved the session and as a result asked me to shoot with his other band – The Rolling Stones. I shot my first session with the band in early 65 and continued to work with them regularly until 1967. So, because of my shoot with Marianne I came to the attention of one of the most exciting bands of the time and my career as a music photographer was established!

 See Gered Mankowitz's other images in Who Shot Rock & Roll, currently showing at the Annenberg Space for Photography through October 21, 2012. To learn more about the photographer and his work visit his official website.

The Photography Space Re-opens Its Doors

"Who Shot Rock & Roll" finally opened to the public on Saturday and people came out in droves. This was our largest opening weekend ever!

Some visitors really wanted to make sure they were the first people to see the exhibit. Jennifer & Allison (pictured above) showed up about an hour early just to be sure they would be the first guests to walk through our doors when we re-opened to the public.

Featured "Who Shot Rock & Roll" photographer Ed Colver also showed up that day and graciously chatted with staff and even signed books for those who purchased them at the front desk.

Have you seen the show? What do you think?

Alice Cooper: Bob Gruen Is 'an exception to a lot of the rock photographers'

In the clip above, Who Shot Rock & Roll featured photographer Bob Gruen reveals why he enjoys being a rock & roll photographer. "Rock & roll is fun", he says, "and I like to have fun. That's why I like rock & roll." Pretty simple formula if you ask us. But what about the musicians he photographed? Legendary rocker Alice Cooper approved of Gruen and allowed him intimate access to his life on and off stage. According to him, Gruen was "an exception to a lot of the rock photographers."

Watch the short clip above to learn more about the photographer and rocker.

The Vines Are Part of 'Who Shot Rock & Roll'

For those of you who have visited Who Shot Rock & Roll, you may have noticed that the exhibit features several music videos playing throughout the space. One of them is energetic video for the The Vines’ song "Outtathaway." The piece was directed by David LaChapelle, who has several images (including this one of Eminem) in the show. While it's not the same as watching the clip amidst the rest of the images in the Photography Space gallery, you can check out the colorful, gorgeous and kinetic music video above. Wonder who had to clean up the mess created at the end of the clip?

Moon Zappa on Jerry Schatzberg's Photograph of Her Father

By Moon Zappa

When I look at Jerry Schatzberg's photo of my famous father’s unsmiling face contrasted with his curly, onyx hair in pigtails (a notoriously joyful hairdo usually reserved for young girls) I have to laugh. Mr. Schatzberg has clearly captured my father’s dry, acerbic wit, his quiet, Buddha-like lucidity, and his naturally rebellious, boat-rocking essence. This is made all the funnier because my father hated having his photo taken.

On the few occasions I was brave enough to ask my father if I could snap his photo, his instant scowl of impatient annoyance was not worth the trouble, (nor what I wanted to remember). So, I waited and begged for the discards from the test Polaroid piles of his shoots with the Professionals of the Still Image Realm. Or I waited and used my mother’s sewing scissors to clip images of Frank Zappa from magazines and newspapers (like everyone else) and pasted the flimsy sheets in my family photo albums alongside fuzzy snapshots I had taken of my mom and my siblings.

Another reason this photograph floods my heart with joy is that I have been led to understand that long hair worn by men in the late 60’s was already an atypical and suspect sight for the times, but that the addition of a symmetrical up-do on a working man was almost criminal. Let’s just say none of my friends have photos of their awesome, heterosexual dads in pigtails in their scrapbooks from that same era.

I have heard it said that the optimist thinks the world is great just as it is, and that the pessimist fears this is true. I love this idea because the malcontent cannot tolerate stagnation and MUST cultivate and protect aliveness. Here, in Mr. Schatzberg’s remarkable image, he illuminates this paradox; from beyond the grave my father continues his steadfast work of challenging us to question assumption, to not settle for the numbing habit of decorum for habit’s sake, to take action against anything that oppresses the human spirit, and to do so with the quiet confidence and humor of a true pessimist.

The photo of Frank Zappa is included in Who Shot Rock & Roll, running at the Annenberg Space for Photography through October 7, 2012.

Top image courtesy of Jerry Schatzberg, Frank Zappa, "Himself", 1967. Right image courtesy of Diva Zappa.

A Rockin' Labor Day at the Space

Thanks to everyone who came to the Photography Space yesterday, the Labor Day holiday. Our staff greeted visitors with complimentary treats and drinks. Guests were also given the opportunity to pose for free photos with a variety of musical instruments (the inflatable kind) to celebrate the Who Shot Rock & Roll exhibit. Here are a couple of fun pictures from the day. Looks like everyone had a great time. Hope you all had a very good holiday!

Bob Gruen on Debbie Harry

Max’s Kansas City was opened by Mickey Ruskin on Park Avenue in New York City in the 1960’s.  It soon became a hangout for artists, including Andy Warhol, whose studio was nearby, and Debbie Harry, who worked as a waitress at the club. In the early 1970's Mickey left and Tommy Dean reopened Max’s as a hangout for rock & roll bands and their followers. Blondie played there - often opening for the New York Dolls and later as headliners. 

This photo of mine shows Debbie Harry, lead singer of Blondie, at Max’s in July 1976.  Debbie recently told me she made the dress herself from a pillow case she found on the street. The somewhat military-like hat she’s wearing in this photo was meant to dramatize a song with some German lyrics that she sang in a Marlene Dietrich-like style.

See this image and more in Who Shot Rock & Roll: The Film, part of the Who Shot Rock & Roll photography exhibit running at the Annenberg Space for Photography now through October 7, 2012.

Photo: © Bob Gruen. Debbie Harry at Max's Kansas City in New York, NY, 1976.

Jill Furmanovsky on Her Photo of Noel Gallagher of Oasis

© Jill Furmanovsky. Noel Gallagher of Oasis, Maine Road, Manchester City football ground, 1996. Part of the film accompanying Who Shot Rock & Roll. Courtesy Rockarchive.com

By Jill Furmanovsky

I took this picture with a Nikon and a wide angle lens on Tri-X film. I was perched on a raised part of the stage where later a four piece string section would sit. I hid there for several minutes waiting for the band to come onstage. A gigantic roar was the signal. When Noel Gallagher walked out and headed for the front of the stage I put the camera over the parapet to take this shot. I thought as I always think at these tense moments, 'Keep calm JF! Don't f--- it up!" I didn't. 

See more of Jill Furmanovsky's images in Who Shot Rock & Roll, showing at the Annenberg Space for Photography through October 7, 2012. Learn more about Jill on her website, www.rockarchive.com.

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