Six Shooters PDF for more information

Transcription

SO WHAT IS IT ALL ABOUT ?
SIMPLY PUT, SIXSHOOTERS ARE SIX OF THE VERY FINEST MUSIC PHOTOGRAPHERS CURRENTLY
(
WORKING TOGETHER, AS STEVIE WONDER MIGHT PUT IT, IN PERFECT HARMONY.
INTO EACH OTHER AT GIGS TO LENDING THEIR LAST ROLL OF FILM TO BECOMING TRUSTWORTHY
SHOOTING PARTNERS, IT IS BOTH REVOLUTIONARY CONCEPT AND WORKING CO-OP.
Xe[pZfkk\i`ccJ@OJ?FFK<I
BASED ON A TWENTY-YEAR FRIENDSHIP, WHICH HAS SEEN THEM GRADUATE FROM BUMPING
mick hutson
andy fallon
paul harries
andy cotterill
andy willsher
roger sargent
*
TODAY THIS GROUP OF PHOTOGRAPHERS IS THE MOST SOUGHT AFTER IN THE BUSINESS,
ARCTIC MONKEYS, PAUL WELLER, PAUL MCCARTNEY, BJÖRK, GREEN DAY, LILY ALLEN, THE WHITE
HAVING BETWEEN THEM SHOT EVERY NOTABLE BAND AND MUSICIAN YOU CAN THINK OF,
STRIPES; U2, COLDPLAY, FOO FIGHTERS, KASABIAN, RADIOHEAD, KILLERS, JARVIS COCKER, IAN
TOURED WITH THE VERY BEST AND BEEN PUBLISHED IN THE SUNDAY TIMES, ROLLING STONE,
BROWN, OASIS, MORRISSEY, REM, EMINEM, MARILYN MANSON, THE STROKES, LIBERTINES,
MOJO, Q MAGAZINE, SPIN, DAZED AND CONFUSED, KERRANG, NME, TIME AND VANITY FAIR TO
THE CLASH, BLUR, KINGS OF LEON, METALLICA AND JAY Z, TO NAME A MERE FRACTION.
NAME BUT A FEW.
THIS LOOK AT THE MODERN MUSIC SCENE WILL PROVIDE A WINDOW ONTO THE BEST THAT
INDIVIDUALLY, THEY EACH REPRESENT ONE SIXTH OF A GROUP OF THE MOST INTERNATIONALLY
MUSIC HAS TO OFFER, SHOT BY TODAY’S MOST IMPORTANT PHOTOGRAPHERS. AN ABSOLUTE
RECOGNISED, LEADING FIGURES IN THE PHOTOGRAPHIC INDUSTRY.
MUST SEE FOR MUSIC AND PHOTOGRAPHY FANS ALIKE, THE UNRIVALLED EXHIBITION IS SET
WHAT’S MORE, IN A COMPETITIVE AND CUT-THROAT BUSINESS, THESE SIX PHOTOGRAPHERS
TO BE THE MOST IMPORTANT OF ITS KIND.
REMAIN FIRMLY IN IT TOGETHER – CREATING A WORKING CO-OP THAT OFFERS A CAST-IRON
THESE ARE THE NICE GUYS OF ROCK N ROLL, SAYS SERGE PIZZORNO FROM KASABIAN OF THESE
GUARANTEE OF GREAT PHOTOGRAPHY AS WELL AS ARTISTIC INTEGRITY.
CAMERA-TOTING GUNSLINGERS.
THE SIXSHOOTERS EXHIBITION EDIT READS LIKE A WHO’S WHO OF MUSIC’S MOST INFLUENTIAL,
CRITICALLY ACCLAIMED AND COMMERCIALLY SUCCESSFUL INDIVIDUALS: AEROSMITH, MUSE,
SIXSHOOTERS: THEIR AIM IS TRUE.
d
J@OJ?FFK<IJ
d`Zb_lkjfe
A ROCK’N’ROLL BON VIVEUR WHO’S COUNTED ROYALTY AS SCHOOLMATES, EARNED A CRUST
ON THE OIL RIGS AND ONCE CHEATED DEATH TOTALLING ONE OF OZZY’S QUADBIKES.
,
YOU COULD MAKE MICK HUTSON UP, BUT HE WOULDN’T BE HALF AS MUCH FUN. A FREE
DREAMS – MICK’S GENES OVERFLOW WITH ARTISTIC ANTECEDENTS (HIS GRANDMOTHER
WAS A WW2 PHOTOGRAPHER; A GREAT UNCLE A MAINSTAY IN RONNIE SCOTT’S JAZZ
BAND). HIS ROCK’N’ROLL APPRENTICESHIP, HOWEVER, CAME COURTESY OF LEGENDARY
PHOTOGRAPHERS FIN COSTELLO, DAVID REDFERN AND IAN DICKSON.
‘I MOVED FROM ABERDEENSHIRE TO KILBURN AND FELL IN WITH THEM WHEN I STARTED
GOING TO GIGS’ HE SAYS WITH A MISCHIEVOUS GRIN. ‘THEY TAUGHT ME THAT IT’S WAY MORE
IMPORTANT TO BE YOU THAN WORRY ABOUT WHO YOU’RE PHOTOGRAPHING.’
CONVINCED OF HIS CALLING FOLLOWING A FIRST JOB WHERE HE TRAWLED HAMBURG IN
SEARCH OF BOOZE WITH ZIGGY STARDUST GUITARIST MICK RONSON, MICK HAS BEEN IN
CONSTANT DEMAND SINCE, SHOOTING COUNTLESS ICONIC SHOTS OF EVERYONE FROM PAUL
MCCARTNEY TO U2. WHETHER IT’S BEEN HANGING OUT OF A HELICOPTER SHOOTING OASIS
AT KNEBWORTH (FOR THE NOW CLASSIC ARIEL GLASTONBURY SHOT), SWIMMING IN THE
BAHAMAS WITH MIKE OLDFIELD, STOPPING THE NEW YORK RUSH HOUR TRAFFIC WITH
METALLICA OR WRITING IN PINK LIPSTICK ON MARILYN MANSONS’S CHEST, IT’S SAFE TO SAY
HE’S DONE THE LOT. AND ALL IN HIS OWN INIMITABLE STYLE.
‘I ONCE LOCKED MYSELF IN THE TOILET WITH L’IL KIM’ HE LAUGHS. ‘THERE WERE THREE HUGE
BOUNCERS BANGING ON THE DOOR WHILE SHE SAT HAPPILY ON THE LOO AND READ A COPY
OF JACKIE COLLINS ‘ROCK STAR’. GREAT PHOTOGRAPHY IS ALL ABOUT MAKING SOMETHING
AMAZING HAPPEN.’
C<DDP×B@CD@EJK<I#CFE;FE0ALE<)''-
J?FK@E?@J?FK<CIFFDN@K?K?<?<CGF=+':@>8I<KK<J
8E;89FKKC<F=A8:B;8E@<CJ%
_
SPIRIT FROM THE AGE OF EIGHT – WHEN A CLIFFTOP EPIPHANY TOLD HIM TO FOLLOW HIS
.
CË@CB@D×CFE;FE#).8L>LJK(00.
J?FKALJK9<=FI<?<I8GG<8I8E:<8K
K?<EFKK@E>?@CC:8IE@M8C%K?<IFFDN8J
=LCCF=?L><J<:LI@KP8E;?8E><IJFE#
JF@JL>><JK<;8I<=C<:K@FEJ?FKF=?FE?<ID8B<$LG@EK?<98K?IFFD
D@IIFI%%%K?<ECF:B<;K?<;FFI%
D8IPC@ED8EJFE×CFJ8E><C<J#
(.EFM<D9<I)''+
@NIFK<FE?@J:?<JK@EI<;C@GJK@:B#
N<?8;8:?F@:<F=NFI;JK?@JN8JK?<
DFJK8::<GK89C<#DFEK?JC8K<I@J8N
*B@;JN8CB@E>K?IFL>?K?<:IFN;8K
K?<I<8;@E>=<JK@M8C98I<:?<JK<;#N@K?
ÊLEJ8=<ËFEK?<@I:?<JKJ%N?FJ8PJC@=<
;F<JEËK@D@K8K<8IK6
0
J?FK@E8;@JLJ<;:?@C;I<EJGC8PG8IB
C@KK<I<;N@K?LJ<;?PG<I;<ID@:E<<;C<J#
KFLI@E>K?<@IJ<:FE;8C9LD8?8J?8B<
?<8IK9I<8B%
D<K8CC@:8×E<NPFIB#(+8GI@C)''*
N<9I@<=CP8E;@CC<>8CCP:CFJ<;K?<
IF8;N@K?9C8:BJKI<K:?C@DFËJ#C8IJ@J
GF@EK@E>8KD<8E;A8D<J@JC8L>?@E>8J
@I8K<:89;I@M<IJJ:I<8D89LJ<=IFD
9<?@E;K?<ÊIF8;9CF:BË%
B8J89@8E×+D8P)''0
J?FKFE8GIFDFK@FE8CKFLIF=A8G8E
8E;8LJKI8C@8@EK?<D@;JKF=K?<JN@E<
=CL<G@;<D@:%K?<PFECPNFI<D8JBJ=FI
K?@JJ?FK¿KFDI<KLIE<;N@K?JN@E<=CL
d`Zb_lkjfeJ@OJ?FFKJF=C<FE×D8;I@;#(-EFM<D9<I)''+
((
d`Zb_lkjfeJ@OJ?FFK?8D#*(D8P(00.
J?FKFEK?<E@E<C@M<JKFLI%
>I<<E;8P×J8E;@<>F#:8C@=FIE@8#)'8L>LJK)''0
J?FK;LI@E>K?<)(JK:<EKLIP9I<8B;FNEKFLI%
C@CCP8CC<E×>C8JKFE9LIP#)/ALE<)''0
FEJK8><N@K?8M<IPE<IMFLJC@CCP8CC<E#J?<
JKFC<K?<J?FN%
(*
G8LCN<CC<I×D8E:?<JK<I#)'EFM<D9<I(00,
K?<DF;=8K?<I@E:FEK<DGC8K@M<DFF;;LI@E>
JFLE;:?<:B%
A8Q:FC<D8E×?P;<G8IBCFE;FE#
/=<9IL8IP)''FQQP×CFJ8E><C<J#)'J<GK<D9<I)''+
J?FKFE8I<8CCPN@E;P8E;:FC;;8P
FQQP8J;I8:LC8=FI?8CCFN<<E%%%K?<
N8CB@E>K?IFL>??P;<G8IB#@I<D<D9Ê@JK?@J:I8QP<EFL>?=FIP8Ë
X
J@OJ?FFK<IJ
Xe[p]Xccfe
EVERYONE HAS TO START SOMEWHERE. FOR ANDY FALLON IT WAS AS TEENAGE
]
PHOTOGRAPHER FOR HIS LOCAL PAPER IN MANCHESTER.
(,
‘I HAD A DARKROOM IN MY DAD’S SHED WHEN I WAS FOURTEEN’ HE SAYS, SURVEYING
EVERYONE FROM NME TO MOJO.
‘I’VE ALWAYS BEEN QUITE A GENTLE PHOTOGRAPHER. I OFTEN WON’T EVEN DIRECT THEM.
I’LL TAKE EACH SITUATION AS IT COMES AND GET THE FEEL FOR WHAT’S RIGHT.’ ANDY’S EYE
FOR DETAIL NEVER FALTERS, EVEN WHEN THERE’S A STORM BREWING.
‘I FLEW INTO MIAMI DURING HURRICANE KATRINA TO SHOOT THE KILLERS AFTER THE VH1
AWARDS’ HE SAYS IN REFERENCE TO HIS ICONIC SHOT OF LAS VEGAS’ FINEST. ‘IT WAS NINE
O’CLOCK IN THE MORNING AND THE BAND HADN’T BEEN TO BED. PALM TREES WERE BROKEN
LIKE TWIGS AND THE SAND WAS BURNING MY FEET BUT WE STILL GOT THE SHOT.’
A FINELY TUNED CULTURAL ANTENNAE WHICH SEES HIM ENTHUSE ABOUT EVERYBODY FROM
JERRY SCHATZBERG (WHOSE PHOTOGRAPH OF MAMA CASS INSPIRED ANDY’S IMAGE OF BETH
DITTO) TO RAY CHARLES (A FAVOURITE SOUNDTRACK TO SHOOTS) ALSO INFORMS HIS WORK.
‘I TOOK SOME BEAUTIFUL SHOTS OF MORRISSEY IN THE PROTESTANT CEMETERY IN
ROME WHERE KEATS AND SHELLEY ARE BURIED ‘ HE EXPLAINS. ‘AFTERWARDS WE WERE
IMAGINING ALL THE PEOPLE WHO HAD MADE THE SAME PILGRIMAGE. YOU COULD TELL HE
WAS ENCHANTED. THE SUN WAS GOING DOWN, AND I SHOT A FEW MORE FRAMES. THAT’S
WHAT IT’S ALL ABOUT FOR ME –THOSE SPECIAL IMAGES WHICH COME OUT OF NOTHING.’
DFII@JJ<P×)''@?8;K?<:?8E:<KFJG<E;8:FLGC<F=;8PJN@K?DFII@JJI@DJN?F?8M<N8CB<;K?<J8D<G8K?9<=FI<%
A CAREER WHICH HAS ALREADY SEEN HIM CAPTURE CLASSIC ROCK’N’ROLL IMAGES FOR
(.
FE<F=DP=8MFI@K<DLJ@:@8EJ%K8B<E
8KK?<K@D<F=A8JFEJE<N8C9LD8<%@
?@I<;JFD<FC;FG<I8K@E>C@>?KJ8E;C@K
K?<N?FC<J?FKN@K?K?<DKF:I<8K<8
?<8M<ECP98:B=IFDK?<;<8;@D8><%
;@QQ<<I8J:8C×)''/
;@QQ<<?8;ALJK:FD<98:B=IFDE<N
PFIBN@K?JFD<GI@Q<G@<:<JF=:CFK?@E>%
@I<D<D9<I?@DJ8P@E>ÊJB@EEPA<8EJD8E#
K?<PËI<N<8I@E>JB@EEPA<8EJ@EK?<
?FF;Ë
EF@J<KK<J×)''0
@=FLE;8IFCCF=(0.'ËJI<KIFN8CCG8G8@#9LK
N?<EJ?<N8CB<;@EKFK?<J?FFK@KN8J
NFIK?K?<N8@K%
Xe[p]XccfeJ@OJ?FFKI8G?IA<IIPJ:?8KQ9%9<K?
N8JALJK9I<8B@E>FEKFK?<LBDLJ@:
J:<E<8E;@Ë;:8L>?K?<I8D8Q@E>C@M<
G<I=FID8E:<%@K?FL>?KJ?<NFLC;9<
G<I=<:KKF<DLC8K<K?<-'j@:FE%
:8IC98IFK×)''.
)(
J?FK=FI8:FM<IJKFIP@ECFE;FEK?<E@
D<KLGN@K?:8IC8>8@E@E8LJK@EK<O8JKF
><K8=<N<OKI8J?FKJ=FIK?<=<8KLI<%
I8@CIF8;KI8:BJ%
9I8E;FE=CFN<IJ×)''.
8CFE<8N8P=FIK?<:I<N8E;
D8E>8><D<EK#9I8E;FE9<>8EKFGLCC
JFD<98CC<KDFM<JKFK?<G@G<;DFQ8IK
=IFDK?<?FK<CJG<8B<IJ%
I<D×)''0
N<?8;AF@E<;I<DFEKFLI@E:?@:8>F%
K?<98:BJK8><8I<8N8J9C<8BJKI@G
C@>?K@E>8E;D@:?8<CJK@G<N8JHL@K<
JL9;L<;%@CFM<?@JI<=C<:K@FE@EK?<
D@IIFI%
Xe[p]XccfeJ@OJ?FFK><;8EFC;ILJKPJ<8KKFK?<
)*
DP:?<D@:8CIFD8E:<×)''/
K?<:FI8C×)'',
J?FK@E8KC8EK8%DP=8MFI@K<>8E>@EK?<
@Ë;J?FKK?<98E;8=<NK@D<J8E;?8;
=@CDÊN8II@<IJËN8JK?<98J<98CC=LI@<J
8CN8PJ8IK;@I<:K<;8JKPC@Q<;J?FFK
8E;K?<98E;N@CC@E>GC8P<;K?<G8IK
@;<8=FIK?<D%K?@JN8J8J<JJ@FE=FI
=FID<%
JFEP=FIK?<I<@EM@J@9C<@EM8J@FEI<:FI;
8E;@JKPC<;K?<D8JK?<J<M<EJ8DLI8@
FEK?<:F8JK%
g
J@OJ?FFK<IJ
gXlc_Xii`\j
WHEN YOUR FIRST MAJOR JOB INVOLVES A BASEBALL BAT WIELDING MOTLEY CRUE, THE
CHANCES ARE YOU CAN COPE WITH ANYTHING. AND OVER THE LAST TWENTY YEARS PAUL
_
),
HARRIES HAS DONE JUST THAT. ‘THEY WERE REVIEWING THE SINGLES IN THE KERRANG!
YEARS, THEY WERE COMPLETE GENTLEMEN.’
GROWING UP IN ROMFORD, ESSEX, PAUL SPENT THE MID-‘80s LIVING A DOUBLE LIFE. BY DAY,
HE WORKED AS A CLERK AT THE BANK OF ENGLAND ON THREADNEEDLE STREET. BY NIGHT,
HOWEVER, HE WOULD HANG OUT AT THE ‘OLD’ MARQUEE ON WARDOUR STREET SHOOTING
BANDS LIKE FIELDS OF THE NEPHILIM. ABANDONING THE 9 TO 5, HE HAS SPENT THE LAST
TWENTY YEARS BUILDING UP A PERSONAL GOLD RESERVE OF HEAVY ROCK ICONS RANGING
FROM METALLICA TO MARILYN MANSON; A PRE-FAME NIRVANA TO IRON MAIDEN’S BRUCE
DICKINSON.
‘BRUCE ASKED ME TO LOOK OUT FOR ANY PLANES DURING THE SHOOT’ HE LAUGHS. ‘THAT WAS
A BIT DISCONCERTING BECAUSE HE WAS FLYING A CESSNA AIRCRAFT AT THE TIME.’
THROUGHOUT, HIS PASSION FOR ROCK’N’ROLL’S STRANGER SIDE HAS REMAINED UNDIMMED.
‘THE ODDEST SHOOT I’VE BEEN INVOLVED WITH WAS WITH HOLLYWOOD ACTRESS JULIETTE
LEWIS’ HE EXPLAINS. ‘IT WAS IN AN UNDERWEAR SHOP NEAR THE KERRANG! OFFICE. THERE
WAS A GREAT BIG BRIGHT ORANGE FIBREGLASS HORSE THERE AND SHE CLIMBED ON TOP IF IT.
SO I’M STANDING THERE AND MALLORY KNOX FROM NATURAL BORN KILLERS IS CALLING ME
A MOTHERFUCKER WHILE WRITHING AROUND ON THE BACK OF A BRIGHT ORANGE HORSE. I
THOUGHT TO MYSELF: I QUITE LIKE THIS JOB.’
M@CC<M8CF#?@D×)'',
@KËJ8CN8PJE@:<KFNFIBN@K?G<FGC<N?F8I<LG=FI;F@E>JFD<K?@E>8C@KKC<9@K
;@==<I<EK#8E;M@CC<M8CF@J;<=@E@K<CPFE<F=K?FJ<G<FGC<%8KK?<K@D<K?@JG@:KLI<
N8JK8B<E?<JDFB<;-'D8IC9FIFI<;J8;8P8?89@K?<ËJJ@E:<898E;FE<; %8CFK
F=G<FGC<8JBD<@=K?<J?FKI<C8K<JKFK?8K%8E;K?<8EJN<I@J#<I#EF%
OFFICES’ HE RECALLS. ‘I WAS QUITE NERVOUS, BUT LIKE SO MANY OTHERS STARS OVER THE
D8KK9<CC8DP×)''-
K?@JN8JDPGI@M8K<8L;@<E:<N@K?FE<
F=K?<=@E<JKDLJ@:8CK8C<EKJF=?@JFI
8EP><E<I8K@FE%@EFID8CCP;FEËKC@B<
G?FKFJF=G<FGC<N@K?K?<@I@EJKILD<EKJ
9LKK?@JFE<D8B<JK?<>I8;<9<:8LJ<@K
8GG<8IJJFE8KLI8C%
><I8I;D@B<PN8P#DP:?<D@:8C
IFD8E:<×)''.
).
EFID8CCPG@:KLI<JF=D:I:FE=FID
KFFE<F=KNFKPG<JÆ<@K?<IK?<PËI<
JKPC@J<;J<JJ@FEJJ?FKJFI<CJ<K?<PËI<
@KËJE<@K?<I#@KËJALJK8G@:KLI<F=KNF
9IFK?<IJ?8E>@E>FLK98:BJK8><8K8
>@>@EJ?<==@<C;%@KËJ8M<IPE8KLI8C8E;
LE>L8I;<;=<<C#N?@:?=FIK?<D@JHL@K<
LELJL8C%
JC8J?×)''+
K?@J@JJC8J?JKILDD@E>8N8P@EDP
?FK<CIFFD@EG@KKJ9LI>?%K?<D8E@J
8AFPKFNFIBN@K?8E;K?@JJ?FKN8J
K8B<E;LI@E>K?<J<JJ@FEJ=FIM<CM<K
I<MFCM<IËJ=@IJKB<II8E>:FM<IJKFIP%
@ËDGIF989CPFE<F==<NG<FGC<N?FËM<
?8;JC8J?FEK?<@I9<;N@K?FLKK?<
C<><E;8IPFLKI8><FLJG8IKP8EK@:J%
gXlc_Xii`\jJ@OJ?FFK<9<:8LJ<
;8M<>IF?C#=FF=@>?K<IJ×)'',
K?@JG@:KLI<N8JK8B<E8K=FF=@>?K<IJË
JKL;@FJG8:<ALJKFLKJ@;<F=CFJ8E><C<J%
9<=FI<@8II@M<;@?8;EF@;<8N?8K@Ë;
=@E;@EK<IDJF=K?@E>JKFLJ<8JGIFGJ
=FIK?<J?FKJ%N?<E@>FKK?<I<@J8NK?@J
=C@>?K:8J<1@8JB<;;8M<@=?<Ë;ALDG@E
8E;@E?<N<EK%
)0
8DPC<<#<M8E<J:<E:<×)''-
@CFM<J?FFK@E>NFD<E8E;K?@JG@:KLI<
F=8DPC<<@CCLJKI8K<JN?P%K?@J@D8><
N8J:8GKLI<;@E98I:<CFE8#8E;9<=FI<
8DP8II@M<;@8:KL8CCP;@;EËKBEFN
N?8KJ?<Ë;9<N<8I@E>%=FIKLE8K<CP#
<M<IPK?@E>:8D<KF><K?<IG<I=<:KCP%@
K?@EBK?<<==<:KF=K?@JG@:KLI<@JEFK
FECP>FK?@:9LK8:KL8CCPI<>8C8E;
98CC<K@:%
*(
@>FKK?@J@;<8=IFDK?<GFJK<I=FIK?<DFM@<
JK8IN8IJ1K?<:CFE<N8IJ#8JN<CC8JK?<;M;
:FM<IF=?8I;9F@C<;%K?<989P@EK?<G@:KLI<
@J8:KL8CCPDP;8L>?K<I#CP;@8#N?FN8JE@E<
DFEK?JFC;8KK?<K@D<%B@;J8I<E<M<IKFF
PFLE>KF9<GLKKFNFIB#@;FEËKK?@EB%
:FI<PK8PCFI#JC@GBEFK×)''/
K?@J@JFE<F=DP=8MFLI@K<8CC$K@D<
J?FKJ%K8B<E@EK?<:FIE=@<C;JF=@FN8#
K?@JG@:KLI<N8JFI@>@E8CCPJLGGFJ<;KF
=<8KLI<K?<N?FC<F=JC@GBEFK9LK@EK?<
<E;ALJK=<8KLI<;:FI<PK8PCFI%@CFM<
K?<=8:KK?8KK?<<DGKP=@<C;C<E;JK?<
@D8><8:I<<GPHL8C@KP%8J8G@:KLI<#@
K?@EBK?<I<ËJJFD<K?@E>HL@K<FD@EFLJ
89FLK@K%
D8KKKL:B#9LCC<K=FIDPM8C<EK@E<×)''.
>I<<E;8P×)''0
K?@JJ?FK@JC8I><CP89FLK9@CC@<AF<
8IDJKIFE>ËJ<P<J#N?@:?@K?@EBI<8CCP
GFGFLKF=K?<=I8D<%9LK@K?@EBK?8K
D@B<;@IEK8E;KI<:FFCCFFBI<8CCP
>FF;@EK?@JG@:KLI<8JN<CC%K?<K?I<<F=
K?<DI<8CCPCFFBLE@K<;#8J@=K?<PËI<8
K<8DN?@:?#F=:FLIJ<#K?<P8I< %
**
K?@JG@:KLI<N8JK8B<E8KK?<G?FKF
JKL;@F8KB<II8E>ËJFC;F==@:<%N?8K
@C@B<89FLKK?@J@JK?<=8:KK?8K?<I<
K?<GIF;@>PI<8CCP;FCFFBC@B<D<E
N?FD<8E9LJ@E<JJ%K?@J;F<JEËKCFFB
C@B<8>IFLGK?8KËJ89FLKKFK8B<8EP
GI@JFE<IJ%
K?<GIF;@>P×)''0
X
J@OJ?FFK<IJ
Xe[pZfkk\i`cc
Z
A TEENAGE HIP-HOP FAN WITH A TASTE FOR VINTAGE MOTORS, IT’S LITTLE WONDER ANDY
COTTERILL HAS AN EYE FOR DETAIL.
*,
‘I LIKE OLD CARS AND OLD BUILDINGS AND THE PROCESS WHICH WENT INTO MAKING THEM’
‘GREAT PHOTOGRAPHY CAN BE JUST AS TIMELESS. IT DOESN’T HAVE TO BE THROWAWAY.’
A YOUTHFUL HABITUEE OF EAST END HIP-HOP MECCA BENTLEYS (FORMERLY THE BRIDGE
HOUSE), ANDY’S ENTRY INTO MAGAZINES CAME, SUITABLY ENOUGH, WITH PICTURES OF
PUBLIC ENEMY’S CHUCK D FOR DAZED & CONFUSED.
IN THE YEARS SINCE HE HAS CHALKED UP IMAGES OF PERSONAL HEROES RANGING FROM
SLY AND ROBBIE TO JOHN PEEL TO LEE SCRATCH PERRY. ALONG THE WAY ESTABLISHING A
REPUTATION FOR DELIVERING THE UNIQUE.
‘I SHOT THE STROKES ON THEIR FIRST VISIT TO LONDON’ HE EXPLAINS. ‘THEY WERE ALL LYING
ON THE BED AND THEIR LEGS WERE INTERTWINED. IN A STRANGE WAY IT SAID EVERYTHING
ABOUT HOW CLOSE THEY WERE, AND HOW DIFFERENT TO EVERYONE ELSE.’
WITH ANDY, HOWEVER, IT’S ABOUT MORE THAN JUST DELIVERING ICONIC IMAGES.
‘I LOVE THE SKILL OF DEALING WITH THE PERSON YOU’RE PHOTOGRAPHING AND TRYING TO
GET THE BEST OUT OF IT’ HE SAYS. ‘I’M NOT AFTER THE SUBJECT’S SOUL. I’M LOOKING FOR A
TRUE REPRESENTATION OF THEM AT THAT GIVEN MOMENT. IT MIGHT COME OUT NOTHING LIKE
YOU PLANNED, BUT THAT’S THE FUN OF IT- IT’LL NEVER BE THE SAME TWICE.’
ANDY COTTERILL: PURVEYOR OF BESPOKE IMAGES SINCE 1992.
G<K<;F?<IKP×KLIED@CCJJKL;@FJ#CFE;FE#)''-
@KJ8CN8PJ>FF;KF9<JLIGI@J<;N@K?K?<G<FGC<PFLK8B<G@:KLI<J
F=%G<K<N8J8:C8JJ@:=FIK?8K%8=K<I8CCK?<JKFI@<J8E;ILDFLIJ
F=8>LPC@B<K?@JPFL:FLC;><8IPFLIJ<C=LG=FI8E@>?KD8I<FE
K?<:FEKI8IP#@?8;8>I<8KK@D<8E;?<N8J8:?8ID@E>>LP%
EXPLAINS THIS ROGUE-ISH SON OF ILFORD.
:?L:B$;×ÊGL9C@:<E<DPËCFE;FE#(00.
DP=@IJK<M<IJ?FFK=FI;8Q<;8E;
:FE=LJ<;D8>8Q@E<%8M<IP@EK<I<JK@E>
D8E@D<EK@FE<;KF?@D@N8J8K?@J=@IJK
CFE;FE>@>8E;=<CK@EK?<D@;;C<F=8
M<IPGFC@K@:8CCP:?8I><;DFD<EK¿?@D
J8P@E>?<ÊN8JEWKI8:@JK9LKGIF9C8:BË
JK@CCFE<F=DP=8MFLI@K<J?FFKJ%
*.
B8EP8N<JK×CFE;FE#)''.
?8;8NFE;<I=LC:FEM<IJ8K@FEN@K?
B8EP8FE:<@CF:B<;LJ@EK?<KF@C<KKF
><K?@DFLKF=I<8:?=IFD?@J>IFFD?K8CCK?<GL9C@:@KPN8JE<:<JJ8IP
A8IM@J:F:B<I×I:8#CFE;FE#)''.
@J8@;?<:FLC;8JB?@DJ<C=K?@JHL<JK@FE
N?8K8>I<8KGC8:<KFK8B<J?FKJ%K?@JN8J
CFFB@E>8K?@JJ?8;<J
K?<9<JK=LCCJ<KF=@D8><J@K?@EB@WM<K8B<E
@E8E?FLI<M<I%8CCF=K?<J?FKJ@N8JI<8CCP
?8GGPN@K?%%%A8IM@JN8JJF<E>8>@E>8E;
@EK<I<JK<;K?IFL>?FLKK?<N?FC<J?FFK%
*0
8E;I<*'''×ÊFLK:8JKËCFE;FE#)''8>8@E#N?<EPFL8I<=FIKLE8K<CP89C<KF
G?FKF>I8G?JFD<9F;PK?@J:?8I@JD8K@:#
K?@E>JALJK=CFN%ËK?I<<IFCCJF==@CDË
N?FC<J?FFKJ@DGC<@J8CN8PJ9<JK%?<
N8JFEK?8KK89C<JF=8JK>I<8K=LE8E;
8D8Q@E>KFG?FKF>I8G?%?<N8J=LCCFE
K?IFL>?FLKK?<C@KKC<K@D<N<?8;%%
C<<ÊJ:I8K:?ËG<IIP×@JC<F=N?@K<#)'')
K?@JN8JJ?FK98:BJK8><8K9<JK@M8C¿M<IP
<O:@K<;KFD<<KK?<D8E8=K<I?<8I@E>JF
DL:?89FLK?@JI8E;FD:?8I8:K<I@KN8J
8CCKIL<%:8D<@EN@K?8G@>K8@CN@>8E;8
E<:B;I8G<;N@K?>8IC8E;J
;<G<:?<DF;<×:?8ICFKK<JKI<<K#
CFE;FE#)''.
K?@JG@:KLI<N8JJ?FK@EK?<J:I<<E@E>
IFFDF=K?<:?8ICFKK<JKI<<K?FK<C%;8M<
CFFB@E>>I<8K@E?@JJL@K%@;FEWKEFID8CCP
<EAFPJ?FFK@E>@EIFFDJN@K?EFN@E;FNJ
9LKNFIB<;8J8:FM<IJ?FK%
+(
;8M@;>I<P×I8;@F:@KP@EE<NPFIB%
N8CB@E>8IFLE;K?@J@E:I<;@9C<
M<EL<J?FIKCP9<=FI<?<G<I=FID<;
8E8D8Q@E>8:FLJK@:J<K#N<<E;<;
LGK8B@E>G?FKFJ@EK?<>LKJF=K?<
9L@C;@E>%
=I8EQ=<I;@E8E;×98:BJK8><8K
M$=<JK@M8C#)''.
8E8D8Q@E>CPJLEEP8=K<IEFFE8KM%
ALJK8=K<ID<<K@E>K?<D8E;8;D@I@E>
K?<@INFE;<I=LCJL@K<J#@JL>><JK<;
J?FFK@E>8ÊI8KG8:BËJ?FK#N8CB@E>
8CFE>98:BJK8><CFM<K?@JJ?FK8E;
?FNJ?8IGK?<C@>?K@J
+*
JKIFB<J×ÊC<>J@EK<IKN@E<;Ë
CFE;FE#)'''
@;@;EËKBEFNN?8KKF<OG<:KN@K?K?<J<
>LPJ8JF=K<EPFL;FEËKN@K?E<N98E;J%
C<8;J@E><IALC@8EN8J;<K8:?<;=IFD
K?<I<JKF=K?<DFEK?<9<;8E;@K
CFFB<;=8IDFI<@EK<I<JK@E>KFD<=IFD
K?@J8E>C<%=LEEPJ?FK:FEM<IJ<8;%
=FF=@>?K<IJ×JKL;<EKËJB@K:?<E#)''+
CFM<;;F@E>K?@JJ?FFK%I<8CCP;@;EWK
BEFNK?<J?FFKN8J>FEE8>FK?@JN8P
K?<9I@<=N8JLE:C<8I8E;K?<CF:8K@FE
@8E9IFNE×ÊJKL;@FJ?FKËCFE;FE#)''+
N8JEFKN?8K@N8JKFC;%9LK@K8CC
K?@JJ?FKN8J8GFN<I=LCEFJ?@KJ?FK
NFIB<;JFN<CC#<JG<:@8CCPN?<E;8M<
F=@8E9LKKF9<?FE<JK#@KJ?8I;KF>F
KFC;K?<IF8;@<JKFGCL>K?<D@E=FI
NIFE>N@K?8=8:<C@B<?@J%N@K?M<IP
I<8C%N<N<I<KFC;K?<98E;NFLC;DF:B
<8JPC@>?K@E>?<ËJ8AFPKFG?FKF>I8G?%
K?<J?FKJLG:8EPFL@D8>@E<K?<>LPJ@E
8E8D8Q@E>CP:FFC9CFB<KF9FFKN?FC<
K?<IFFD
J?FFKN8J8D8Q@E>
Xn
J@OJ?FFK<IJ
Xe[pn`ccj_\i
ANYONE WHO BELIEVES PHOTOGRAPHERS AREN’T PASSIONATE ABOUT ROCK’N’ROLL HASN’T
MET ANDY WILLSHER. INSPIRED BY ‘80s NOISENIKS LIKE CHIEFS OF RELIEFS AND THE HOLLOW
+,
MEN TO PICK UP A CAMERA, HIS (SPEAR OF) DESTINY BECAME OBVIOUS DURING A 5.30 GIG AT
‘THE MOMENT I SAW THEM I KNEW I WANTED TO QUIT MY JOB AT THE BANK AND BE A MUSIC
PHOTOGRAPHER.’ HE RECALLS.
OXFORD’S FINEST IMPLODED SOON AFTER, BUT HAVING JOINED THE NME IN 1993 (FIRST
JOB-THE FAMILY CAT IN CREWE) ANDY HAS BEEN UP CLOSE AND PERSONAL WITH ROCK’S
COGNISCENTI EVER SINCE. WHETHER IT’S CAPTURING THOM YORKE SMEARING HIS FACE WITH
ICE CREAM AT MILTON KEYNES BOWL, SEEING LIAM GALLAGHER POINT (NOT SO) CRYPTICALLY
AT THE PITCH MARKINGS PRIOR TO OASIS’ WEMBLEY STADIUM GIGS OR THE ARCTIC MONKEYS
LARKING ABOUT IN A SNOOKER HALL IN SHEFFIELD, ANDY’S BEEN THERE AND CLICKED THE
SHUTTER.
‘A GREAT ROCK PHOTO IS ABOUT BEING IN THE RIGHT PLACE AT THE RIGHT TIME’ HE EXPLAINS
MODESTLY, IN REFERNCE TO ICONIC SHOTS OF ARTHUR LEE AND ‘MODERN LIFE IS RUBBISH’ ERA
DAMON ALBARN
‘PENNIE SMITH’S CLASSIC SHOT OF THE CLASH WHICH BECAME THE SLEEVE FOR ‘LONDON
CALLING’ IS THE PERFECT EXAMPLE OF THAT.’
AS FOR HIGHS- WELL, IT’S GOT TO BE HIS ANNUAL SHOT OF GLASTONBURY FESTIVAL FOR THE
NME, TAKEN WHILE LEANING, SANS SEAT-BELT, OUT OF OF A HELICOPTER.
‘I CAN THINK OF WORSE THINGS TO DO’ HE SMILES.
ANDY WILLSHER: HE WAS THERE WHILE YOU WERE GETTING HIGH.
D8I@E8K?<;@8DFE;J
J?FKN?@CJKFE89I<8B=IFD=@CD@E>K?<
M@;<FKF?FCCPNFF;@E<8C@E>#CFE;FE
THE UNIVERSITY OF LONDON.
G8LCN<CC<I×)*8L>LJK
K?<JF:@8C#N<JK<E;#CFE;FE%
G<K<;F?<IKP
J?FK=FIK?<:FM<IF=ED<N?@C<C@M@E>@E
<ODFLK?D8IB<K@E=8II@E>;FEJ?FIKCP
8=K<IC<8M@E>K?<C@9<IK@E<J%
+.
Xe[pn`ccj_\iJ@OJ?FFK8E8C9LDN@K?
C@E;8G<IIP@EC8#K?<N?FC<8C9LDN8J
J:I8GG<;M<IPJ?FIKCP8=K<I%
DLJ<
ÊJ?FK8KKFNE?FLJ<JKL;@FJN?@CJK
D@O@E>9C8:B?FC<J8E;I<M<C8K@FEJË
8E;ÊJ?FK8K0*#=<<K<8JK8=K@>8KIFL>?
KI8;<=FI:<;K?<DKFDFM<@K%K?<
=@IJKK@D<8EPFE<?8;?<8I;JFE>J
=IFD@EI8@E9FNJC@M<Ë%
K?FDPFIB<
K8B<E;LI@E>JFD<;FNEK@D<N?@C<K?<
98E;GI<G8I<;KFJLGGFIKI<D8KD@CKFE
B<PE<J9FNCALJK9<=FI<K?<I<$I<C<8J<F=
:I<<GN?@:?NFLC;D8B<K?<DD8JJ@M<%
:FLIKE<PCFM<
;8DFE8C98IE
J?FK@E8?8DD<IJD@K?JKL;@F
C@8D>8CC8>?FI@CC8Q:I<8KFIA8D@<
<M<IJ?FNJKF><K?<I%
?<NC<KKJ?FLK<;;@I<:K@FEJ
FM<IDPJ?FLC;<I%
,(
))8GI@C)''/
J?FK@E:?8CB=8IDJKL;@F=FI8=<8KLI<
@ELE:LKD8>8Q@E<%
9F99P>@CC<JG@<×:?8CB=8ID#CFE;FE#
,*
8DPN@E<?FLJ<
(+ALE<)''.@JC<F=N@>?K%
9@==P:CPIF
K$@E$K?<$G8IB#B@EIFJJ#J:FKC8E;((ALCP)'('%
ij
J@OJ?FFK<IJ
if^\ijXi^\ek
‘AS A FIFTEEN YEAR OLD SMITHS FAN EXILED IN SOUTH AFRICA, MY ONLY AVENUE OF SANITY
WAS BUYING MUSIC MAGAZINES’ EXPLAINS ROGER SARGENT OF A PERIPETETIC ADOLESCENCE
,,
TO MAKE JACK KEROUAC GREEN WITH ENVY.
FOLLOWING PIT-STOPS IN SOMERSET, DERBY AND AT PHOTOGRAPHY COLLEGE IN NEWPORT
(WHERE HE WAS ONCE ‘KIDNAPPED’ BY INFAMOUS RABBLE-ROUSERS FABULOUS), ROGER
ENDED UP EXACTLY WHERE HE WANTED TO BE IN 1993. THE FOLLOWING YEARS SAW HIM SHOOT
EVERYONE FROM RAGE AGAINST THE MACHINE TO HEROES RANGING FROM BOB MOULD (‘I WAS
A MASSIVE HUSKER DU FAN’) AND PAUL WELLER (‘AN ABSOLUTE LEGEND’), NOT TO MENTION A
COCKY YOUNG OUTFIT FROM MANCHESTER CALLED OASIS.
‘IT WAS AT THEIR FIRST PROPER LONDON GIG AT THE WATER RATS IN MARCH ’94’ HE EXPLAINS.
‘I’D NEVER MET HIM BEFORE, BUT DURING THE GIG LIAM LOOKED STRAIGHT DOWN THE LENS
OF MY CAMERA, AND NO ONE ELSE’S. HE DID BARGE ME OUT OF THE WAY AFTERWARDS,
THOUGH.’
AT THE TURN OF THE ‘00s, ROGER’S FRIENDSHIP WITH THE LIBERTINES SAW HIM CATALOGUE
THE BAND’S RISE AND FALL TO STUNNING EFFECT IN HIS EXHIBITION ‘THE BOYS IN THE BAND’.
‘BEING WITH THEM WAS BRILLIANT, BUT IT’S NOT ALL I’VE DONE’ HE SAYS. ‘BUT I’M INCLUDING
A COUPLE OF PICTURES THIS TIME WHICH HAVE NEVER BEEN SEEN BEFORE.’
ICONIC IMAGES COME EASY TO THIS HUMBLE HIGH-PRIEST OF THE LENS, BUT DON’T EXPECT
HIM TO CROW ABOUT IT. ‘I’VE NEVER BEEN INTO THE TECHNICALITIES’ HE SHRUGS MODESTLY. ‘I
JUST NEED A GUN THAT I CAN FIRE.’
JEFFG;F>>×CFE;FE#(00+%
@8II@M<;8KJEFFGËJ?FK<C@EN<JKCFE;FE8ID<;N@K?K?<:FGPF=K?<JK8I8E;EFJD8CC
8DFLEKF=8GGI<?<EJ@FE%8=K<IN8@K@E>DFI<K?8E8E?FLI@EK?<CF99P@N8J@E=FID<;
K?8K?<?8;ALJKJK8IK<;N8K:?@E>ÊJG8IK8:LJËFEK?<?FK<CKM8E;:FLC;N<N8@K8C@KKC<
CFE><I6@ËDGI<KKPJLI<@KN8JK?<*?FLIM<IJ@FEF=K?<=@CD%<M<EKL8CCP@N8JLJ?<I<;KF
?@JIFFD8E;J?FK?@D=FIHL@K<JFD<K@D<#?<N8JGFC@K<#=I@<E;CP8E;M<IPJF=KCPJGFB<E¿%
8E;8E?FLIC8K<>F@E>FEJK8><=FI?@J9I@OKFE8:8;<DPJ?FNC8K<IK?8K;8P%
‘THE NME WAS MY LIFELINE. I VOWED THAT ONE DAY I’D WORK FOR THEM.’
,.
if^\ijXi^\ekJ@OJ?FFK<K
:?8EKFGFJ<JFD<N?<I<FEJ@K<K?8K
N8JHL@IBP#8B@;;@<JGC8P>IFLE;=FI
<O8DGC<¿8CI<8;PEFKI<C@J?@E>K?<
@;<88E;?<8I@E>K?8KJ?<:FLC;9<8
C@KKC<LEGI<;@:K89C<#K?<GID8;<K?I<<
LEJL::<JJ=LC8KK<DGKJKFGIP?<I=IFD
?<I:?8C<K%FEK?<K?@I;8KK<DGKK?<GI
8JB<;D<KF>FKFK?<:?8C<K8E;K8CBKF
:?8E;@I<:KCP9<:8LJ<J?<N8EK<;KF;F
K?<J?FFK@E?<IIFFD%@N8J:FDGC<K<CP
;@J8ID<;N?<E@>FKK?<I<#:?8EGLCC<;
FLK8>L@K8I8E;J8E>KFD<M@IKL8CCP
E8B<;@E?<I9<;9PN8PF=8GFCF>P%J?<
<D@E<D×;8CC8J#K<O8J#(000%
>FK?<IN8P8E;@>FKJFD<>I<8K8E;
8KK?<?<@>?KF=È<D@E<D8E@8ÉN<AF@E<;
M<IPÊI<8CËG@:KLI<J%
K?<9C<8:?<;I8GG<IFEK?<M8EJN8IG<;
KFLI%@Ë;J?FK?@JC@M<J?FN8E;J<KLG
C@>?KJ8E;:8D<I89PK?<=<E:<=IFDK?<
JK8><KFK?<98:BJK8><8I<8¿@KN8JEËK
K?<>I<8K<JKF=98:B;IFGJK@CC@J?FLK<;
KFG8JJ@E>=8EJKF:FD<8E;AF@E@E%ALJK
8=K<IK?@JJ?FKJFD<F=K?<B@;JJK8IK<;
KF:C@D9K?<=<E:<8E;K?<J?FFK:8D<KF
8E89IL9K<E;
,0
G8LCN<CC<I×FO=FI;J?@I<#(00,%
?8M@E>9<<E8JJ@>E<;KFJ?FFKN<CC<I=FI
8C@M<I<M@<N#@>FKKF;I@EBN@K??@D@EK?<
F8J@J×CFE;FE#(00+%
98IF=K?<?FK<C8=K<IK?<>@>%9<@E>8=8E
K?<@I=@IJKCFE;FE>@>8E;8J?FN:8J<KF
J@E:<@N8JKN<CM<@N8J9CFNE8N8PN?<E
DLJ@:D<;@8=FI8E<NCPJ@>E<;:I<8K@FE
?<@EM@K<;D<KF?@JM@;<FJ?FFKK?<E<OK
98E;8C8ED:><<?8;9<<EI8EK@E>89FLK%
;8P%8CCFK?<IGC8EJN<I<:8E:<CC<;8E;
<M<EK?<EC@8D?8;8CCK?<JN8>><I8E;
@JG<EKK?<;8PJE8GG@E>8N8P8E;JD@C@E>
8IIF>8E:<?<JK@CCGFJJ<JJ@E9L:B<KJ
8CFK@KN8JJLEEP#9LK:FC;8E;N@E;PJF
KF;8P%?<ËJJ@E:<KFC;D<FED8EP
G8LCKFFBJ?<CK<I9<?@E;?@J8DG%8:LGF=
F::8J@FEJ K?8KK?@J@J?@J=8MFLI@K<
K<8@JE<M<I=8I8N8P%
G?FKF%GFJJ@9CP9<:8LJ<EF<C@JEËK@E@K
K?<BFFBJ×9@ID@E>?8D#)'',%
@Ë;JG<EKJFD<K@D<FEK?<IF8;N@K?
K?<BFFBJ9<=FI<K?@JD8>8Q@E<J?FFK#
JFE<NK?<98E;I<8CCPN<CC%%%K?@JN8J
;LI@E>FE<F=D8OI8==<IKPËJD8EP
?@8KLJ<J#?<E:<G<K<;<EKFE=@CC@E>@E%
-(
:IFN;<;?FLJ<×M8E:FLM<I#(00/%
8CN8PJ8J<:I<K:IFN;<;?FLJ<=8E
K?@J@JFE<F=DP=8MFLI@K<KI@GJJF=8I%
;LI@E>K?<J?FNK?<E@>?K9<=FI<K?@J
J?FFK#E<@C=@EEJKFGG<;K?<>@>8E;
J8@;¿%ËC8;@<J8E;><EKC<D<E#@Ë;C@B<
PFL8CCKF>@M<8M<IPN8IDM8E:FLM<IJ8I><EK#;FNE
K?<I<K8B@E>G?FKFJ8KK?<=IFEK%Ë*'''
G<FGC<:C8GG<;8E;:?<<I<;%
K?<C@9<IK@E<J×CFE;FE#)''*%
8EÊFLKK8B<Ë=IFDK?<EFN=8DFLJI<;
D@C@K8IPA8:B<KJ?FFK%
:FC;GC8P×C<@:<JK<I#)'''%
K?@JN8JFE:FC;GC8PËJ=@IJK?<8;C@E<
KFLIFLKJ@;<K?<J8;CPEFN:CFJ<;
GI@E:<JJ:?8ICFKK<M<EL<%%%@Ë;NFIB<;
HL@K<89@KN@K?K?<D9<=FI<K?@J
J?FFK8E;<M<IP9F;P:FLC;K<CCK?%@
I<D<D9<I8KK?<J?FNC8K<IGC8P@E>KF
-*
),'G<FGC< DPJ<C=8E;K?<KFLID8E8>?8JKI<G<8K<;CPDLD9C@E>
ÊK?<PËI<>F@E>KF9<?LLLL><Ë%
K?@JN8J=FIK?<@I=@IJKGI<JJJ?FFK#K?<I<
N8J8CI<8;P89LQQ89FLKK?<98E;@Ë;
?<8I;8E;I<8CCPC@B<;K?<=@IJKJ@E>C<
8E;98;><I<;K?<@IC89<CD8E8><IKF
;FJFD<J?FKJ%PFLE>8E;8C@KKC<J?P8K
=@IJKN<8:KL8CCP<E;<;LG?8M@E>8CFK
F==LEFEK?@J);8PJ?FFK%%%K?FL>??8;KF
=FI>FFE<F=K?<CF:8K@FEJ8JJFD<9F;P
?8;ALJKK?IFNEK?<DJ<CM<JF==K?<KFG
F=89L@C;@E>
9CF:G8IKP×CFE;FE#)''+%

Six Shooters PDF for more information

Transcription

Similar documents

Vol. 12, No. 1

)4_``)4rGab#$WXcY

Dave Weckl

Die BUCHSTAVIER - Das Dosierte Leben

Wilde Westküste und Kakadu

Operator manual (pdf, en)