ROLLING STONES FLEA MARKET FIND PHOTOS | FOUND TUMBLING THROUGH THE SOUTH IN ’65

Rolling Stones Florida 1965

Brian Jones of the Rolling Stones enjoying the pool at the Manger Motor Lodge in Savannah, GA

Just imagine your luck stumbling across this little gem… 23 original, never-before-seen photos of the Rolling Stones resting unmolested in an unmarked box? Yes, please. That’s exactly what Lauren White found herself staring at when a friendly, unassuming flea market dealer put them before her kindly with a wink and a nudge. Turns out they were taken (photographer unknown…) during the Rolling Stones American tour through Savannah, Georgia and Clearwater, Florida in 1965.

“He obviously didn’t know what he had. To tell the truth, I didn’t either. I obviously knew it was the Stones, but it took about a week of looking them over to realize that this was really a very unique circumstance. After extensive research, I came to find that these are unpublished, never-before-seen photos of one of the most legendary bands in rock ‘n’ roll history. Not only that, they are beautifully composed, candid, raw and perfect in every way. They really convey a band innocent to their destiny.

In a lot of the images, the guys are looking directly into the lens. It’s hard to get boys to be that vulnerable, especially in front of a camera. They are also sort of showing off. I think a girl is the only thing that could convince them to allow those kinds of shots. It’s hard to imagine a dude is evoking these intimate moments, but you never know.” –Lauren White

Mick Jagger Rolling Stones 1965

1965– Mick Jagger of the Rolling Stones poolside in shades, Clearwater, Florida

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TRUMAN CAPOTE’S HAMPTONS STUDIO | THE INTENTIONALLY UNTENDED LOOK

It’s not to say that I’m not a fan of his written works, but what I love Truman Capote for more are his brilliantly bitchy Black & White Ball of 1966 to celebrate the release of In Cold Blood, and his subdued and soothing studio hidden among the scrubs in the heart of the Hamptons that he personally designed as his own private oasis. I believe that most of these pics of the Mid-century modern beach studio were actually taken in 1965 (except for the last pic of Capote seated in his robe), though this story is from the archives of Architectural Digest, ca. 1976. Sadly, it no longer looks quite as charming as it does in these old photos. Through subsequent updates by later owners the beach studio has been sterilized a bit and is sorely lacking Capote’s self-proclaimed intentional untended chic and quirky touches.

1965– Truman Capote standing on the ledge of the fireplace in the living room of his Hamptons country studio near Sagaponack on the South Fork. –Image by © Condeˆ Nast Archive/Corbis

From Architectural Digest, 1976–

It is virtually impossible to find his Long Island home in the Hamptons, but that’s exactly the way he wants it. Hidden behind scrub pine, privet hedges and rows of hydrangea bushes is Truman Capote’s two-story, weathered-gray beach house near Sagaponack on the South Fork.

He lives in the heart of the Hamptons—a stretch of rolling potato fields and lush farmlands married to the nearby Atlantic Ocean. A year-round farming community and a summer place for city people, it is here that antique farmhouses vie with modernistic glass houses for the dunes and fields. Mr. Capote once called Sagaponack “Kansas with a sea breeze.”

1965– Author Truman Capote relaxes in a wicker chair outside his Long Island home in the Hamptons. –Image by © Condeˆ Nast Archive/Corbis

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STEVE MCQUEEN, RICHARD AVEDON & RUTH ANSEL | HARPER’S BAZAAR, 1965

At first look there are obvious reasons to love this (February, 1965) cover of Harper’s Bazaar magazine– Steve McQueen of course, and the amazing photography of the legendary Richard Avedon. But there is another visionary manifested here, not often spoken of, especially back when this was on the newsstand. Ruth Ansel.

Ruth Ansel was a female pioneer in the world of graphic design. To read Ruth’s tales of her early days working with legends and creating a burgeoning new art form is fascinating– even though I’m not a graphic designer myself, there is so much that I appreciate and admire. An interesting footnote– 22 year old Ali MacGraw (pre-McQueen days) worked under Diana Vreeland at Harper’s Bazaar until she was finally convinced by a bevy of photographers to get out from behind the camera and strike a pose. And the rest is history, as they say…

When Ruth Ansel put Steve McQueen, photographed by Richard Avedon (also the guest editor), on the cover of Harper’s Bazaar in 1965, it was the first time a male appeared on the cover of a women’s fashion magazine. 

“Point to an iconic magazine cover of the last 40 years, and chances are it was designed by Ruth Ansel. Since 1961, when she talked her way into the art department at Harper’s Bazaar, Ansel has defined the look of some of America’s visually influential publications. In the 1960s, her work for Bazaar captured a transitional moment in fashion and society. In the 1970s, she became the first female art director of The New York Times Magazine and in the 1980s she created the look of Vanity Fair.”

–Carol Kino

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THE PHOTOGRAPHY OF BILL RAY, 1965 | HELLS ANGELS & HOT OLD LADIES ON ICE

As Irish Rich correctly said, “Bill Ray wasn’t the Lone Ranger…” meaning he wasn’t the only dude photographing the ’60s bikers/hippies/counterculture in a meaningful way – share the love. That being said, he did capture some really stunning images of the original Hells Angels of Berdoo and their striking “Old Ladies” for LIFE back in 1965. It is the Old Ladies (actually quite young), who in fact steal the show with their melancholy beauty and faraway stares. They hold me mesmerized as I search in vain for silent clues to who they were, where they came from, what brought them here. Truth is that their beauty is long gone by now, and they may have even left this world – yet somehow looking at these images they seem like ghostly beauties frozen forever in a place in my mind where time feels irrelevant. If I could only find a way back there. Truth is these Old Ladies are no longer available on the menu. Thank God (oh, and Bill Ray) for these images.

I love the personal commentary Ray shares regarding some of his favorite shots, and the behind-the-scenes escapades while out on assignment with writer Joe Bride covering the San Bernardino Hells Angels. The story for LIFE would never see print as it turns out, but the shots have become legendary despite that and are available in the book Hells Angels of San Berdoo ’65 | Inside the Mother Charter which is definitely worth a look. But don’t stare at the old ladies too long. They will lure you into the deep, dark waters and drown you.

Two of the women riding with the Hells Angels hang out at a bar. According to LIFE writer Joe Bride’s notes– “The girl kneeling by the jukebox is Ruthie and she’s the ‘Old Lady’ of Harvey, a Diablos member from San Bernardino. Harvey attends Angels’ meetings and rides with them but is not a member. It’s only two in the afternoon but Ruthie has already ‘crashed’ from beer and bennies [benzedrine].” Bill Ray has a real liking for this particular photograph. “This is one of my favorites from the whole shoot. There’s something kind of sad and at the same time defiant about the atmosphere. Ruthie is probably playing the same 45 over and over and over again. A real music lover.”  —photograph by Bill Ray © Time & Life Pictures/Getty Images

“Outside the Blackboard in Bakersfield, Hells Angels, hangers-on, and their old ladies conduct a seminar in advanced loafing.” –photograph by Bill Ray © Time & Life Pictures/Getty Images

“I remember seeing some of the women take a razor blade and trim their eyebrows, and a lot of them managed to achieve this very hard, distinctive look. It’s a look that’s difficult to recreate, I think, and one that, when you look at these pictures, is really of its time. This look says mid-1960s. That’s what I see here, without a doubt.” –photograph by Bill Ray © Time & Life Pictures/Getty Images

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CARROLL SHELBY & THE FORD GT40 | FOUR YRS OF DOMINATION AT LE MANS

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When Henry Ford II’s quest to buy Ferrari back in 1963 was spitefully squelched by Enzo, the mandate was given to, “Kick Ferrari’s ass.” And not just anywhere– at Le Mans, the world stage of auto racing.  The ass-kicking would finally come in the beautiful & brutish form of the iconic Ford GT40–America’s most incredible racecar ever.

Originally developed in England by Ford Advanced Vehicles Ltd under the direction of Aston Martin’s former team manager, John Wyer, the GT40 failed at Le Mans in ’64 & ’65, as Ferrari finished 1-2-3 both years. With failure no longer an option for anyone who wished to remain employed by Ford, Carroll Shelby was tapped to give the GT40 the necessary bite to beat the Italians.  Shelby’s success at Le Mans in his own Cobras, and again with the GT40, was not about technology, but by being crafty.  He replaced the 289 c.i. GT40 engine with the same powerful, big block 427 c.i. V-8 that powered his Cobras.  The lower revving, larger displacement V-8’s were more able to take the stress of long endurance races than the higher-revving, small displacement engines used by Ferrari.

Shelby not only ended Ferrari’s racing dominance, he exacted sweet revenge for Enzo’s snub– and garnered Ford a remarkable four-year winning streak from 1966 – 1969.

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Two massive American automotive legends — Carroll Shelby and the iconic Ford GT40. Originally labeled GT, ’40’ was added due to its incredibly low 40-inch stance.

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West Sussez, England — A Carroll Shelby masterpiece, 1960s JW Automotive/American Gulf Oil-sponsored Ford GT40  racecar at the Goodwood race track — Image by © Martyn Goddard/Corbis

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1969 Carroll Shelby / Ford GT40 MK 1 racecar (JW Automotive/American Gulf Oil-sponsored) with body panels removed.  This Ford GT P/1075 is one of the few racecars to ever win the 24 Hours of Le Mans back to back– here pictured as #6. — Image by © Martyn Goddard/Corbis

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QB “BROADWAY JOE” NAMATH | NEW YORK, BROADS & BOLD PREDICTIONS

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From the desk of Contributing Editor, Eli M. Getson–

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Teammate Sherman Plunkett gave Namath his nickname after seeing this 1965 Sports Illustrated cover with Namath standing in front of New York City’s infamous avenue. The Hall of Famer lived up to the name with both his brash fur coats and bold predictions, the most well known coming in 1969 when he guaranteed his 19-point underdog Jets would defeat the Baltimore Colts in Super Bowl III. They did, 17-6, and Namath was named MVP.  Photographed by: James Drake for Sports Illustrated

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Try to wrap your head around this–  you’re the quarterback for the New York Jets in 1968-69; leading an upstart team from the counterculture AFL into Super Bowl III against the heavily-favored Baltimore Colts. You’re the poster-boy in the battle of the longhairs and freaks (Jets) versus the ultimate symbol of straight, corporate NFL excellence  (Colts).  You’re young, very single, and beyond sexy — like catnip to the ladies — you own NY.  You have that sense of immortality that comes with being young, rich, and very, very good.

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New York Jets quarterback Joe Namath lounges by the pool with press and fans before Super Bowl III.  Photographed by: Walter Iooss Jr. for Sports Illustrated

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To say it’s a charmed life is the understatement of the century.  Those heady days leading up to Super Bowl III, rewrote the script for the celebrity athlete, the Super Bowl, and the fortunes of an upstart league of misfits, outlaws & free spirits.  No matter what happened afterward, Joe Namath etched himself into our collective consciousness in that first month of ‘69.  We all dreamt of being like Joe–carousing Manhattan’s hottest spots all hours of the night with a blond and brunette as bookends, armed with a bottle of Jack, letting it all hang out– and still having enough to burn the Raiders the next day.  Dick Schaap, Namath biographer (and later co-host of the Joe Namath Show), said he witnessed just this before the AFL Championship that year.  A legendary story celebrated by us fans– the ultimate testament to how cocksure our QB was.  Today he would have been pilloried for his lack of “focus”, back then we celebrated how fun it all was and lived vicariously through “Broadway Joe”.

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Circa 1970– Rome, N.Y.: Jets’ star quarterback Joe Namath turns equestrian for his role in the forthcoming motion picture, C.C and Company. — Image by © Bettmann/CORBIS

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We all know what happened next– Miami, The Orange Bowl, the “Guarantee”, and then going out and making it happen.  Miami Beach must have been a helluva good time that week.  New York is a demanding town– you come to be great or be gone.   If you can back up your bravado with action and bring home the prize then we will love you forever, no matter how much you embarrass yourself or us later on.  We owe you that much for the memories alone.

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EPIC 1965 NEWPORT FOLK FESTIVAL | BOB DYLAN PLUGS IN– FANS TUNE OUT?

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Before he went electric in 1965 — and drew jeers from legions of (arguably small-minded) fans in the process — Bob Dylan epitomized the hard-traveling folk troubadour, and he established this image largely on a vintage Gibson “Nick Lucas” model flat-top guitar. The young Dylan had played other Martin and Gibson models in the late ’50s and early ’60s, but in those final years of his acoustic era, before a “blonde on blonde” Fender Telecaster ushered in a whole new folk-rock sound, the “Nick Lucas” was his instrument of choice. He played this guitar in the studio and on tour from 1963 to ’66, and used it for the legendary albums Another Side of Bob Dylan and Bringing it All Back Home. And, although it didn’t appear on the covers of either of these, it is frequently seen in the many live performance tapes from the day, including broadcasts of the Newport Folk Festival in 1964 and ’65, and Dylan’s famous appearances on BBC TV in England in 1965. While, in hindsight, this Gibson “Nick Lucas” seems “just right” for the young Dylan, and has become an iconic folk guitar as a result, the model’s origins show that it is perhaps an unlikely choice for a scruffy young folky.  Via

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Back in 1963, Bob Dylan was the new darling and outspoken voice of political protest in America, performing songs seeking truth and justice– “Only a Pawn in Their Game”,“Who Killed Davey Moore?”, and most notably, “Blowin’ in the Wind”— backed by the Folk movement’s super-establishment including Pete Seeger, Joan Baez, the Freedom Singers, and Peter, Paul & Mary. But Dylan’s talent quickly proved too big to be boxed in by the narrow and idealistic parameters of Folk purists.  By 1964 he’d already moved on musically– “Mr. Tambourine Man”, and “It Ain’t Me, Babe” showcased the emerging depth of his songwriting skills outside of protests and politics. Dylan’s fans worship him with a god-like fervor and frenzy.  At the 1964 Newport Folk Festival, the enthusiastic crowd woos Dylan– cheering, chanting, and roaring for him to return to the stage at the end of his acoustic set. When he reappears on stage, it’s a love-fest.  “I wanna say thank you, I love you”, says Dylan to the crowd.  He can seemingly do no wrong.
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Bob Dylan At Piano During Recording Session, 1965.  Bob Dylan in a contemplative mood, lost in thought behind his Ray-Bans, pausing for a break between takes at the upright piano at Studio A, Columbia Recording Studios in New York City during the sessions for “Highway 61 Revisited” in June 1965, a mere month before his electric set at the Newport Folk Festival would send Folk and Rock and Pop music into a whole new direction. –Photo by Jerry Schatzberg, Via

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By the summer of ’65, Dylan’s stardom surpassed that of the Folk traditionalists at the Newport Folk Festival. Hundreds of adoring fans overwhelm Dylan’s car, as he basks in the attention, smiling and stating, “They’re all my friends.” But there is wave of rebellion beginning to well-up against Dylan among the so-called Folk purist fans.  They see him as already being a sell-out, having moved over to the side of the establishment.  In their eyes, Dylan is now just another cog in the wheel.  The stage is now set for the epic event that will forever be remembered as– When Dylan Went Electric. So what inspired Dylan to go electric in the first place?  Some say Dylan was inspired (or challenged perhaps) by an exchange he had with John Lennon. Dylan slammed Lennon, essentially dismissing The Beatles lyrically– “you guys have nothing to say”, was the message.  Lennon’s counter was to enlighten Dylan of the fact that– he had no sound, man. Whether or not it resulted in Dylan going electric, or The Beatles writing more introspective lyrics, who knows–  but it’s a helluva story.

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“I DON’T WANT ANYBODY IN HERE WITHOUT COATS AND TIES,” SINATRA SNAPPED.

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From the archives of Esquire magazine, featured in their 70th anniversary issue–

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In the winter of 1965, writer Gay Talese arrived in Los Angeles with an assignment from Esquire to profile Frank Sinatra. The legendary singer was approaching fifty, under the weather, out of sorts, and unwilling to be interviewed. So Talese remained in L.A., hoping Sinatra might recover and reconsider, and he began talking to many of the people around Sinatra — his friends, his associates, his family, his countless hangers-on — and observing the man himself wherever he could. The result, “Frank Sinatra Has a Cold,” ran in April 1966 and became one of the most celebrated magazine stories ever published, a pioneering example of what came to be called New Journalism — a work of rigorously faithful fact enlivened with the kind of vivid storytelling that had previously been reserved for fiction. The piece conjures a deeply rich portrait of one of the era’s most guarded figures and tells a larger story about entertainment, celebrity, and America itself. Here are a few choice excerpts from the original Esquire story– a link to the epic piece in its entirety, after the jump.

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Early 1960s, LA — Dean Martin, Sammy Davis, Jr., Frank Sinatra. — Image by © Michael Ochs Archives/Corbis.

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I‘m for anything that gets you through the night, be it prayer, tranquilizers or a bottle of Jack Daniel.”

–Frank Sinatra

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Frank Sinatra, holding a glass of bourbon in one hand and a cigarette in the other, stood in a dark corner of the bar between two attractive but fading blondes who sat waiting for him to say something. But he said nothing; he had been silent during much of the evening, except now in this private club in Beverly Hills he seemed even more distant, staring out through the smoke and semidarkness into a large room beyond the bar where dozens of young couples sat huddled around small tables or twisted in the center of the floor to the clamorous clang of folk-rock music blaring from the stereo. The two blondes knew, as did Sinatra’s four male friends who stood nearby, that it was a bad idea to force conversation upon him when he was in this mood of sullen silence, a mood that had hardly been uncommon during this first week of November, a month before his fiftieth birthday.

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Hyannis Port, MA, Circa 1965–  Singer Frank Sinatra with then actress girlfriend Mia Farrow on deck of the yacht, Southern Breeze.  His look implies “Hit the road, Mac.”  –photo by Bill Eppridge for LIFE.

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Sinatra had been working in a film that he now disliked, could not wait to finish; he was tired of all the publicity attached to his dating the twenty-year-old Mia Farrow, who was not in sight tonight; he was angry that a CBS television documentary of his life, to be shown in two weeks, was reportedly prying into his privacy, even speculating on his possible friendship with Mafia leaders; he was worried about his starring role in an hour-long NBC show entitled Sinatra — A Man and His Music, which would require that he sing eighteen songs with a voice that at this particular moment, just a few nights before the taping was to begin, was weak and sore and uncertain. Sinatra was ill. He was the victim of an ailment so common that most people would consider it trivial. But when it gets to Sinatra it can plunge him into a state of anguish, deep depression, panic, even rage. Frank Sinatra had a cold.

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Dec 26th, 1976, Terrytown, NK —  Frank Sinatra is shown in his dressing room at Westchester Premier Theater in Sept. 1976 with (L-R, standing): Gregory DePalma, a defendant in the case; Sinatra; defendant Thomas Marson who was severed from the trial because of poor health; the late Carlo Gambino; and Jimmy (the Weasel) Fratiano.  Kneeling in front is defendant Richard Fusco. Others in the picture were hidden under to bolster the testimony of its key witness. — Image by © Bettmann/CORBIS

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THE FORD MUSTANG GT350 | CARROLL SHELBY & THE AMERICAN PONY WAR

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Carroll Shelby, whose Ford powered cars have been a constant contender in International racing, plays a toy flute to charm a toy Cobra out of its basket on the hood of his latest offering to the automotive world, the Mustang GT 350, at the first showing of the car- January 27th, 1965 in Riverside, CA.  The Shelby is a modified Ford Mustang Fastback, with a 289 Ford Cobra engine, front disc brakes, and improved suspension for road racing or high speed driving. -- Image by © Bettmann/CORBIS

Carroll Shelby, whose Ford powered cars have been a constant contender in International racing, plays a toy flute to charm a toy Cobra out of its basket on the hood of his latest offering to the automotive world, the Mustang GT 350, at the first showing of the car- January 27th, 1965 in Riverside, CA. The Shelby is a modified Ford Mustang Fastback, with a 289 Ford Cobra engine, front disc brakes, and improved suspension for road racing or high speed driving. -- Image by © Bettmann/CORBIS

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Carroll Shelby was undoubtedly the greatest single force behind American auto racing over the last 60+ years.  From his legendary racing career, to reinventing the image of American road-racers in European competitive racing and beyond.  In 1962, and with no official engineering background, Carroll Shelby created the legendary, stallion-slaying Cobra, which soon ended Ferrari’s all-out domination of the World’s Manufacturing Championship.  For him, the recipe was simple and oft repeated– put a massive engine in a lightweight, nimble car.

In 1965, the Shelby Mustang GT350 made its production debut setting off  a legendary battle for power and prestige between rival Detroit automakers– which would from that day on be known as  the “Pony War”.

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The legendary Shelby Mustang GT350

The legendary Shelby Mustang GT350

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PORFIRIO RUBIROSA | LAST OF THE FAMOUS INTERNATIONAL PLAYBOYS

Much has been written, speculated and whispered about the man, Porfirio Rubirosa. One thing is for sure, he led a life that few can imagine, let alone rival.  Truth is always stranger and more interesting than fiction, especially in this case– the infamous and always dapper diplomat, skilled sportsman and legendary lothario. Pass the (eh-hem) pepper grinder, please.

porfirio rubirosa polo horses

The infamous playboy Porfirio Rubirosa with his Polo ponies.
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