“Bushy, you’re one of us.”
The man to whom this tribute is addressed has a tanned, weather-beaten face and a silver beard. He has dressed up for this special occasion in a smart dark suit. His eyes are gleaming with delight and he is beaming from ear to ear. His name is Peter George Bush, and the accolade he has just received, from former All Black captain and coach Sir Brian Lochore, is an indication of his rarefied status among sports photographers – an acknowledgment that for this man, the no-go zone that the All Blacks have traditionally erected around themselves didn’t apply.
The occasion is the launching of Hard on the Heels, an exhibition of 100 rugby photographs taken by Bush in the 60 years since he covered his first test match (New Zealand v Australia at Eden Park) for the New Zealand Herald in 1949. The venue is Masterton’s Aratoi gallery – an appropriate location, given Bush’s obvious preference for old-style heartland rugby over the modern professional game.
Selected by curator Rod McLeod from thousands of photos (or “images”, as Bush reluctantly calls them, deferring to the terminology favoured in gallery circles), the mostly black-and-white pictures capture the essence of the sport that, for many New Zealanders, still helps define the national character.
In a career that still hasn’t completely run its course, Bush has achieved the rare, if not unique, distinction of becoming better known than many of the players whose pictures he took. He has photographed them in the white-hot cauldrons of Loftus Versfeld and Cardiff Arms, in steamy, sweaty changing rooms and at home on their farms. Along the way a mutual respect developed between Bush and his subjects. As Lochore explains, the All Blacks allowed Bush access to their inner sanctums because they were confident he wouldn’t betray their trust.
The opening night is more than just a celebration of Bush’s photographs. It’s suffused with the golden glow of rugby nostalgia. Speakers talk fondly of an era when test matches were played in daylight, muddy grounds rendered players virtually unrecognisable (unheard of with today’s impeccably prepared playing surfaces) and referees weren’t second-guessed by video replays.
Bob Francis, a former Masterton mayor and ex-international referee who was instrumental in having the exhibition launched in the Wairarapa town, identifies the 1963 and 1967 overseas tours, led by Wilson Whineray and Lochore respectively, as two of the greatest in the history of the game. In a gentle dig at the pampered stars of the professional game, he notes that in Whineray’s and Lochore’s time, the All Blacks would arrive home after a long tour and get straight back into club rugby the week after.
Lochore himself takes a good-natured poke at the modern game. “On tour we had a manager and a coach. No doctor, no physio, no mentor, no trainer. Now there are at least 12 guys as padding.” Players looked after their own gear and jerseys would be hung out to dry on heaters in hotel corridors. “You knew where the All Blacks were,” Lochore wryly remarks.
Bush, he recalls, was one of a tight team of journalists who accompanied the All Blacks on tour. “We had Bushy, Alex Veysey, Terry McLean [rugby writers] and Morrie Hill [the official photographer]. These guys were part of our team. Bushy was one of the very few who got into our dressing room. We trusted him.” Bush, now 79 but still looking lean and fit, is the last survivor of that group.
Lochore and Francis are not the only rugby luminaries to speak in Bush’s honour at the opening. Sir Colin Meads is there too, regaling the crowd with war stories from an era when there were no instant TV replays to incriminate on-the-field enforcers who, to use a famous All Black maxim, made a point of getting their retaliation in first.
In fact Meads gets so carried away with an anecdote about his French nemesis, Benoit Dauga, that he forgets what he’s there for. MC Keith Quinn has to grab the Te Kuiti rugby knight as he strides off and pull him back to the podium to declare the exhibition open. (For the record, Dauga left the paddock in 1968 with a broken nose, a black eye and minus one tooth after Meads took revenge on the Frenchman for opening up the back of his head in a ruck. It was only later that he discovered Dauga wasn’t the perpetrator.)
Of Bush’s photographs, exhibition organiser Mark Roach observes that they record more than just rugby. “There’s an element of social history in them.”
Take the crowd shot Bush took at Athletic Park in 1956 when the All Blacks played the Springboks. There’s not a female in sight. Nearly all the men are wearing hats and gabardine overcoats and many are smoking. In the background, attached to the scoreboard, is a big advertising hoarding: “Time for a Capstan” (a popular cigarette brand of that era).
Roach also notes an edgy quality to some of Bush’s pictures that takes them out of the realm of conventional sports photographs. One striking example is his photo of a young All Black side, led by Ian Kirkpatrick with a remarkably boyish-looking Joe Karam behind him, waiting to take the field in Northern Ireland in 1972 – the height of the “Troubles” – while a British Army sharpshooter stands by with an automatic rifle at the ready.
Another is Bush’s photo of a solitary Keith Murdoch, the All Black prop famously banished from that same tour after an altercation with a Welsh hotel security guard, walking along a Bristol railway platform before catching a plane home. (Murdoch subsequently disembarked in Australia and melted into the Outback, thus cementing his almost mythic place in rugby history.) Bush points out that in the picture, Murdoch is wearing his official team blazer with the silver fern removed. “Some say he unpicked it on the train.”
It was the last known photo of Murdoch and Bush says that in some ways he wished he’d never taken it. Like others on that tour, he remains deeply affected by what many felt was the unfair treatment of a player whom the British rugby establishment wanted to make an example of. On the excellent DVD documentary that accompanies the exhibition, Bush studies his photo of Murdoch intensely as if looking for something. Then he puts it down and starts to say something, but is overcome by emotion and leaves the room.
An entertaining raconteur as well as a great photographer, Bush tells guests at the exhibition opening about his first visit to the Meads’ King Country farm in 1967. Colin and his brother Stan, also an All Black, were drafting sheep in the yards. “I was nervous because I had no appointment. I thought they might tell me to bugger off.” Instead, Meads got Bush to pitch in and help. Later they all sat down to lunch prepared by Meads’ wife Verna.
That was the day Bush photographed Meads toiling up a steep hillside with a strainer post under each arm, thus creating a piece of Kiwi iconography. Bush was impressed by the hard physicality of the Meads brothers’ farm life. “They had a mental and physical hardness on and off the farm. What a waste of energy it would have been to take these men to a gym,” he says – a gentle dig at the gym-fit players of the modern era.
Mind you, Meads wasn’t always so friendly. On the DVD documentary, Bush tells interviewer Quinn about the time he overstepped the mark at a 1964 test match between the All Blacks and Australia. Bush went onto the field at half time and got a picture of the New Zealand captain John Graham giving his under-performing side a tongue-lashing. As this was happening, the customary plate of orange pieces was handed around the players and Bush cheekily helped himself to one – at which point the “ominous shadow” of Meads loomed over him. “I don’t remember seeing you pushing in the scrum, Bushy”, Meads growled. Bush – not a man to be easily intimidated – recalls slinking away to the sideline.
He makes no secret of his admiration for the hard men of rugby. Some of the toughest games he ever photographed, he says, were trials matches in which players competed for the right to wear the black jersey. “For the chosen it meant glory. For the others it was back to the desk or the farm. There was no quarter given.”
Particular players he admired? Apart from the aforementioned, Buck Shelford was one. “What a player – he epitomised the supreme athlete who gave everything. The Greeks would have cast him in stone.” And Jonah Lomu. Bush recalls Lomu visiting an old people’s home and making a point of kissing every old lady in the room. “Forget about his prowess on the field; he was equal to it off the field.”
Bush’s admiration for the players of the game is matched by his contempt for the occasional small-mindedness and vindictiveness of rugby officialdom. He recalls with disgust that two women accompanying the British Lions – one a player’s wife – were turned away from a rugby function in Southland because it was men-only.
Some of Bush’s pictures came at a cost. One example is the shot he took of Meads exchanging jerseys with the formidable Springbok prop Andy Macdonald under the stand at Lancaster Park (which Bush still calls Lancaster Park, with blithe disregard for sponsors’ naming rights) in 1965. Access to the changing rooms was ferociously controlled – “not even a fox terrier could have got past the guardian on the gate” – but somehow Bush slipped through amid the big Springbok forwards, hidden by the bulk of Lofty Nel.
But it was an era of officious men in rugby union blazers who didn’t take kindly to being thwarted. “That photo had me barred by the Canterbury union from 1965 through till 1971. They couldn’t keep me off the field but they barred me from everything else.”
Still, he’s particularly proud of that photo and you sense that Bush regarded the disapprobation of small-minded provincial rugby officials as a price worth paying.
Take the crowd shot Bush took at Athletic Park in 1956 when the All Blacks played the Springboks. There’s not a female in sight. Nearly all the men are wearing hats and gabardine overcoats and many are smoking. In the background, attached to the scoreboard, is a big advertising hoarding: “Time for a Capstan” (a popular cigarette brand of that era).
Roach also notes an edgy quality to some of Bush’s pictures that takes them out of the realm of conventional sports photographs. One striking example is his photo of a young All Black side, led by Ian Kirkpatrick with a remarkably boyish-looking Joe Karam behind him, waiting to take the field in Northern Ireland in 1972 – the height of the “Troubles” – while a British Army sharpshooter stands by with an automatic rifle at the ready.
Another is Bush’s photo of a solitary Keith Murdoch, the All Black prop famously banished from that same tour after an altercation with a Welsh hotel security guard, walking along a Bristol railway platform before catching a plane home. (Murdoch subsequently disembarked in Australia and melted into the Outback, thus cementing his almost mythic place in rugby history.) Bush points out that in the picture, Murdoch is wearing his official team blazer with the silver fern removed. “Some say he unpicked it on the train.”
It was the last known photo of Murdoch and Bush says that in some ways he wished he’d never taken it. Like others on that tour, he remains deeply affected by what many felt was the unfair treatment of a player whom the British rugby establishment wanted to make an example of. On the excellent DVD documentary that accompanies the exhibition, Bush studies his photo of Murdoch intensely as if looking for something. Then he puts it down and starts to say something, but is overcome by emotion and leaves the room.
An entertaining raconteur as well as a great photographer, Bush tells guests at the exhibition opening about his first visit to the Meads’ King Country farm in 1967. Colin and his brother Stan, also an All Black, were drafting sheep in the yards. “I was nervous because I had no appointment. I thought they might tell me to bugger off.” Instead, Meads got Bush to pitch in and help. Later they all sat down to lunch prepared by Meads’ wife Verna.
That was the day Bush photographed Meads toiling up a steep hillside with a strainer post under each arm, thus creating a piece of Kiwi iconography. Bush was impressed by the hard physicality of the Meads brothers’ farm life. “They had a mental and physical hardness on and off the farm. What a waste of energy it would have been to take these men to a gym,” he says – a gentle dig at the gym-fit players of the modern era.
Mind you, Meads wasn’t always so friendly. On the DVD documentary, Bush tells interviewer Quinn about the time he overstepped the mark at a 1964 test match between the All Blacks and Australia. Bush went onto the field at half time and got a picture of the New Zealand captain John Graham giving his under-performing side a tongue-lashing. As this was happening, the customary plate of orange pieces was handed around the players and Bush cheekily helped himself to one – at which point the “ominous shadow” of Meads loomed over him. “I don’t remember seeing you pushing in the scrum, Bushy”, Meads growled. Bush – not a man to be easily intimidated – recalls slinking away to the sideline.
He makes no secret of his admiration for the hard men of rugby. Some of the toughest games he ever photographed, he says, were trials matches in which players competed for the right to wear the black jersey. “For the chosen it meant glory. For the others it was back to the desk or the farm. There was no quarter given.”
Particular players he admired? Apart from the aforementioned, Buck Shelford was one. “What a player – he epitomised the supreme athlete who gave everything. The Greeks would have cast him in stone.” And Jonah Lomu. Bush recalls Lomu visiting an old people’s home and making a point of kissing every old lady in the room. “Forget about his prowess on the field; he was equal to it off the field.”
Bush’s admiration for the players of the game is matched by his contempt for the occasional small-mindedness and vindictiveness of rugby officialdom. He recalls with disgust that two women accompanying the British Lions – one a player’s wife – were turned away from a rugby function in Southland because it was men-only.
Some of Bush’s pictures came at a cost. One example is the shot he took of Meads exchanging jerseys with the formidable Springbok prop Andy Macdonald under the stand at Lancaster Park (which Bush still calls Lancaster Park, with blithe disregard for sponsors’ naming rights) in 1965. Access to the changing rooms was ferociously controlled – “not even a fox terrier could have got past the guardian on the gate” – but somehow Bush slipped through amid the big Springbok forwards, hidden by the bulk of Lofty Nel.
But it was an era of officious men in rugby union blazers who didn’t take kindly to being thwarted. “That photo had me barred by the Canterbury union from 1965 through till 1971. They couldn’t keep me off the field but they barred me from everything else.”
Still, he’s particularly proud of that photo and you sense that Bush regarded the disapprobation of small-minded provincial rugby officials as a price worth paying.
If I may repeat my own tribute here, Karl. I wrote it last evening on my Facebook page.
ReplyDelete-----
I'm sorry to read this about Peter.
For non-Kiwis, Peter Bush was a renowned newspaper photographer. He was well-known for his sports shots especially of the All Blacks, this country's national rugby side.
I met him only twice. The first was in the Christchurch Media Club (a drinking-hole for journos) during the Springbok rugby tour of 1981.
We struck up an animated - and well-fuelled - conversation when we realised we had a connection.
He grew up in Kumara, a wee town on the West Coast of the South Island. My wife came from Kumara, too, and he remembered her grandmother.
Fast-forward nearly 40 years. I was about to publish my novel The Goal Kicker. The cover had been sorted.
But I wanted to have an illustration on the back cover.
I had always liked Peter's shot of the great All Black full-back Don Clarke (1956-64), a great and feared goal-kicker, in action against the English side at Lancaster Park, Christchurch, in 1963.
If a still image conveyed power, it was this one. (I can't reproduce it here but it's easily found on the internet)
So I looked him up in the phone book. Rang him. Explained who I was and what I was about, and asked his permission to use that pic in perhaps shadowed form under the blurb.
He didn't hesitate. 'Of course you can. Thank you for taking the trouble to ask.' He was kind and gracious.
I told him I would give him a signed copy.
A few weeks later we met at his favourite coffee shop in Island Bay, a Wellington suburb.
What was meant to be perhaps a 20-minute handover and coffee turned into two hours and several coffees.
Peter had already had a long life and a long career with his cameras. He knew stories, and he knew how to tell those stories in the manner that journalists do.
I don't know what he thought of my story of a rural schoolboy rugby side who hadn't won a match in years having to play a champion team. But he said he would give it a read.
Peter George Bush CNZM QSM (16 October 1930 – 16 December 2023)
Bushy was an absolutely outstanding photographer. They broke the mould when they cast him. May he Rest In Peace.
ReplyDeleteThanks for this Karl, an excellent piece. A great NZ-er.
ReplyDeleteTwo segues...Shelley Clarke, daughter of Don, is partnered to my husband's eldest son mother of his 2 grandboys.
My husband Graham lived in the Oz outback for some years working as a remote-site surveyor/camp boss...Murdoch fetched up in the trailer next door of the Dartmouth Dam camp, Vic, staying with a camp worker mate immediately after the furore, head very much down. Graham , who knew little of the fuss, was asked not to approach him. Stayed about a month.