Category Archives: Blogging

London’s Lost Music Venues

The most depressing thing about Paul Talling’s new book, London’s Lost Music Venues, is that this is the second volume. The first volume featured on club-sized venues, including the likes of the Marquee, 12 Bar, Bull & Gate and the Cartoon in Croydon – there’s a full list here – while volume two takes in some of the larger theatres as well as smaller clubs that didn’t feature in the first volume and others that have closed since it was published – the list is here.

Talling is the creator of Derelict London, which was one of the great early London blogs and remains popular today. It features photographs of London buildings that the bulldozers had left behind: abandoned houses and factories, decrepit churches, empty shops and forgotten cinemas. There was something about this skeletal remains – boarded up doors, faded graffiti, floor strewn with rubbish, ivy and buddleia sprouting through the brickwork – that drew people’s attention. A couple of books followed, as did walking tours; Paul writes about the history of the blog here.

It’s always amazing to see how rapidly a building can descend into ruin once it’s left alone. The rot might take a while to set in, but as soon as it does the decline is fast – it literally seems to decompose before your eyes. Most of the venues in London’s Lost Music Venues haven’t quite reached that point however; they have either been demolished outright or given different uses. As well as great London venues such as the Astoria, Earls Court, and Borderline, there are the two big music shops at either end of Oxford Street, HMV and Virgin, both of which hosted in-store performances.

I’ve often pondered the absence of theatre-sized venues in central London since the demise of the Astoria as I knew the likes of the Lyceum and the Saville – although I’d never clocked that the Saville was located in what is now the rather dismal Odeon Covent Garden on the deadest part of Shaftesbury Avenue. But it’s some of the outer London venues that really resonate, such as Hobbit’s Garden, a club located in William Morris House in Wimbledon that hosted Roxy Music and Genesis before switching to hardcore punk in the late 80s, or the Acid Palace in Uxbridge, where Uriah Heep, Wishbone Ash and Audience all played in thee later 60s.

Then there are all the decent-sized venues – the ballrooms, local theatres and cinemas – that hosted live music through much of the 60s and 70s. Think of the Assembly Rooms in Surbiton, which hosted Black Sabbath and The Fall, or the Orchid Ballroom in Purley, where The Who, Small Faces, Jimi Hendrix, Stevie Wonder and Slade all played at some time. Such spaces are now almost impossible to conceive. Sadly, a third volume feels almost inevitable.

“The building doesn’t represent or resemble anything other than itself.”

I was delighted to be sent this excellent article about Battersea Power Station by Richard Garvin, who introduces himself as a writer and retired English professor with an interest in architecture. Richard recreates great buildings from Lego and then writes about them on his blog, combining his appreciation of architecture with his deep knowledge of literature. For Battersea Power Station, that means using an absolute ton of Lego red bricks – and then references to Shakespeare, TS Eliot, John Milton and, er, me – Richard drew much of the factual content of his post from Up In Smoke, my book on the power station.

Richard Garvin’s awesome model of Battersea Power Station

This served as a welcome reminder of the ability the power station still has to influence, inform and intrigue upon people’s thinking as well as the value my research has for others. Richard writes wonderfully about how the power station has been used in film and TV, something I explored in Up On Smoke but which he develops more fully. I also particularly enjoyed Richard’s thoughts on the strange, powerful architecture of the power station, which he astutely summarises is completely unlike anything else “other than itself” – which is precisely why it is been used so brilliantly in films and TV programmes such as Richard III, Children Of Men and 1984.

Read it all for yourself here.

High Buildings, Low Morals by Rob Baker

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I wrote about Rob Baker’s last book – Beautiful Idiots, Brilliant Lunatics – a couple of years ago. It’s a collection of London-based short histories inspired by Rob’s superb blog, Another Nickel In The Machine. Rob’s now written a follow-up, High Buildings, Low Morals, which again explores a dozen London stories from the 20th century, some entirely forgotten and others well-known but brilliantly written by Baker, who takes a familiar tale – say, the Streatham brothel of Cynthia Payne – and use it to discuss something loosely related, such as the history of luncheon vouchers.

The fun of this approach can be seen in the opening story, which is about the infamous “headless polaroids” showing a Mayfair socialite giving an unknown man a blow job – the four photos had handwritten captions, “before”, “during”, “oh!” and “finished”. The photos were at the centre of an infamous divorce case but Baker also brings in Noel Coward lyrics, PG Wodehouse, Mussolini, Barbara Cartland and Normal Mailer.

Baker often focuses on a scandal of some sort but I particularly liked the chapter about Graham Greene’s wartime activities during the Blitz, which followed the author at work as a fire warden on one of the worst evenings of bombing. Within each chapter, are a handful of great facts and in the Greene section I learnt about a restaurant, the Hungaria on Lower Regent Street, which advertised itself as being “bomb-proof, splinter-proof, blast-proof, gas-proof and BOREDOM PROOF”. The restaurant had “a fleet of private cars driven by tin-hatted chauffeurs ready to take you through bomb blasts and shell fragments back home.”

hungaria

Other chapters take in the IRA’s operations of the 1970s, the Oz trial, and the extraordinary Lord Boothby. One of the best is about Tallulah Bankhead, who caused a scandal in 1928 when she hosted sex and cocaine parties for Eton schoolboys. An Eton teacher was said to have told her, “We don’t at all mind you taking some of the senior boys over for a smoke or a drink or a little sex on a Sunday afternoon. That doesn’t upset me. What does upset me is you giving them cocaine before chapel.”

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Time among the bargees

On my latest blog for the Canal & River Trust, I wrestled with the contradiction of time when living aboard a vessel geared towards slowness but where there is always something to do. You can read it on the excellent Waterfront blog, and I’ve also reproduced an edited version below.

Canals slow time. That’s the impression you get when travelling aboard a boat, or while lingering on a towpath watching boats trundle past, leaving behind the fading ghost of a wake like the dissolving grin of a Cheshire Cat. When you are around a canal, the world seems to breathe more slowly and time hangs heavy in the air. This sense of slowness is built into the very fabric of the canal system. Boats move leisurely, on water that dawdles, through canals that took decades to build, alongside towpaths where no trace of the car can be detected. Stillness is everything and it is everywhere. No wonder the passage of time seems to dwindle to a stroll.

Yet within this, there is also a glorious contradiction – one that defines other facets of the canal experience. Canals slow time but they also made the world faster. The canal is among the slowest forms of transport imaginable. The official speed limit is an ambitious 4mph – most barges would lose a race to a sugared-up toddler on a scooter – but it was also, at its inception, one of the most advanced instruments of the industrial revolution, something that brought the veneration of speed into the modern world. When the canals were built, boats could move no faster than the horses that pulled them, but they were also a drastic and sudden lurch towards the future, introducing the mass transportation and long-distance inter-connectivity that would ultimately reinvent the country by making a god of speed following the arrival of the steam engine. That’s what you’re getting with a canal. On the surface they are sluggish, but with them came vast societal changes that were rooted in an onrushing lust for ever-increasing velocity, a desperation to get beyond the present.

Speed is addictive, but so is the clock-stopping slowness of canal life. It’s partly because the slowness is all-embracing, transforming your perception of the world around you and placing you in an enveloping bubble where time doesn’t matter or exist. It’s in the placidity of the water, it’s in the pace of movement when you travel and it’s in the fact that you are segregated from roads, where the rapidity of cars brings guilt and context. On a boat, nothing happens faster than walking pace.

There’s another contradiction at play here. The boating lifestyle would seem to make a virtue of loafing, but on a boat there is always something to do. There are the tedious chores of everyday existence, from cooking and cleaning to laundry and washing up. There are those DIY tasks you never quite get round to completing but which are harder to avoid on a boat, where every inch of space is vital and every irritant multiplied accordingly. And there are the boat specific jobs, the rivets that hold it all together – the filling of water tanks and coal scuttles, the cleaning and setting of stoves, the changing of gas canisters. This is what occasional boater Jerome K Jerome was thinking about when he wrote Idle Thoughts Of An Idle Fellow. “It is impossible to enjoy idling thoroughly unless one has plenty of work to do,” he said. “There is no fun in doing nothing when you have nothing to do.”

On a boat, endless peace and eternal activity sit side by side, a paradox that reflects the dislocating but therapeutic experience that comes from living in a pre-industrial time capsule that prompted the Industrial Revolution. Some researchers feel there are genuine psychological benefits to be had in this combination of water and slowness and canal boats also relate to the concept of ‘slow travel’, which celebrates travel over arrival.

That notion is embedded into the way canals operate so when BBC 4 announced a Slow TV season it made sense for this to feature a two-hour boat trip along the Kennet & Avon Canal broadcast in real time. When screened in May 2015, the programme drew an audience that was double BBC4’s usual viewing figures. All this, for what was little more than a camera stuck to the front of a boat. There was no commentary, no cutting, no music, no presenters, no Prunella Scales and Timothy West – just the occasional box of written text to highlight points of interest along the journey. It was a restful alternative to the typical television experience and a perfect reflection of what travelling by boat is like, without the stress of having to navigate locks or steer the thing yourself. This is life on a boat. It slows time. So calm down and drift.

Miss World and the ruin of London

I have two events coming up where I will be discussing Battersea Power Station in collaboration with other writers. At the excellent Bookseller Crow shop in Crystal Palace I will be teaming up with Rob Baker of Another Nickel In The Machine for a London Night, where we will talk about low culture and high jinx in London. My talk will focus on some of the finer pop culture moments associated with Battersea Power Station, while Rob will talk about his blog, his book (Beautiful Idiots And Brilliant Lunatics) and the Miss World protest of 1970.

This will take place on Thursday September 15th at 7.30pm, £3.

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This will be followed by a London Society event with Owen Hatherley, where we will discuss the redevelopment of Nine Elms and Battersea, and debate the limits of preservation and conservation in a talk titled The Ruin of London. This takes place at the Gallery on Cowcross Street on Sept 20th from 6.30pm.

Talking about Battersea Power Station

A lovely review of Up In Smoke has appeared on the London Society website this week, and I will be talking about Battersea Power Station at a London Society event alongside Owen Hatherley in September. More information on that soon. Owen and I discussed architecture and music on Resonance FM a few weeks ago, and you can listen to that here.

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Before that, I’ll be one of three speakers at a Londonist event on July 20th at The Pipeline on Middlesex Street, E1. I will tell some strange tales about Battersea Power Station, Amy Dickens will discuss her blog about commuters and Matt Brown will tell us that everything you know about London is wrong, which also happens to be the title of his latest book. All that for a fiver and chance to say hello. Doors open at 7pm.

To give you a taste,here’s a blog post I wrote about the power station’s current predicament for the New Statesman. I’ve also recorded something for their City Metric podcast – more information on that as it comes.  

 

 

Dream City – London’s unbuilt Edwardian theme park

I have a post on Londonist about Dream City, a theme park concept cooked up in 1907 by an American developer for a disused waterworks, a site that was later occupied by Battersea Power Station.

You can read the full story here.

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Dream City

The unbuilt Dream City is also the starting point for Alice May Williams’ short film about Battersea Power Station called Dream City: More, Better Sooner produced by the Film And Video Umbrella. The fvu have organised a talk on Friday (April 15) at the Battersea site of the Royal College of Arts by Owen Hatherley called Monetising The Ruin: Batterseas Old And New.

I will be attending the lecture and also selling copies of my book Up In Smoke: The Failed Dreams Of Battersea Power Station.

Beautiful Idiots and Brilliant Lunatics by Rob Baker

For several years, Rob Baker has written one of London’s best blogs, Another Nickel In The Machine, which explores the cultural history of London’s 20th century in a unique way. Rather than focus on, say, a musical genre or a particular locale or an identifiable concept such as celebrities or architecture, Baker simply finds great stories and researches the shit out of them. And now he’s turned it into an excellent book: Beautiful Idiots and Brilliant Lunatics.

As with his blog, Baker doesn’t pretend to find a unifying theme to artificially define the richness of his material, instead relying on his natural instincts to identify a good story and tell it for just the right amount of time. This is crucial. Some of these chapters cover some pretty big subjects – the Krays, Lord Haw-Haw, Christine Keeler, Pop Art – but Baker always manages to find a new angle without going on too long: for instance, his piece on Pop Art concentrates on Pauline Boty and the Anti-Ugly Movement while he looks at Blow-Up through a street in Stockwell that appears in the film. He’s brilliant at detail – clothes, weather, atmosphere, quotes – and tightly wound narrative (the section on the escape of spies Burgess and Maclean could come from a thriller), but he also loves exploring interesting tangents.

But his real skill is contextualising individuals within their era or locality. So his chapter on Benny Hill tells us much about the post-war comedy scene at the Windmill as well as Hill’s own rise and sad decline, the Profumo Scandal chapter is also about Soho and the Flamingo club in the early 1960s while the section of Winifred Atwell takes in Atwell’s strange career as a popular black performer but also the history of Brixton, where she lived.

This is essentially, the book of the blog, with several of the same stories, only expanded with new research. The blog also features great photography, just the right amount of which is reproduced here, including a cracking cover shot from the 100 Club, a venue that increases in importance with each year it avoids closure. Collectively, these photos and historical essays build a picture of London that captures some of the city’s chaotic sensibility far more truthfully than a conventional or even psychogeographical history, which will try and draw dry parallels between then and now, sometimes with lamentable results. Instead, Baker simply tells a story and then leaves you to think about what it means, if anything.

Some of these yarns I knew nothing about, such as the strange days James Earl Ray spent in Earl’s Court after assassinating Martin Luther King, or the spiv murder of Warren Street, or Charlie Chaplin’s wonderful return to Lambeth in 1921. Others I was familiar with, but still learnt more about, such as the plans to redevelop Covent Garden in the 1960s that was stopped by protesters – in the current climate, I wonder, would a similar protest have any success at all?  The net result is like being rattled round the London decades by a raconteur with a time machine, a sort of blue badge Doctor Who, who tells a story with wit and panache before whizzing you off to his next unpredictable destination.

The Blitz: missing buildings and false memories

While researching my recent feature on the Blitz and former bombsites in London, I was keen to find a site that had been destroyed and not yet redeveloped.

There were some tantalising leads.

Peter Larkham, professor of planning at Birmingham School of the Built Environment, provided me with an image he’d discovered years before of a derelict building on Lowndes Street, left fallow in memory of the Blitz.

Lowndes Street

“It was in the chartered surveyor professional magazine,” he explained. “The story was that it was owned by a family, bombed, and they never did anything to it in memory of a son that died in the war. Fifty years later, life had moved on, and the property came up for sale.”

It’s a compelling story but one that was difficult to confirm. The Bomb Damage Maps  showed a couple of strikes on Lowndes Street so I sent an email to Dave Walker, librarian at Kensington and Chelsea and writer of the formidable Library Time Machine blog. Dave put the query across to a colleague at Westminster, as Lowndes Street straddles the boundary between the two councils. Between the two of them, they discovered destroyed buildings at No 30 and Nos 11/12 Lowndes Street but both sites were developed by 1963. It would require further research to get to the bottom of the story as outlined by Professor Larkham and as tantalisingly revealed in the above photograph.

There was similar confusion with regard to another site. This was next to the Hat & Feathers pub on Clerkenwell Road.

Clarkenwell Road

Clarkenwell Road

According to local legend, the site had been demolished by a bomb and used as a car park ever since. For years, you could even see scraps of wallpaper from the destroyed building still attached to the neighbouring wall. The only problem was there was no record of a bomb landing anywhere near this property – itself rather extraordinary given how badly the area had been bombed. It appears that this was a false folk memory, but one that was still being shared today. In the end, I included no empty lots in my piece as I couldn’t find any that comfortably fitted the available facts.

After my piece was published, I was contacted by a photographer, Thom Atkinson. He was about to publish a book called Missing Buildings, looking at precisely this area – the missing spaces between London buildings ostensibly created by bombs. They’d even included an image of the Hat & Feathers site I’d been studying. Like me, Atkinson was intrigued with the way folk memory and evidence didn’t always correspond.

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Photograph by Thom Atkinson

Thom said, “We came across the same sort of folklore thing a couple of times, and in a way that’s what the book is about. There’s a picture we made on Sclater Street, near Shoreditch Station, and the market traders there were talking about it being a bombsite when they were kids. When we looked at the map it didn’t quite fit their story – but they remembered it so clearly.”

There were several explanations for this, false memory being only one of them. As Thom explained, “Sometimes bombs are recorded and the site itself displays all the signs, but no building damage is shown on the LCC map. And of course the whole thing is complicated because the LCC maps only show damage during wartime – we’ve heard stories of buildings falling down or being demolished later on, because of underlying structural damage caused by the bombing – one of the guys who works in the processing lab (also a bombsite by the way!) has a house in East London with cracked foundations; the surveyor thinks they were caused by a bomb landing at the other end of the street.”

Missing Buildings is a wonderful book, showing the ghosts of London homes, many of which have long disappeared but still leave an imprint on neighbouring buildings in the form of shadows, new brickwork, girders and the spectres of chimney breasts. Others have been filled in with new buildings that stand out ridiculously against their neighbours, awkward and ugly, eternally temporary.

There are more of these spaces than you might imagine in London, but they are vanishing fast and this book is an exquisite record of the spaces that get left behind, often more by accident then design. You can buy it here.

 

Nostalgia corner: Zola, bitumen, Paolozzi and the great ‘is London shit?’ debate

Because of a frantic start to 2015, I’ve neglected Great Wen recently. Hopefully, I’ll find something to stick up soon but in the meantime here are a few interesting bits and bobs.

First, here’s me, writing for the Canal & River Trust, about the experience of taking a narrowboat into drydock, where you whack it with mallets, coat it in tar and get pleasingly sozzled with strange Irishmen.

Second, I really enjoyed this piece by Callum West on the great Chelsea team of the 1990s, and the extraordinary revival of fortunes that preceded the salad days of Roman Abramovich. This isn’t the side I grew up with, or the one that won the most trophies, but it’s the one that gave me the greatest pleasure to watch.

Finally, the great London debate – is it turning shit or isn’t it? – is gathering pace. The constant stream of negative stories, the latest being Eva Wiseman’s pretty dismal contribution at the weekend, has finally been met by counter-argument in Brockley Central.  Is Nick’s point fatally wounded by the use of Giles Coren as a defense witness? Or is he simply missing the point, which is that the death of fun by over-development in central London is a prevailing trend that is already starting to infect areas far from the West End, and we sit and sneer at those uncomfortable at the increasing inequality, inaccessibility, unaffordability and general dreary Dubainess of it all at our peril? Both, probably.

Professional contrarians like Coren will get in bed with anyone if it gets them attention, but I’m not sure many other Londoners should be siding with the developers and speculators.

By illustration, the latest landmark to get the chop are the great Paolozzi murals at Tottenham Court Road. Still, that’s the price of progress! Yay to cultural vandalism!