Category Archives: History

The London Anti-University

This newsclip of the London Anti-University from 1968 is wonderfully evocative, not just for the interviewees’ earnest insistence that they could change the world of education, but also through the grim tattiness of late 1960s Shoreditch, reproduced in glorious colour.

The London Anti-University was formed after participants at 1967’s Congress on the Dialectics Of Liberation at the Roundhouse decided they wanted to continue to explore some of the themes and conversations that had started there (sample debates: The Future of Capitalism; Black Power; Imperialism and Revolution in America).

Based at 49 Rivington Street – previously home of the Vietnam Solidarity Campaign – the Anti-University was opened in February 1968 by David Cooper and Alan Krebs, and featured lecturers such as Cornelius Cardew, CLR James, Robin Blackburn, Bob Cobbing, RD Laing, Yoko Ono, Jeff Nuttall, John Latham and Alex Trocchi – all key figures on the intellectual left-wing of the 1960s counterculture.  The Anti-University syllabus covered three main areas: radical politics, existential psychiatry and the artistic avant-garde. 

 Poster announcing the opening of the Antiuniversity of London (1968)

An idea of the direction of the Anti-University can be gleaned by a reported exchange at Joseph Berke’s course on ‘anti-universities, anti-hospitals, anti-theatres and anti-families’.

He asked the class: ‘How can we discuss how we can discuss what we want to discuss?’ After a long silence, somebody answered ‘Maybe we don’t need to discuss it.’ Berke pondered this for a while and then left; the class continued for an hour despite his absence.

The Anti-University lasted almost a year, which isn’t bad by the standards of the time, but it’s premises soon became squatted, and the landlords, the Bertrand Russell Peace Foundation, reclaimed the campus.

But the Anti-University’s most important legacy may have come from a conversation in the classroom of psychoanalyst Juliet Mitchell, who lectured on literature and psychology.

One of Mitchell’s students, Diana Gravill, had inherited some money and was intending here to spend it on a women’s refuge. Mitchell instead persuaded her to put it towards a bookshop. This she did, and the shop, named Compendium, was opened by Gravill and her partner Nicholas Rochford on Camden High Street in August 1968.

Over the next thirty years it became one of the world’s great bookshops, stocking everything from academic studies of the women’s movement to punk fanzines. It was still going strong when I used to go there in the late 1990s, fascinated and intimidated by the content of the bookshelves. It eventually closed in 2000, a sad end to one of London’s greatest counterculture institutions, but a longstanding tribute to the ideas and passions raised by the London Anti-University.

Schools Out! The moral contamination of schoolkid strikers

Yesterday’s protests by schoolchildren were by no means the first time London’s schoolkids have chosen to withdraw their labour from the classroom, as Clive Bloom discusses in his recently updated ‘Violent London’.

There were waves of strikes in 1889 and 1911 around issues such as corporal punishment, the length school day, leaving age, holidays and bullying teachers. In 1889 there were strikes in Finsbury Park, Homerton, Woolwich, Plumstead, Kennington, Charlton and Lambeth and in 1911 in Enfield, Islington, Hoxton, Fulham, East Ham and Deptford. Strikes continued until long into the 20th century. I’m pretty sure Grange Hill went on strike a couple of times as well.

These original strikes featured pickets, marches and demos with flags and banners, and often ended with some casual window-breaking, for which the pupils would invariably receive disproportionate punishment such as being birched in front of the whole school or sent to the workhouse.

That was because the authorities were terrified about these strikes, firstly because of the lack of discipline it demonstrated but also because they suggested the children were developing a political consciousness that challenged and threatened the establishment. Kids were learning to think for themselves and were bold enough to shout about it. Some in Bethnal Green even carried red flags. 

Newspapers argued that strikes were ‘manifestations of a serious deterioration in the moral fibre of the rising generation’, argued that ringleaders ‘could prove dangerous centres of moral contamination’ and claimed that ‘such movements as this do not spring up spontaneously. They are always evidence of a deep conspiracy against social order… the doom of the Empire must be near at end if the country is honeycombed with Secret Societies of schoolchildren.’ 

Things never change all that much, do they?

Secret London: the Russian tank of Bermondsey

That there is an authentic Russian tank parked in a patch of wasteland on a side street off the Old Kent Road is one of those things that is so brilliant it should be mentioned on the news at least once every day. (I felt much the same way about Gordon Brown’s glass eye.  A Prime Minister with a glass eye! How cool was that! What a wasted opportunity.)

The tank is a T34 Russian tank that was possibly used against the Czechs in the Prague Spring uprising of 1968. It arrived in London in 1995 when it was used for the filming of Richard III. The tank was then purchased by Londoner Russell Gray as a sort of giant and very expensive pun after Southwark refused him planning permission to build houses on the site. Gray instead applied for permission to put a tank on the site. They thought he meant water tank, but he didn’t. The tank’s gun is trained on the council office.

How much truth there is to that story is surely irrelevant. It feels right. And when it comes down to it, all that matters is that there is a bloody great Russian tank on the streets of South London and people don’t seem to realise quite how incredible this actually is.

Stoney Jack and the Cheapside Hoard

The Cheapside Hoard is one of the great treasures of the Museum Of London. A vast collection of Tudor jewellery, it was found by two workmen in the cellar of a house on Cheapside in 1912 and eventually made its way into the museum’s collection.

The story is a fascinating one, outlined in HV Morton‘s seminal London history ‘In Search Of London’.

Morton, a journalist and insatiable London enthusiast with the knack of knowing not so much the right people as the really interesting ones, begins by describing GF Lawrence, ‘or Stoney Jack as he was known by every navvy who worked in the City’.

Stoney Jack was an asthmatic antiques dealer with a shop on West Hill, Wandsworth. He also had a job as Inspector of Acquisitions at what was then called the London Museum, based in Lancaster House, St James’s.

Since the 1970s, every building site in the UK must by law be visited by a team of archaeologists to ensure no great treasures are missed, but in Lawrence’s time there was no such requirement. Lawrence’s job then was ‘to haunt every demolition site in the City and make friends with the navvies, so that they would bring to him anything that had been found during excavation’.

Morton writes that there was a lot of building work taking place at this time and Lawrence knew it may be the last chance to find any antiquities that might still be hidden in the soil. In his not entirely public-spirited determination to ensure nothing crucial was lost, workmen received rudimentary archaeological training during ‘mysterious transactions behind hoardings and in the tap rooms of City public-houses’.

In this way, Lawrence was able to purchase items from ‘a procession of navvies with mysterious objects wrapped in spotted handkerchiefs’ and flog them on to the London Museum, earning himself a tidy profit. Anything the museum didn’t buy, went into his shop. And even if the navvies brought him something worthless, he always gave them enough cash to buy a pint of beer. In this way, he built up much of the Roman and Medieval collection that is now in the Museum of London.

Morton continues:

I cannot count the times I have been present when navvies have appeared and passed their treasures across the counter with a husky, “Any good to yer, guv’nor?” I have seen handkerchiefs unknotted to reveal Roman pins, mirrors, coins, leather, pottery and every kind of object that can lie concealed in old and storied soil.

I was with him one day when two navvies handed over a heavy mass of clay found beneath a building in Cheapside. It was like an iron football, and they said there was a lot more of it. Sticking in the clay were bright gleams of gold. When they had gone, we went up to the bathroom and turned the water on to the clay. Out fell pearl earrings and pendants and all kinds of crumpled jewellery. That was how the famous hoard of Tudor jewellery, the Cheapside Hoard, was discovered.’

Morton recalls that for this great find, now worth millions, Stoney Jack received a thousand pounds. For their part, the navvies were rewarded with ‘something like a hundred pounds each, and I was told that these man disappeared, and were not seen again for months!’

Being brave in SE8: Extraordinary Heroes at the Imperial War Museum

Have you ever heard of Geoffrey Keyes and Operation Flipper?

I hadn’t until this week, when I learnt that Keyes was a Second World War commando who led a team 400km behind enemy lines in North Africa in a bid to assassinate Erwin Rommel. The group evaded guards around the perimeter fence and got inside the house used as the German HQ, but as they entered a ground-floor room Keyes was shot and killed. Rommel wasn’t even in the house at the time.

Keyes was awarded a posthumous Victoria Cross and his story is ripe for a film, but this is the first I’d heard of it.

The new Extraordinary Heroes gallery at the Imperial War Museum is full of such remarkable tales, 243 in all, each tied to either a Victoria or George Cross. 164 of these medals belong to Michael Ashcroft, the Tory party donor, who has also forked out £5m for a new gallery to house them – the first permanent gallery at the museum for a decade. Well, I guess it beats paying tax.

The gallery is a great example of how with a bit of thought a museum can make a lot out of a little. The exhibits – the medals – are not much to look at, and the VC itself is almost parodically tasteful, a modest thing of dull brass (it’s made of gun metal) with a sober ribbon the colour of dried blood. There are numerous medals on display here, and the VC is always the least conspicuous of the lot.

But the curators have done wonders with this unpromising material, emphasising the extraordinary stories behind each medal with frugal but compelling text and embellishing some of the tales with props such as the diving suit worn by James Magennis when placing mines on a target in 1945 or a portrait of recent VC awardee Johnson Beharry taken by Don McCullin.

Johnson Beharry VC by Don McCullin, 2010 - Imperial War Museum

 There’s wit here as well such as a stuffed white rabbit to represent the codename of spy Forest Yeo-Thomas or the surprisingly effective touch-screen version of some of the stories told in Victor comic style. The IWM uses these informal touches confidently, never lapsing into poor taste and aware that excessive sobriety can be just as offputting.

While the bravery of these men and women is moving, the circumstances are often maddening. Many medals were awarded during the carnage of Gallipoli, and there was something about the story of Alfred Wilkinson, a Private who was awarded a VC for delivering a message during the First World War after four previous messengers had died, that somehow summed up all that is most horrific and pointless about that conflict.

Some medals were awarded in peacetime. An 11-year-old girl was given a George Cross in Canada in 1916 for fighting off a cougarm, while Harry Wilson was awarded a GC in 1924 for saving the lives of his colleagues in a flooded colliery.

And, bringing it all back home, a George Cross was awarded for bravery in South London after unarmed PC Tony Gledhill chased a car filled with armed robbers from Creekside Street, Deptford into Rotherhithe. Gledhill’s car was shot at around 15 times by the robbers before he confronted them on foot and eventually subdued the men, securing the conviction of four criminals, including John McVicar.

There’s always a London connection if you look hard enough.

Room for improvement

Writer, Londonphile and intimidatingly prolific blogger Christopher Fowler recently noted my post on the London terraced house on his own excellent blog, adding intriguingly that:

‘Looking into the subject a bit more, I found that the terraced rooms and gardens are all percentages of those [9th century] measurements, making everything look neat and tidy even when it’s not.’

His recommended related reading on the subject is Harry Mount‘s ‘A Lust for Window Sills: A Lover’s Guide to British Buildings from Portcullis to Pebble Dash’.

London’s crappest ghost: a Halloween post

London has many ghost stories and some are actually rather scary, like the Black Dog of Newgate. This spirit is said to haunt Amen Court near St Paul’s, where a wall from Newgate Prison remains. It manifests itself as a shapeless, black form slithering along the wall before it disappears into the shadows.

Considerably less spooky is the ghost said to haunt Pond Square in Highgate.

The story goes like this.

In January 1626, the writer and philosopher Sir Francis Bacon wanted to test his theory that ice could be used to preserve food, so he bought a chicken on Highgate Hill, killed and plucked it, and stuffed the carcass with snow. The frozen chicken had been invented, but the effort caused Bacon to contract pneumonia from which he died.

A sad tale, but one which doesn’t end there. For, ever since, on icy cold nights in the depths of winter, a shape resembling a partially plucked chicken has been seen flapping around Pond Square and squawking before vanishing spookily into the ether.

Yes, that’s right, London is haunted by the spirit of a featherless fowl.

Has there ever been a crapper ghost than this?

Urban legends: Phyllis Pearsall and the A-Z

The story of Phyllis Pearsall and the A-Z is one of London’s most enduring and endearing myths. To take but one example, here’s the Design Museum‘s version of how, in 1935, Pearsall couldn’t find her way to a party in Belgravia so decided to make a completely new map of London, which she did by getting up at 5am each morning and walking every one of London’s 23,000 streets – a distance of 3,000 miles. The result was the A-Z, the first street atlas of London.



You’ll find this story everywhere, often repeated word for word, which is usually a sign something is up. Here it is on the BBC. Here it is in Time Out. Here it is on Wikipedia.  And here’s some sap repeating it in an excerpt from a book on Amazon.

Peter Barber reckons it’s nonsense. And as the head of maps at the British Library, he should know.

‘The Phyllis Pearsall story is complete rubbish,’ Barber told me. ‘There is no evidence she did it and if she did do it, she didn’t need to.’

Barber maintains first of all that the first street-indexed map of London was made in 1623 by John Norden, but his reservations are not just academic. Pearsall’s father, Alexander Gross, had been a map-maker and produced map books of London that were almost identical to the A-Z in everything but name. They looked the same and used the same cartographical tricks. It’s Barber’s belief that Pearsall simply updated these maps to include the newly built areas of outer London and called the result the ‘A-Z’.

‘She was a great myth-maker,’ says Barber. ‘But English Heritage investigated the story and decided not to award her a blue plaque because it was not felt she’d done anything to deserve one [Pearsall does have a plaque, but it was awarded by Southwark]. It was marketing and it’s a very pervasive myth, she was a lovable character and people want to believe it.’

So did she really walk those streets or not? Here, Barber is hard to pin down. In writing he is equivocal, as the final comment here shows, but in conversation he makes his position pretty clear.

‘Pearsall was building on a body of information that had been around for years,’ he says. ‘What she may have done is be more thorough in mapping the new areas that cropped up between the wars, and there were two ways of doing this. You could either tramp the streets of outer suburbia for hours on end, or you could visit the local council office and ask for their plans. Which do you think she did?’

A common little London house

There is nothing special about this house, other than that I live in it. It is one of hundreds of thousands of almost identical houses built in the second half of the nineteenth century for a London population that was expanding at a ferocious rate.

This was the Great Wen that William Cobbett warned about. In ‘London: The Biography’, Ackroyd quotes ‘an observer perched on top of Primrose Hill in 1862, who looked at the growing city and noted that, “the metropolis has thrown out its arms and embraced us, not yet with a stifling clutch, but with ominous closeness.”‘

In ‘London: The Unique City’, Steen Eiler Rasmussen’s classic book about London architecture, he writes about houses just like this: ‘From railroads intersecting the suburbs of London we see interminable rows of these swarthy little houses with all their protruding little kitchen-wings. It is the most compact type imaginable for a street house.’ He includes a picture and plan of these houses. Look, it’s almost indentical to mine.

There is a reason for this ‘interminable’ consistency in London housing, and like most things in this country, it is to do with class. Rasmussen explains that in London, because the class system ensured people of the same social strata would invariably live alongside each other, segregated from those richer or poorer than themselves , it was ‘possible to standardise domestic houses: as people living in the same street have the same requirements all the houses can be absolutely uniform.’

This isn’t quite true of my street – at one end there are grand five storey double-fronted detached houses, which would have been for the very rich with domestic servents, and at the other end there are two-storey railway terraces, with every possible permutation in between. This would have meant unavoidable mixing of the classes and was the result of the street having been built over a number of years, starting with the posh end near the park and ending with the common end near the station. But it is certainly true that London houses of the era are near identical.

Rasmussen also knew the exact width of of my new house – 16 foot 6 inches. He writes, ‘the common little house of which there have been built thousands and thousands is only sixteen feet six inches broad. It has probably been the ordinary size of a site since the Middle Ages… but it is difficult to get information as to how typical houses were built in former days.’ After reading this, I measured the front of my house and he was right. Now everywhere I look, from Brixton to Holloway, I see 16 foot 6 inch house fronts. Try it yourself.

So why is this? For an answer, I turned to English Heritage’s photographic collection ‘Lost London’, in which Philip Davies explains exactly why London’s houses of a certain era are all exactly the same size. He writes of ‘a secret ingredient which conferred an innate harmony on the city, and which influenced everything from the layout of an entire neighbourhood to the size of a window pane – the Imperial system of measures.’

Davies continues. ‘Neighbourhoods were laid out by surveyors who used acres, furlongs, rods and chains – measurements which had been in common usage for marking out arable land since the ninth century. An acre was the length of a furlong (660ft) and its width was one chain (66ft). For shorter lengths a perch, a pole or a rod were used. There were four rods to one chain and a London workman’s house had a frontage of one rod – 16 ft 6 in – so entire districts were created based on endogenous proportional relationships.’

As this website explains, when a landowner wished to build a series of houses for his agricultural labourers on an acre of land, the surveyor could go out with his rod and immediately estimate how many houses there was room for.

So the size of the house in which I live in the twenty-first century was decided by a scale of measurement that dates back to the Dark Ages. For those who find London’s overall sense of scale overwhelming, this internal and very visible consistency might at least provide some comfort.

A punch up the bracket: BS Johnson and Anthony Aloysious St John Hancock

In a comment on my previous post about BS Johnson,  BB writes: ‘To issue a threat ending in “up the bracket” is so much of its time it made me laugh out loud. I had a couple of jobs that involved working with men in their late 50s and early 60s, real Londoners,  and they had a particular argot and mode of expression, which was always making me laugh. Enquiring as to whether you wanted a punch up the bracket was a regular occurrence.’

I also love this phrase, and associate it with another of my heroes, Anthony Aloysious St John Hancock, the greatest British comedian of all time. (There’s a great piece about Hancock here, noting the similarities between Hancock and Seinfeld as well as Hancock’s use of ‘punch up the bracket’.)

Hancock and BS Johnson have much in common. Both were aspirational working-class/lower middle-class men defined by the 1950s who spoke in the language of outer-urban post-war London. Both were men of keen wit and sharp intellect who enjoyed – or couldn’t help – skewering their own occasional lapse into pomposity. Both were depressives with a gift for pointed, painful comedy. Both killed themselves. They even looked similar: thick, heavyset men with wounded eyes. And, most importantly, both referenced Chelsea in key texts (Hancock in ‘The Football Pools’ and Johnson in ‘Albert Angelo’).

 

I once interviewed Tim Lott – or was it Toby Litt? – who suggested that Hancock was London’s answer to the Angry Young Men of 1950s northern working-class fiction, and there’s something this, though I’m not sure Sillitoe or Wain ever came up with anything as dark as Galton and Simpson’s ‘The Poison Pen Letters’, in which Hancock is so consumed by self-loathing he starts sending himself hate mail in his sleep.

But this is something you can imagine BS Johnson writing, another angry, sad, brilliant man who went raging into the tragedy of premature death.