Category Archives: Journalism

Inside the Fleet: exploring London’s lost rivers

I wrote this piece for Time Out in 2005 and for some reason it’s never been available online. Until now.

It’s only as the filthy brown water rises above my thigh-high waders and my feet struggle to grip the tunnel’s slimy floor that I realise that drowning in a river of shit after breaking into a London sewer would be a really, really crap way to die.

It all began so well. I found Jondoe and Stoop, two urban explorers who get their kicks investigating drains, lost rivers and derelict buildings, on the internet and asked them if I could come on their next journey beneath the city streets.

We met near Farringdon. The plan is to explore one of London’s lost rivers, the Fleet, which once flowed from Hampstead to Blackfriars. Although long bricked over, the Fleet, like many of London’s old rivers, still flows underground through a series of pipes and culverts. Joseph Bazalgette integrated these rivers into his sewer system, using them as storm-relief drains to carry overspill into the Thames when the main east-west sewers were swelled beyond capacity. These days, heavy rain can still cause sewage to flow into the river via the Fleet.

Jondoe and Stoop have been in the Fleet before, but turned back when the stench became overwhelming for even these experienced drainers. This time, they are determined to reach the end. They believe no other UK urban explorer has made the trip, largely because it takes considerable planning to find a way into London drains. Urban explorers are driven by a combination of adrenalin and curiosity, and take their hobby seriously. This trip has been months in the planning. They’ve popped many manholes looking for the right entry point, and the weather has to be right – no rain for at least three days before we enter.

In a nearby car park, we change into waders, boiler suits, flourescent vests and hard hats – the latter more for disguise than protection. Carrying a couple of traffic cones, we’re suddenly transformed into construction workers, practically invisible to passers-by. Nobody bats an eyelid as we walk through busy streets to the selected manhole, stick some cones round it, lift the cover and climb down the ladder into the gloom.

We enter a feeder tunnel with a five-foot ceiling, which means we have to abandon our hats and walk with cricked necks. It’s cramped, damp, dank and dirty but doesn’t smell too bad. Stoop and Jondoe glide like skaters along the slippery floor while I splash clumsily behind, using slimy walls to keep my balance. We head downwards along a series of mini-waterfalls. The light and noise that intermittently emerges from the grates overhead suggest we aren’t getting deeper, but simply following the gradient of the road. It’s a curious feeling, being isolated in the dark but with occasional glimpses of London reminding us that normal life continues up above.

Eventually we reach the end of the feeder tunnel and swing into the Fleet itself using broadband cables that make useful subterranean handrails. It stinks in here and the air is heavy with a strange mist. Jondoe points north, to where the Fleet is blocked by the main east-west sewer. Ominous clumps of matter fester in pools all around. ‘Don’t disturb them,’ he says. ‘It’ll be full of gas that just sits there and collects.’

As he speaks, one of the hard hats we’d left by the entry point shoots out of the feeder tunnel on a wave and floats towards the Thames, bobbing along the shallow water that moves sluggishly down the centre of the tunnel.

We follow, heading south. The tunnel is around ten feet tall and wide, so we can walk two abreast. It’s about the same size as a tube tunnel. The smell slowly subsides, although lumps of faeces and toilet paper gather in places where they’ve washed against the brickwork. Otherwise, there’s just a trickle of brown water ferrying the odd cotton-bud downriver.

It’s no hellhole, but still a far cry from the Fleet’s sixteenth-century heyday as one of London’s key tributaries, when, flanked by wharves and warehouses, it was a centre of London commerce. It separated Westminster from the City and carried cargo to the Thames, was compared unfavourably with the four rivers of Hades by Ben Jonson, was briefly turned into a canal and then covered in portions from 1732, by which time it was little more than an open sewer.

But this was not the end of it. In 1846, the Fleet exploded, its sewage gasses bursting the street above, rendering King’s Cross Road impassable, destroying Clerkenwell poorhouses and smashing a Thames steamboat against Blackfriars Bridge. This river, it seems, has a habit of coming back to ambush those who thought it dead and buried.

Almost two centuries later, traffic and police sirens are audible overhead, competing with the constant crash of water that flows from numerous side tunnels, feeding the central trickle. Rats stop and stare as we walk past. I nervously keep my torch shining on them until we have moved on.

Before Ludgate Circus, the Fleet splits into two parallel tunnels, directly replicating the pattern of Farringdon Street overhead. Otherwise, it’s impossible to work out exactly where we are. The tunnel heads south, but is full of turns. At one point we notice large iron rings cemented into the wall. They are support for scaffolding, but look like mooring rings. Throughout, the Victorian brickwork is surprisingly beautiful for something that is so rarely seen.

 

After about two miles of trudging, we emerge into an enormous end chamber, more than 20-feet high and elaborate in design and construction. Two short tunnels lead from here, ending in huge metal flaps, which we assume open directly into the Thames.

After taking pictures, we head back. Immediately, we realise there’s a problem. It’s much harder to walk uphill against the flow of water. On the way down, the water was a stream, heading back, it’s more like a river. We labour onwards and upwards in the dark, but it’s tough work.

Stoop eventually says what we’ve all been thinking. ‘Is it just me,’ he asks, ‘Or is the water getting deeper?’

Water which before barely covered our feet is now above our knees, flooding downhill towards us at pace and rising slowly all the time. Wading into the tide, our clothes are heavy with water and our feet struggle to grip the slimy stone floor. Panicking rats scurry up the walls to get out the way of the bubbling water.

It’s frightening. Nobody knows we are down here and as our pace slows I begin to ponder our options. Should we press on, or brave a side tunnel, where a ladder may at least take us above water level, so we can sit it out. But how long would that take? And what if the water keeps rising and the side tunnel we’re in doesn’t have access to the street?

We reach a turn where the water has become a torrent and Stoop tries to brace himself against the tide but instead starts sliding backwards towards me, threatening to skittle us all into the dirty water. For a split second I consider what an undignified death this would make, and with one final effort we press on, forcing ourselves to a point where we can stand without getting knocked off our feet. But we’re exhausted.

Then Jondoe shouts, ‘That’s where we came in!’ It is indeed. We pull ourselves up into the feeder drain via the broadband cable and watch the river below us boil to a frenzy. The Fleet is back with a vengeance. Later Jondoe explains, ‘Somewhere further up the sewer they must have been doing some maintenance and so diverted the flow down the Fleet.’ It is, he says, something he’s never experienced before.

Twenty minutes later, after an exhausting walk through the smaller drain in the course of which I bang my head several times on overhanging pipes and bricks, I haul my battered, sodden body up the ladder and into the sunshine. It’s bright outside. The air smells clean. Half-a-dozen people across the road pay us no heed as we emerge from the manhole and sit slumped in the road, moving only to remove our waders and empty them back down the drain.

We trek back to the car in soaking socks, leaving a trail of footprints behind us.

The Siege Of Sidney Street

My review of the Museum of London Dockland’s exhibition on the Siege of Sidney Street can be read in the New Statesman.

For once, I have little more to add. It’s an excellent exhibition and I recommend heading to Docklands before it ends in April. For more on the siege, you can see Pathe newsreel footage here or read Caroline’s article here.

Or you can watch a clip from the 1960 movie loosely based on the events.

Andy Coulson: getting it

In 1999, I happened to share a dinner table with the recently disgraced Tory director of communications Andy Coulson.

Coulson was then editor of the Sun‘s Bizarre column and he spent a large part of the evening holding court and talking loudly about those celebrities who ‘got it’ and those that didn’t ‘get it’. Chris Evans ‘got it’ he said, but Hugh Grant didn’t ‘get it’.

‘It’ was that the celeb in question understood and accepted that having their names, families, relationships and reputations trashed each day in the tabloids was all just a bit of fun, fair game, cheeky banter, part and parcel of what comes with being famous. Evans went along with it and didn’t complain; Grant, on the other hand, was less compliant.

After what’s happened in recent weeks, I can’t help but wonder whether Andy Coulson ‘gets it’.

Why I love Pat Nevin

I remember when I fell in love with Pat Nevin. It was in the playground and somebody was passing round a 1985 Panini sticker album. I turned straight to the Chelsea page to see my heroes.

There was Kerry Dixon, bluffly handsome with golden hair, azure eyes and self-confident grin. There was Colin Pates, a brick-wall centre-back with disco dancer hair. There was Doug Rougvie with a nose that looked like it had lost an argument with a spade.

And there was Pat Nevin. Pasty-faced, greasy-haired, nervous, thin and sullen. He looked like a smackhead. Who wouldn’t fall in love?

I only saw Nevin play once for Chelsea, a 3-0 victory at Watford in 1988 about which I remember little, but his legend loomed large over the following years. By the time I started watching Chelsea regularly the next season, the club were in the Second Division and Nevin was at Everton, but my bible, the Chelsea Independent fanzine, spoke of little else.

They drooled over Nevin’s dribble against Newcastle, when he beat eight players in a slalom run that took him from one end of the pitch to the other. They marvelled at his free kick against Sheffield Wednesday, when he chipped the ball over the defensive wall, ran round the other side and lofted a perfect cross on to David Speedie’s goalscoring noggin. They giggled at his famous penalty miss against Manchester City.

The love seemed mutual. When Nevin was injured playing for Tranmere, he attended a Chelsea-Everton game at Goodison Park and paid to go in the Chelsea end. This was important. Chelsea fans, then as now, were despised, but if somebody like Nevin loved us, maybe there was hope, maybe there was redemption,

And Nevin was the sort of player that fans love – an exciting, creative, unpredictable dribbler, but there was more to it than this. Nevin was smart. Nevin was cool. Nevin was different.

He angrily attacked his own supporters for their racist, violent and anti-semitic predilections – to the delight of the left-wing students at the Chelsea Independent. He read French and Russian literature. His favourite bands were Joy Division, Jesus And Mary Chain and the Cocteau Twins. He once insisted on being substituted at half-time in a friendly so he could attend a gig. He brought Brechtian principles to the club programme when he interviewed himself – yes, himself – for a player profile. He was friends with John Peel. For the teenager who read Camus and listened to Sonic Youth it was a no-brainer: if you could be a footballer, you’d be Pat Nevin.

NME described Nevin as the first post-punk footballer, although it may have been more accurate to say he was the first art school footballer. He was also the last.

When at Everton, Nevin gave a lengthy to the Chelsea Independent, and talked at length about football, music and literature, and what it was like drinking in Soho with George Melly. I’d never heard of Melly, but here I was, learning about jazz and the counterculture from a footballer, in a fanzine. Would that happen now?

When I interviewed Colin Pates – who is not a stupid man, by any means -he still seemed bemused by the fact Nevin would read books on the way to away games rather than play cards. Nevin, though, never seemed to get bullied about his interests. He was clever, but he was also proudly working-class and therefore more acceptable to other footballers and more capable of sticking up for himself than the middle-class Guardian-reading Graeme Le Saux who followed him as Chelsea’s token intellectual.

In the early 1990s, I finally got to see Nevin play at Stamford Bridge. He was wearing an Everton kit, but when he scored the Shed gave him a standing ovation – the only time I have ever seen Chelsea fans applaud an opposition goal. Pat Nevin was a very intelligent footballer and when he was around, fans seemed to use their brains a little bit more as well.

Pussyfoot Johnson and the London mob

My review of Ink And The Bottle, an exhibition about cartoons and alcohol, appears in the Independent.

One of the cartoons at the gallery is based on the story of William ‘Pussyfoot’ Johnson, an American who was active in the temperance movement and came to London on Nov 13, 1919 to give a talk.

Johnson was leader of the Anti-Saloon League and after success in America, he headed to the Old World to spread the anti-drinking word. He argued, ‘There is more bootlegging and more moonshining in Europe than in the whole United States.’

He may have been right. This temperance movement map from 1886 attempted to show the scale of the problem by depicting all of London’s pubs in its ‘Modern Plague of London’ map.

Pussyfoot earned his nickname for his habit of amending laws by stealth, and this did not go down well with the London mob. As one anti-temperance advocate told the New York Times, ‘You know how the majority of Englishmen look upon prohibition and Mr Johnson’s activities? The thought of not being able to have the well-known pint of bitter fills them with horror. The war was terrible enough but it was something that happened before. There have always been wars. Taking away the drinks is attacking the divine rights of the Britisher. I can tell you they don’t like it!’

They certainly didn’t, and decided to do something about it. While Johnson was speaking at Essex Hall, he was captured by medical students from nearby King’s College who dragged him out the buildin, poured a bottle of beer over his head and marched him around the West End chanting ribald songs. It was noted that the police ‘seemed lacking in sympathy with the missionary’.

Johnson was hauled hatless on a stretcher around Regent’s Street, Leicester Square and Oxford Street while the students chanted ‘What won the war? Rum!’ and ‘We’ve got Pussyfoot meow, send him back to America’.

Such larks, what fun and games!

And so what if Johnson lost his right eye in the incident? The lesson was learnt. Not many people have tried to take the Britisher’s beer away from him since.

Magic mushrooms in Georgian London

I have always considered Green Park to be the dullest of all central London parks. Look. There’s really nothing there. It’s just a very big lawn.

But twas not always this way. High Society, the Wellcome Collection’s superb new exhibition on drugs in culture – which I recently reviewed in New Statesman – includes a great story from 1799 concerning a doctor, Everard Brande, who was called to the London house of a family suffering from some form of poisoning.

Concerned for his sick family, the father had gone out to seek help but was soon found in a confused state, unable to remember where he was going or why. He was rescued by neighbours and eventually the doctor pieced the story together.

The family had been out gathering mushrooms in Green Park, which they had cooked into a broth, and this had upon the parents and four children an extraordinary effect. All were giddy – with high pulse rates and intense breathing – and all were seeing things. While the adults seemed struck by a morbid fear of death, eight-year-old Edward ‘was attacked by fits of immoderate laughter’ and his staring pupils were massively dilated.

After treatment from Dr Brande, the family recovered (aka came down). I’ll never see Green Park in quite the same way again. I’m sure they didn’t.

For more, see Michael Jay‘s excellent accompanying book.

Eel Pie Island

My feature on the birth of British R&B at Eel Pie Island is in this month’s issue of Uncut.

It includes interviews with Pete Townshend, Ron Wood, Kenny Ball, Top Topham and the inventor Trevor Baylis, who still lives on the island and told me.

 ‘I moved to the island in the 1970s when I’d made enough money as an underwater escape artist in Berlin to buy a plot of land, but I went there regularly from 1957. They were wild times. If you wanted to get your leg over, that’s where you went. It was notorious. There was no bridge, the only way to get there was on a chain ferry. On the island, a little old lady sat in a tollbooth and stamped the back of your hand. The hotel was very Dickensian, a bit of a tramshed just about hanging together, but it had a dance floor that was like a trampoline so if you couldn’t dance when you went in you certainly could when you came out.’

South-west London was a fertile territory for music in the early 1960s, and the likes of Keith Richards, Eric Clapton, Jeff Beck, Rod Stewart and Jimmy Page all learnt their craft in the venues of Richmond and on Eel Pie Island.

As Ian McLagan of the Small Faces explained: ‘The audience was full of musicians. Loads of them. You’d see them all in the front row – “Do you see that?”, “Yeah”, “Well I can do that too”. We were all kids, but when you saw the Stones it was “Fuck me, it’s possible…” ’

Diamond Geezer visited Eel Pie Island recently and writes about it here.

Cocking up

I cocked up at work the other day. It wasn’t anything major, but it was enough to reignite that familiar feeling: stomach lurching, chest tightening, face reddening, bottom squeaking. A mix of self-loathing – ‘how could I be so stupid????’ – and indignation – ‘it wasn’t my fault!!!’ Then you start to wonder if you can get away with it, or should fess up forthwith.

In general, the best solution is to find that person who is at a similar or lower level of seniority to yourself, but way more competent and powerful (you know the one), and politely beg them to sort it out. But I work on my own, so had to bluff it out, which I did more or less.

It reminded me of other great cock ups of the past:

  • The time I forgot to include Coronation Street in the TV listings.
  • The time I asked if I could interview somebody who was dead.
  • The time I said on the cover of a magazine that the first phone call had taken place in London when it was really in New York.
  • The time I got the world 100m record wrong in the Guinness Book Of World Records.
  • The time I compiled the squad lists for a Premier League preview and completely forgot about Sheffield Wednesday.
  • The time I left the ‘S’ off Scunthorpe in the fixture list for a national paper (actually, I did this on purpose).

Ah, happy times and no lasting damage done.

The good news is that over the years I’ve witnessed far greater cock ups from people considerably more important than myself, so it’s clearly not a career-breaker in my chosen line of work.

Here’s to journalism, and gleefully calling other people’s cock ups to account while studiously ignoring our own.

i think therefore i am unwanted

You may have noticed a new newspaper on your way to work this morning.

i is billed as a new concept, a snappy summation of the Independent  that offers some of the benefits of a serious newspaper with the attitude of a tabloid, and costs just 20p. It’s the Metro with opinion columns.

And it’s not bad. You can see what they are trying to do and they pretty much pull it off (although as somebody who saw Time Out attempt to revolutionise TV listings about a dozens times every year, I don’t give i‘s more than a month). It’s good to see another publisher trying to do something, anything, to save the printed newspaper. 

But I have one reservation: is what they are trying to do right in the first place?

Increasingly, all newspapers have become obsessed with attracting an audience that doesn’t buy newspapers. The success of the Metro has woken them up to this previously untapped readership of busy 20-30-year-olds who want a basic grasp of what is going on in the world, plus a funny kitten story on page 3, but don’t want to pay for it. The Metro serves this purpose tremendously. Now everybody wants a piece of the pie.

But in chasing this audience – an audience, remember, that has never shown any previous interest in paying for news – publishers are in danger of neglecting those of us who value newspapers for other reasons. Perhaps we like good writing and well-researched articles that tell us things we didn’t already know. This is still out there, but it’s increasingly hard to find.

Instead, we get features written by Wikipedia and opinion masquerading as news. And we get newspapers that are increasingly political in everything they do and say, which means you can’t trust any of them.

Columnists are legion, frantically demonstrating their independence of thought by aggressively agreeing with one another, or desperately trying to say something stupid and controversial in the hope it’ll get them noticed. This bores me silly, unless it is well written or funny or thoughtful, which it rarely is. (And yes, I am fully aware of the irony of saying all this on a blog.)

Am I an elitist? Am I hopelessly naive? Am I an out-of-touch snob?

Perhaps. 

But here’s the thing: the more that newspapers chase this mythical paper-purchasing Metro audience, the worse their sales figures get.

So perhaps it’s not just me that wonders why they should pay £1.20 – or even 20p – to be told things they already know by people they don’t trust or respect?

I am a journalist. I love to write and I love to read. But I no longer buy newspapers and the i is not going to change that.

Update More opinion (chuckle) from 853 and Snipe (whose three conclusions are on the money).

Jeremy Deller’s Baghdad car at the Imperial War Museum

If the V&A’s latest exhibition demonstrates that big can be beautiful, the new acquisition at the Imperial War Museum shows that small can be profound.

It’s a car, badly damaged and barely recognisable, that was caught in a suicide bomb blast in Baghdad in 2007. The artist Jeremy Deller got hold of it and toured it across America on the back of a truck in the company of a US soldier and an Iraqi citizen for a piece entitled It Is What It Is. Now, shorn of any artistic element, it is on display at the Imperial War Museum. My review in the New Statesman can be read here.

After interviewing Deller, I avoided reading too much about the car before I wrote the piece other than this by Jonathan Jones in the Guardian. Jones, I think, slightly overdoes his praise – is it really true that ‘a dismembered body is what you immediately think of when you come into the museum and see a car’? – while the commentators beneath the line seem obessessed with the pointless and hoary argument about ‘what is art’.

They’ll never be able to answer that question from behind their computer screens because this compelling and thought-provoking piece needs to be seen on location and in context to be fully appreciated. It’s a fine and valuable addition to the IWM’s collection and makes a fascinating footnote in the history of war art.

Oh, and Jeremy Deller is one of the nicest famous people I have ever interviewed, right up there with Graham Taylor, the former England manager, belittled turnip and little appreciated ballet enthusiast.