Category Archives: Journalism

The Barbican Estate – a town reconstructed from its cellars

In the comments to my Guardian piece on the Blitz (yes, I read them, hungrily seeking affirmation) there were several interesting discussions about the Barbican. In the piece I’d described it as a “successful” example of post-war redevelopment, something others were quick to dispute, arguing that nobody liked the Barbican. I hadn’t considered my view particularly controversial, but then I do spend a lot of time talking to Brutalists and had also just written an article about the history of the Barbican for the excellent n magazine – in-flight magazine for Norwegian airlines.

You can read it here, where there are also some excellent photographs. And here’s a video of Unit 4 + 2 singing “Concrete And Clay” on the unbuilt estate in 1965.

While writing the feature, I spent a couple of hours exploring the Barbican more carefully than ever before. Although I’ve visited the Barbican Centre and the Museum of London on countless occasions, this has rarely led me through or over the estate itself. There’s something about any estate that doesn’t welcome visitors and during my walks around London I usually stick to “normal” streets, but the Barbican is well worth your time.

The Barbican, contrary to public perception, is a wonderfully walkable part of London. Yes, it can be confusing but it was built with the pedestrian in mind so amply rewards the willing walker. As I wrote:

The Barbican takes the City’s ancient complexity and expands it over three dimensions – you can go up and down as well as backwards and forwards, so wandering around the Barbican becomes an adventure. Curves envelope you, towers loom, narrow pedways disappear under pedestals and re-emerge as wide walkways enlivened by beds of wild flowers. Even the yellow line may abruptly disappear, eradicated by recent reconstruction work.

There are surprises around every corner, such as London’s largest conservatory outside of Kew Gardens, or the aged tree stump named after composer Felix Mendelssohn, who once sat by it in Buckinghamshire contemplating compositions. Across the lake from the arts centre is the Grade I-listed church of St Giles, where Oliver Cromwell was married and the poet John Milton is buried.

Another fine spot is the roof of the concert hall, initially conceived as a sculpture court, which is framed by the graceful curve of Frobisher Crescent and overlooked by a giant tower.

The Barbican is often chastised for being confusing and it can be, but this is precisely what many people like about the City, with a medieval street pattern that is often deemed charming. And is there anything wrong with getting lost in London anyway? I’ll report back on that thought in my next blog post.

The legacy of the Blitz

I wrote a piece for the Guardian about the way modern London is still shaped by the bomb damage of the Blitz. This was a subject I immersed myself for several weeks and the first draft of my article is very different to the version that was published. I thought it might be interesting to reproduce the original article on The Great Wen. 

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When travel writer HV Morton surveyed London in 1951’s In Search of London, it was still scarred by war. The Blitz had started on 7 September 1940 and more than a decade later, London was a “city of jagged ruins, of hob grates perched in the sunlight in shattered walls, of cellars draped with willow-herb and Canadian fleabane.” As Morton wandered sadly round Cripplegate – an area now covered by the Barbican – he looked “across an area of devastation so final and complete that the memory of it will always rise in my mind whenever I hear the word Blitz. Thousands of buildings have been burnt and blasted to the cellars. Here and there the side of a building rises gauntly from the rubble, a detached gateway stands by itself in the undergrowth, the towers of a few churches, or a spire, lift themselves mournfully, like tombstones in a forgotten cemetery…. How can anyone reconstruct a town from its cellars?”

The scale of this destruction can be gleaned from the bombsight.org website, which uses information from the National Archives to pinpoint every individual bomb strike, and The Bomb Damage Maps 1939-1945, created by the London County Council and now published as a book, which show colour-coded bomb damage on a building-by-building basis. The maps were originally created for financial reasons, but post-war planning was always an issue. “The heart of it was insurance and compensation,” says Laurence Ward, the book’s editor and senior archivist at the London Metropolitan Archive. “But they had one eye on post-war reconstruction and the maps were essential tools for rebuilding London. They give a bird’s eye view of the damage and use a colour scheme that makes it easy to see areas that needed to be cleared.”

By cross-referencing Bomb Damage Maps with the A-Z and www.bombsight.org, London’s post-war evolution can be explored, with modern parks, offices and housing estates replacing black blocks of destruction. As Ward explains, “The maps help areas make sense, they show why the streets look like they do.” We look at six examples that show some of the ways the Blitz shaped contemporary London, and how that process is still continuing today.

Mayday Gardens, SE3

Alan Lee Williams was 10 when his home in Mayday Gardens, near Blackheath, was hit by a parachute mine. “It was meant for the Thames, but damaged 27 houses and took our roof off,” he recalls, now 84 and reflecting on a life that included a period as Labour MP for Hornchurch. Williams’ house was repaired but several houses – marked black for “total destruction” on the bomb maps – remained derelict throughout the war. “They became places for children to play,” says Williams. “They built a big water tank on them for the fire engines, and sometimes we’d swim in it.”

Visit Mayday Gardens now and you’d have no idea anything had happened here. Unlike other streets, where former bomb sites can be identified by the post-war housing blocks that interrupt Victorian terraces, the destroyed houses in Mayday Gardens were rebuilt exactly as before. “They look as if they have been there all the time and I’m sure most people living there have no idea what happened,” says Williams. Indeed, when a local resident – who declined to be named – was asked if they knew of the street’s history, they admitted it came as news to them. “There was no consistency with the reconstruction,” says Ward. “These have pretty good plots and they probably decided it would be easier to rebuild a couple of houses then build a low-rise block.” One issue would have been the material available, with bricks remaining in short supply until the 1950s despite the LCC’s ability to salvage 140 million from damaged houses. The reconstruction of these middle-class homes, though, comes as stark contrast to the way many working-class districts were treated.

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Co-Op, Brook House, Shooters Hill, SE18

A short walk from Mayday Gardens on the corner of Shooters Hill and Corelli Road is an ugly squat building housing a supermarket. This was the site of the Brook Hotel pub, which was hit by a V2 rocket in November 1944.

Alan Williams, then 14, was one of the first on the scene. “I was on a tram on Shooters Hill, when I heard an explosion and ran down the road just in time to see a No 89 bus explode,” he says. “The pub had been hit by the missile and the bus was passing and caught fire.”

Williams was pressed into service. “The fire officer called for silence so we could listen for people calling for help and we heard somebody,” he says. “The firemen were too big to go down, so they lowered me. I found a body still breathing and helped them pull it back up. We got to the top and the gas blew up beneath us – I never got out of a bombsite so quickly.”

He’d rescued a girl who had been playing with the publican’s daughter. “She lived in the same road as me, and her father was a high-ranking policeman,” says Williams. “He came to see us – my mother thought I’d been in trouble again!” In the carnage, 29 died but the pub was rebuilt immediately. “The pub was a lovely old building,” says Williams. “It was close to where soldiers were billeted so they rebuilt it before the end of the war.” Williams passes such bombsites frequently. “I still live in the area and I bow my head as I go past,” he says. “I can still see that 89 bus exploding. I always thought it was strange that there was never an explanation of what happened to these places. I thought they should have put up plaques. It’s always a puzzle why it didn’t happen, maybe they just wanted to forget.”

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Christ Church, Newgate

There are some memorials, if you know what to look for. Churches played an important role before and after the Blitz. Bombed churches were used as propaganda – a famous wartime photograph shows St Paul’s sheathed in smoke – and London’s churches took a pounding: 624 of 701 churches were damaged, of which 91 were destroyed. Many City churches were damaged by the fire bombs of 29 December 1940, which levelled entire streets.

Almost immediately, a debate began about what to be done with the most badly damaged churches. Architect Sir Edwin Lutyen argued in 1941 that “where there is no congregation I would leave the spaces occupied by destroyed churches as open”, partly as a memorial. In 1944, a letter in The Times presciently articulated this principle: “The time will come – much sooner than most of us to-day can visualize – when no trace of death from the air will be left in the streets of rebuilt London. At such a time the story of the Blitz may begin to seem unreal not only to visiting tourists but to a new generation of Londoners. It is the purpose of war memorials to remind posterity of the reality of the sacrifices upon which its apparent security has been built. These church ruins, we suggest, would do this with realism and gravity”.

The creation of these memorial-ruins was rooted in realism – with attendances in decline, churches simply weren’t always needed. The medieval church of Christ Church, Newgate had been rebuilt by Sir Christopher Wren in 1687 after the Great Fire and then razed again in the inferno of December 1940. It has been left in its ruined state in memory of the Blitz, but in bastardised form.

In 1981, neo-Georgian offices were added in imitation of the 1760 vestry – these currently house a dentist. Two walls to the east were removed in 1974 in a road-widening scheme, while the tower – with a steeple that Ian Nairn considered one of Wren’s finest – was transformed into a 12-storey private home in 2006. Merrill Lynch’s office squeezes against the wall of the church and the fact these gardens act as a memorial to the Blitz probably goes unnoticed by local workers – it’s all far too tidy for one thing. A short-lived campaign was launched in 2013 to turn this into a more thoughtful memorial to the sacrifice of Londoners, of which there are few. Christ Church at least fared better than another memorial-ruin: St Mary Aldermanbury was sold to Westminster College in Fulton, Missouri to act as a memorial to Winston Churchill. London still awaits a fitting tribute.

Old Market Square, Columbia Road, E2

A complex network of priorities faced London’s post-war rebuilders, many of whom had been agitating to reconstruct London since before the war. This bore curious fruit in Columbia Road in Bethnal Green, now the location of a flower market and genteel Victorian terraces but then considered a slum. On the first day of the Blitz, a bomb hit a shelter beneath Columbia Market, killing 38. “Columbia Market was a 19th century development founded by Angela Burdett-Coutts to regenerate the area and improve quality of life,” explains Ward.” The buildings were damaged during the war and subsequently demolished – but, it seems, they could have been repaired – the map notes that the main blocks suffered only general blast damage.”

Burdett-Coutts was a philanthropist and friend of Charles Dickens, and Columbia Market was a combination of market and social housing constructed in a dramatic neo-Gothic style that marked one of the first flowerings of Victorian social housing. The ambitious scheme was deemed a “splendid failure” by The Times in 1936 and after the war was being used for storage. Although salvageable and unquestionably important, it was demolished in 1960 and replaced by Ravenscourt Park and a modern tower block, named Old Market Square in a half-hearted nod to what was lost. This new estate is typical of the buildings that were thrown up after the war to solve the problem of slum housing. A campaign is ongoing to get a plaque erected in memory of those that died.

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In the haste to rebuild London, many important buildings were demolished, inadvertently spawning the modern heritage industry. “The idea of heritage and listing buildings only really started after the war, when things were demolished so rapidly we don’t know exactly what was demolished and what was valuable,” says Peter Larkham, professor of planning at Birmingham School of the Built Environment, who has written on post-war reconstruction. “It was launched as a problematic and ad hoc system that allowed councils to designate conservation areas. After development stopped with the 1970s oil crisis, conservation almost took over and we now have 10,000 conservation areas and half a million listed buildings. Some think we conserve too much.” The only remaining trace of Columbia Market is a section of railing outside a nursery. “It’s a fascinating building that most have cost a fortune and completely dominated the road,” says Ward. “Now you’d never know it existed.”

Palestra, Blackfriars Bridge Road, SE1

This 1990s office block sits atop a site with a fascinating jumbled history. In 1783, the Surrey Chapel was built amid fields by Georgian preacher Rowland Hill, who chose a circular – or octagonal – form as this meant there were no corners where the devil could hide. By 1910, it was being used as a warehouse when boxer Dick Burge decided to turn it into a boxing venue. The Ring was a success but was hit by a bomb on 25th October 1940 and then again in March 1941. According to the Bomb Damage Maps the spot was also later hit by a V1 flying bomb. Damage from one of these strikes can still be seen a few yards away under a railway bridge.

Like many bombsites, The Ring wasn’t replaced until the 1960s. “Some materials required for building were rationed until 1954,” says Larkham. “Every bomb-damaged city was arguing with the government for their allocation of steel and you might have a site and a plan but you might not be able to do anything with it. Britain was selling steel to Australia because the economy was more important than rebuilding.” Eventually Richard Seifert’s gaunt Orbit House was raised on the site. Seifert, one of the UK’s most prolific post-war architects, loved to give his buildings space-age names, and this one also had a circular nod to The Ring. It housed records for the India Office.

But Orbit House’s time was fleeting. In the 1990s it was replaced by Will Alsop’s gargantuan glass Palestra, which is used by TfL. Peter Rees, the City’s former head of planning, once told me that modern office buildings have a life of around 30 years – something that has more to do with the changing requirements of office life than architectural trends – and that’s how long Orbit House lasted. But with his new building, Alsop paid reference to both of Palestra’s forefathers: like Orbit House, it is raised above the road on a pedestal, while its name comes from the Greek word for a wrestling ring. What’s interesting, though, is that as with much of London’s post-war offices – include huge swathes of the City – this site is already on its second generation of development. Larkham questions if that is sustainable. “One of the worst products in terms of sustainability is concrete,” he says. “The fact we can put these building up and then pull them back – is that really the best solution? We need to design for more flexible longer-term planning.”

Elephant Park, SE17

You won’t find Sayer Street on a map but you can hunt it down in photographs. One on the IWM website shows a family sitting at a dinner table outside the Blitzed shell of Sayer Street School eating egg and bacon supplied by American aid.

Another shows Sayer Street before the Blitz, when it consisted of five-storey tenements in one of London’s poorest areas around Elephant & Castle. Elephant was badly hit by bombs, and Sayer Street is riddled with damage on the Bomb Damage Maps. Before the war, the street contained a fishmongers, cat meat dealer, grocer, saddler, bookbinder; after the war, it was the location of a car park, one of the most popular post-war uses for bombsites. The NPC car park empire began with the purchase of a £200 bomb site on Red Lion Square.

In his memoir The Likes Of Us, Michael Collins writes how in the 1960s he explored Elephant’s remaining bombsites, “on which relics of former homes hovered, exposed broken fireplaces and floral or barley corn wallpaper that had witness births, deaths, Christmases, parties, tears, arguments, laughter and sex.” Sayer Street survived this half-life into the 1960s, when it was chewed up by the Heygate Estate. The Heygate was originally conceived as one of three gigantic housing estates that would stretch from Elephant to Peckham, linked by walkways and ramps for two miles. “It was said the planners decided which streets would be erased in the back of a taxi as they were driven around the neighbourhood,” writes Collins, who was forced from his childhood home. One of those to disappear was Sayer Street.

As Larkham explains, “some of the plans were incredibly radical, sweeping away neighbourhoods irrespective of damage and replacing them with high-rise towers nobody wanted to live in.” These were fuelled by idealism, but as early as 1945, the planner CB Purdom had warned of the dangers in How Shall We Rebuild London?, explicitly rejecting Le Corbusier and “the megalomaniac proposals of those who regard the metropolis as a hive of near termites speeding their existence upon escalators or in tubes.” Such pleas were ignored and towers went up on bomb sites all over London. Some were successful like the Barbican, but most were bleak, poorly built and badly maintained.

The Heygate was rarely popular but it housed many of London’s poorest and now it too is gone, having lasted 37 meagre years. Southwark sold it to Land Lease, a private developer and demolition began in 2011. Former residents have been shipped miles from London, displaced even more brutally than those who once lived on Sayer Street. In its place will come Elephant Park, a residential village of towers and plazas, where a three-bed apartment costs £2.5m. “It says a lot about where London is heading, how it is become more like Paris with those areas of social housing being pushed further out,” says Ward. The ripples from London’s post-war redevelopment continue to be felt, and from Blitzed streets and lost bombsites, another London arises. How long will this one last?

Summer on the canal

I wrote a piece for Waterfront about the serene and occasionally hedonistic pleasures of living on a narrowboat in the summer. You can read it here.

I also took part in a podcast talking about canals for Waterfront, which you can listen to here.

I recently walked one of my favourite sections of the canal, from Kensal Green to Little Venice, for the first time in years. This is what I saw on the way.

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Slopes for horses that slipped into the canal.

Slopes for horses that slipped into the canal.

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This statue garden once took up the space outside a single house – now it’s the entire terrace.

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Ghost sign, of recent vintage.

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Psychogeography centre, between Trellick Tower and the Westway.

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The most important building in London – where boaters get their toilets emptied.

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Towpath rumour said this boat once belonged to Richard Branson.

Killing Joke at Trafalgar Square

I recently interviewed the four original – and current – members of Killing Joke for a feature in Uncut.  I met them one-by-one in and around Lancaster Gate and we discussed their extraordinary career, from Crowley-inspired magical rituals in Battersea to police raids in Notting Hill squats and recording sessions inside the Great Pyramid.

We also discussed one of their first major gigs, when they headlined a CND show at Trafalgar Square.

As guitarist Kevin “Geordie” Walker recalled: “My favourite gig was the CND rally at Trafalgar Square. 80,000 people and us playing on the steps of the National Gallery in 1980. Jaz told them ‘Margaret Thatcher has bought all these cruise missiles and all you can do is stand there with a fucking placard. You dserve what you are going to get. This one’s called “Wardance”.’ It kicked off. It was killer. We never got invited back and I’ve got my suspicion that’s why we never did Glastonbury cos it’s the same hippie crowd and they remember.”

You can listen to that performance here.

I’ve interviewed several bands over the years for Uncut, from Buzzcocks and Gun Club to Soundgarden and The Damned. I’ve never met any quite like Killing Joke.

On Hackney Marsh with Jon The Poacher

One of the most enjoyable assignments have had in recent months was getting to spend a sunny late-spring morning on Hackney Marsh with John Cook, a forager who calls himself Jon The Poacher.

We wandered through parks and marshes for a couple of hours, filling a basket with wild plants, flowers, herbs and mushrooms, before sitting at a cafe by the Lea and scoffing it all. John has grown up in Clapton and knows “every milimetre” of the vast east London marshland.

I touched on bits of the marsh when I explored the pre-Olympic Lea Valley with archeologist Kieron Tyler. That tour was all about the human impact on landscape (that, really, is the essence of archeology), so the walk with John made for a completely different experience, one in which we looked only at the natural aspect, the ways in which wild plants will seed in the smallest, most inhospitable space, and how we can harvest them without destroying their habitat. John essentially uses the marsh as a giant allotment, and believes almost anything can be eaten if treated correctly.

The difference between the two views is interesting. While Kieron lamented the Lea Valley’s problem with Japanese knotweed – something the Olympic authorities spent millions on eradicating – John notes that if you cook it with a little sugar, knotweed tastes much like rhubarb.

My article about John appears on the Canal & River Trust’s Waterfront blog.

Croydon Till I Die: the flyover of life

I’ve written a piece about the concrete conundrum that is Croydon for the Guardian.

I have a peculiar relationship with Croydon, which seems appropriate as Croydon is a curious place. Growing up just outside Sutton, Croydon was Sutton’s scary big brother. The scary big brother everybody laughed at. Croydon had a reputation. It was ridiculous and people mocked it in a way you never seemed top get with nearby towns like Epsom, Sutton, Kingston or Bromley.

Perhaps as a result, I rarely went there, preferring to spend Saturday afternoons in the tedious safety of Sutton and then later in the West End.  It was only in my late teens that I really discovered Croydon.

By then, I could drive, and that seems relevant as Croydon was a town built for cars. In the sixth form I’d drive into Croydon with schoolfriends during breaks in the timetable to shop at Beano’s and have lunch – with girls! – at McDonald’s. And at weekends, I’d meet friends in the goth-metal Ship or in the Firkin beer garden.

That drive was thrilling. I’d soundtrack it to Aladdin Sane, which is ironic given David Bowie’s later comments about Croydon. I always entered Croydon from the south, via the flyover and that flyover was extraordinary and intoxicating. It was like nothing else around, certainly not in the dull suburbs of south London.

As I approached Croydon from this elevated position, the 1920s terraces spread out below, I always had a lingering desire to drive straight over the side into oblivion. It wasn’t a suicidal or maudlin, it was more like Butch Cassidy or Thelma And Louise, to exit in triumph.

When I left home, I came to increasingly dislike Sutton for the atmosphere of violence, racism, desperation and small-mindedness that I noticed every time I returned, seemingly growing worse each time. But with the benefit of distance, Croydon seemed far more interesting, an adventure in creating a new kind of suburban living that hadn’t quite worked but still left behind a town centre that was unique.

If only Beano’s was still around.

Archive: Julian Cope interview

I recently rediscovered this 2005 interview with Julian Cope from Time Out. It took place over the phone and my main recollection is that Cope went to the toilet halfway through, with the sound of his piss hitting the urinal adding a certain sonic tang to the transcription.

They say that every boy needs a hobby; over the years Julian Cope has had plenty. At first it was taking LSD on ‘Top Of The Tops’ and talking about Scott Walker. Later it was sitting beneath a tortoise shell and listening to krautrock. Now it’s playing monolithic sludge rock riffs and visiting ancient monuments. There’s no pattern, it’s just how things worked out.

But before we get into one of those ‘isn’t Julian Cope crazy?!’ mindsets, let’s clear one thing up: Cope isn’t a whacked-out, moondog, schizoid beam-chaser, or even a ga-ga, freaked-up, attention-seeking acid-eater, he’s just a lot more interesting (and, crucially, interested) than most rock stars. Let the man himself explain, as he prepares for his Friday night gig at the Royal Festival Hall: ‘Playing the role of Julian Cope means I can hide behind what Julian Cope is supposed to be. People always say, “You’re a lot more normal than I thought you would be”, and I say, “Yeah, but if I was as weird as you thought, I wouldn’t be able to achieve fucking anything”. The whole point is that it’s the subject matter that’s weird, not the person behind it.’

These days such achievements are often literary – particularly best-selling books on standing stones (The Modern Antiquarian and The Megalithic European). But Cope continues to record. His latest is Citizen Cain’d, an epic, guitar-shredding study of alienation and monotheism that is heavily informed by travels in Iran and stupidly heavy rock ’n’ roll.

‘We’ve all got an inner moron,’ he explains. ‘And rock ’n’ roll entertains your inner moron, but that doesn’t mean it can’t be smart as well. I thought it would be great to take garage rock and fuse it with genuinely amazing guitar. American punk bands always struck me as being better because they were great musicians playing down. One of the reasons I work with Doggen is that he’s one of the best guitarists I’ve ever heard. He’s amazing. But it’s context, I never put him in a good context. I’m never going to make him look like Eddie Van Halen if he’s got to come out of the swamp.’

Talking of swamp, support on Friday is from San Francisco’s Comets On Fire, quality purveyors of cosmic sludge, who are playing their first UK show. Cope has been a fan for a while. ‘The great thing about Comets is they very much know where they’re coming from. When I first got in touch with Ethan Miller (Comets main guy) I was saying, “Man, you’re totally Roky Erickson meets John Fogerty with Hawkwind backing”, and he said “Shit man, in my dreams that’s where we are”. But it’s not in their dreams, they’re there already.’

As he enthuses about favourite bands like Speed Glue And Shinky (‘I’m a fucking cunt for a singing drummer’) and Monoshock (‘They’re really vile. Like a sewer Stooges’), it’s clear that Cope is totally into this stuff. And when Cope gets into something, it normally gets into print. ‘I’m writing a book that’s just called ‘Rock ‘N’ Roll’, but it has the most portentous subtitle in the world. I can’t even remember it. On the back we’re going to have a massive question mark and underneath say “Who will entertain your moron?”’

Will this be written in his trademark stream-of-consciousness style? ‘Actually, I’m probably no more stream of consciousness than Robert Graves, I’m just fucking great at giving that impression. One thing I do is write what I want to say, then I go into an internet translator and turn it into German, turn the German into French and then the French back into English, and then pick out the nuggets. It ends up sounding like Faust lyrics. I’m happy that secret being leaked: the people who hear it and don’t take it seriously won’t learn anything, and the people that know wisdom is everywhere will take it on board and start doing it. Part of my job is to reveal other ways. I’m trying to be a facilitator rather than somebody who hides behind a cloak of mystery.’

And Friday? ‘Expect generic dark psychedelia. I’m really punishing the cliché. Get there early because we’re going to play two sets, one as people arrive, then after the Comets we’ll come back and do that monolithic sludge. It’s going to be a real vibe. Healthy amounts of mushrooms will be good and women should dress for the occasion.’

Tightrope walking: pub life in East London

One of my favourite recent commissions was for Norwegian Air’s magazine, N, who asked me to write text accompanying Jan Klos’s terrific photographs of East London pubs that, as he says, “capture a distinctly British culture that is facing extinction.” The article is here.

I visited several pubs, interviewing the landlords about the difficulties of running a pub in London. “London’s pub landlords are tightrope walkers,” I wrote. “Maintaining a delicate balance between tradition and innovation.” What fascinated me about successful pubs was how they balanced their role as “a communal living room” as Pauline Forster, formidable landlord for The George Tavern described it, with their need to draw custom by programming events, from the ubiquitous pub quiz to the more avant-garde offerings at somewhere like the Jamboree on Cable Street. Even that is not always enough, and the George is under threat of development.

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All the pubs had been photographed by Jan for his project, the Photographic Guide To The Pubs Of East London. He explained to me via email how it came about:

“I was looking for a project and I was playing with the idea of examining London’s tourism industry. The idea of photographing pubs was born from (believe it or not) cycling by Parliament Square and Big Ben and watching all the tourists. I really hate crowds and landmarks. There’s much more to London than Big Ben, double decker buses and telephone booths and I wish more tourists would see that.

I thought of all the tourists who come to London following travel guides full of landmarks and return with home with exactly the same boring photographs as everyone who has ever visited. I felt it a duty to show them what they are missing out on. Around the time I started plotting the project, more and more articles started appearing in the press about gentrification, pub closures and the death of East London. I’m a massive fan of East London’s pubs and slowly a way in to my project took shape.

I thought it made perfect sense to combine a “tourist guide” idea with a documentary approach to capture a distinctly British culture that is facing extinction. It gives insight into London’s pubs as a good tourist guide would, but, most importantly, it documents these fantastic institutions and groups of people – “families” – who run them. The family portrait approach I have taken also highlighted how close the teams are and how strongly they feel about their survival: many of the staff I encountered have other jobs but still do an odd day of work  in the pub, just because they enjoy being part of a close-knit community.”

Disappearing London: Food For Thought

I have a piece in the Guardian about the closure of Food For Thought, one of London’s most charismatic and seemingly nuclear-proof (and I’m not just talking about the consistency of the scones) restaurants. It closes on June 21, rising costs – basically rents and wages to cover staff’s rents – forcing the owner Vanessa Garrett, to shut a business that has been successfully operating since 1971.

Food For Thought is one of those places that’s always been there. It was there when I prowled Neal Street on amateur shopping trips in the early 1990s. I knew, instinctively, that it was some sort of hippie joint, so went elsewhere, a teenage boy in thrall to the twin thrills of the Sex Pistols and bacon double cheeseburgers.

Years later, grown up somewhat, I began to eat there regularly, usually nabbing a takeaway from the ground floor during lunch breaks at Time Out. It always felt more than just a lunch venue. Without wanting to get too Sinclair about it, waiting in line at Food For Thought felt like a visit to polydimensional London, somewhere that had been quietly doing the same thing, for the same people, in the same place, for generations. Close your eyes, and you could be in 1970s London or even London in 2015. For secular souls, there are few areas that carry this atmosphere in quite such an effortless way, not so much a timewarp as timeless. It wasn’t dated, retro or old-fashioned, it just was.

I didn’t realise then quite how entwined Food For Thought was with the counterculture that spawned Time Out. When I tweeted about the closure of Food For Thought, the writer Richard King responded thoughtfully that: “FFT felt like one of the final remaining traces of the original Tony Elliott vision of London for Time Out.”

It was an astute observation. Food For Thought was born in the same spirit as Time Out, a desire to make London new, fresh, exciting, modern and funky, but also to make it, for want of a better word, good: cheap, utilitarian, healthy, an experience to expand the mind and reward the soul. London can still do this, but not in such a distinctive and understated political manner.

It went deeper. One of Food For Thought’s first chefs was Sue Miles, the wife of Barry Miles, founder of International Times, the underground newspaper from which Time Out hatched in 1968. Sue had learnt her trade at the Arts Lab, a counterculture take on the ICA that operated from Drury Street, and she later worked at Time Out, writing its first pair of London guides, which included enthusiastic reviews of Food For Thought.

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What’s particularly depressing about the closure of Food For Thought is that it wasn’t doing anything wrong. It was popular, it was serving good food at reasonable prices. They could have expanded, sought outside investment and gone into the franchise business, but they felt that would dilute the experience. Why should they change when they were doing what they wanted and doing it well?

And it was this commitment to offering value for money – that deeply held desire to not rip off the consumer – that led to its demise. That was at the heart of what Food For Thought represented, and it is precisely the sort of thinking that doesn’t wash in rentier London, where even success is punished and landlords feel duty bound to wring more profit out of something they have done nothing to create, like Mafia bosses demanding their cut. People revolt when a government behaves this way, so why is it acceptable for landlords?

What a city we have created.

Charlie Cooke: Chelsea wing wizard

I recently dug up an old PC, and found this interview I conducted with former Chelsea and Scotland footballer Charlie Cooke in 2007 for Time Out.

It has become common currency for fans and players of other clubs to decry Chelsea’s lack of history, a revealing attitude that mistakes ‘history’ for ‘success’ and ‘wit’ for ‘arrogance’. Chelsea, of course, have a rich history, albeit one of spectacular underachievement and remarkable foot-shooting, of which the legendary – and much-romanticised – 1960s side is the best example. One of the geniuses of that team was Charlie Cooke, the brilliant Scottish midfielder who replaced Terry Venables in the heart of the Chelsea side and rivalled Peter Osgood for the affections of The Shed. Cooke was a combination of Pat Nevin and Joe Cole – phenomenally gifted, an extraordinary dribbler and visionary passer, but one with a prodigious work ethic. He was Chelsea’s player of the year three times – a record shared with a certain diminutive Sardinian – but only won two major trophies in his two spells at Stamford Bridge.

‘We were underachievers, and that was our own fault,’ says Cooke, on the phone from the United States where he coaches children’s soccer (‘I have to call it that’). ‘We underachieved on the big occasions – we were dreadful in the FA Cup final against Spurs in 1967, and we lost to Stoke in the League Cup final in 1972. We were out of control, wild and crazy, we egged each other on with the drinking culture. I have regrets. From this perspective, it was a lot of nonsense. At the time, you’re having fun, or you think you are, but I’m not one to say that if I had it all to live over I’d do it exactly the same. I’d be a bit smarter, more self-controlled, not so willing.’

It’s telling that Cooke’s autobiography The Bonnie Prince, lacks the drinking stories common to memoirs written by footballers from this period – that’s because Cooke, who doesn’t quite admit he was an alcoholic, can’t remember many of them (although he gets some off-page prompting from his drinking partner, Tommy Baldwin, nicknamed ‘The Sponge’ for his ability to soak up booze). Instead, Cooke gives a thoughtful account of a playing career that took him from Greenock High School to California Surf, via Aberdeen, Dundee, Chelsea and Crystal Palace.

‘I took it as an opportunity to retrace a lot of my life and find out things I’d forgotten,’ he says. ‘One of the strange things was that my sister had been doing some genealogy and the interesting thing to me – although it may be of no interest to anybody else – is that we, the Cookes, came from a long line of circus people. My umpteen great grandfather was the first person to take a big top to America. Another Cooke would ride round the ring on a horse taking off costumes of different Shakespearean characters. I come from a long line of hairy-chested women, Romanian jugglers and fat men. Entertainers, sure, but I’m not sure it’s a rich lineage – maybe a tacky one.’

Cooke also writes about his own failings as a player, showing self-reflection that’s unusual in books of this type. You rarely see footage of Cooke in action – ‘sometimes you’ll see a tiny clip of yourself and think, “that wasn’t me was it? Ach, I thought I was a better player than that!” – and rarer still a Cooke goal: he scored barely 20 in nearly 300 league games for Chelsea. Cooke’s explanation of this is interesting – ‘I allowed the headlines about my being the team schemer and midfield general to get into my head, with the result that I ignored finishing’ – showing that even positive press can have results journalists might not expect, causing players to subconsciously neglect those parts of their game that do not receive the most publicity or overdoing their strengths in the belief that this is what the public demands.

Cooke lives in America (‘I always wanted to be in the States, I married an American girl and I loved Westerns and American detective series and the blue skies of America always seems to be a place I wanted to try’), but returns to Abramovich’s Stamford Bridge more regularly now than he did under the previous regime. ‘One of the wonderful things about the takeover at Chelsea is that they invite all the old farts back, he says. ‘It had been thrown out the door before. I have no gripe about Ken Bates, that’s what he wanted, but it’s wonderful that they invite us back now, it’s lovely for me and all the guys really appreciate it. You feel the love fans still have for you and it’s fantastic.’

The Bonnie Prince (Mainstream; £7.99).