In Denmark St
Manager Leon Powell strums his guitar at Regent Sounds in the space once occupied by the studio where the Rolling Stones recorded their first album. This was just one of many wonders that Contributing Photographer Colin O’Brien & I discovered when we spent an afternoon exploring Denmark St recently, in the company of Henry Scott-Irvine of Save Tin Pan Alley. With the vast overbearing Crossrail construction site immediately to the north, this whole place appears to be teetering on the brink, leaving Colin & I fearing we were witnessing the end of Denmark St as we know it.
Named after Prince George of Denmark, this ancient thoroughfare originally led from Charing Cross Rd up to the gates of the leper hospital, that stood upon the site now filled by Renzo Piano’s gaudy citrus-toned corporate plaza, beyond which lay the notorious rookeries of St Giles.
Around half of the houses constructed in the sixteen-eighties still stand, anchoring the street in London’s past even as it became celebrated as a favoured destination for pop musicians in the modern era. Almost everyone you care to name – from The Beatles, Stevie Wonder, Elton John, Jimi Hendrix, Simon & Garfunkel, Bob Marley, Lou Reed, The Clash and David Bowie – frequented Denmark St, recording music, composing songs, collaborating, acquiring instruments and partying. Guitars have been manufactured in this street since the time of Queen Anne and there is still no better place in London to go and buy one.
We were entranced by the wonderful displays of old guitars in all shapes, colours and designs, tempting us into the shops, some of which retain their seventeenth century panelling, hung today with instruments from floor to ceiling. Henry introduced us to Tim Marten, the last guitar maker and repairer in Denmark St, who has worked here since 1978. Next door, we visited the Early Music Shop where guitars and lutes and all manner of exotic historical stringed instruments were for sale. Then Henry took us into the back yard to view the shed where the Sex Pistols lived in 1975, before leading us up to the rooftop where Elton John wrote ‘Your Song.’
From the roof, we could see how much of the cityscape has already been destroyed, with Denmark Court erased and the backs of buildings on the north side of the street demolished. A seventeenth century forge was surrounded by scaffolding, about to be moved by the developers. We peered into the crater of the construction site, extending to Tottenham Court Rd, with Centrepoint looming overhead and the reverse of the facade of St Giles High St framing the scene. Henry understands the new development will eventually extend as far south as Shaftesbury Avenue, threatening the Odeon Covent Garden distinguished by its elegant stone frieze.
Only a few of the buildings in Denmark St are listed and the cultural life of this street as a centre for the music industry has been thrown into disarray, with some businesses already gone and the lively warren of small office spaces, recording studios, rehearsal spaces, workshops, bars and clubs curtailed.
It was a poignant experience to meet the music enthusiasts, songsters and old rockers of Denmark St and be welcomed into their dens so kindly, even as they are perched upon the precipice of an uncertain future. Yet for the meantime, Tin Pan Alley retains its irresistible charisma. You can still walk into any of the shops and witness impromptu concerts given by performers of significant talent. I was inspired to place my faith in the lyrics of the celebrated song, ‘You can’t stop the music.’
Tim Marten, the last guitar maker in a street where guitars were made since the days of Queen Anne
The oldest doorway in the street, dating from the sixteen-nineties
Ron Smith, proprietor of No Tom Guitars
Jane Palm-Gold, Historian of Denmark St, standing outside the eighteenth century silversmith’s workshop where the Sex Pistols lived in 1975
The Sex Pistols toilet, now Grade II listed
Angel Music was closing for good on the day we visited
The rear of buildings on the north side of Denmark St
Henry Scott-Irvine, campaigning to Save Tin Pan Alley
Photographs copyright© Colin O’Brien
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The Weathervanes Of Old London
I can think of no more magical sight to glimpse in a London street than that of a gilded weathervane glinting in sunlight high above the rooftops. At once – in spite of all the changes that time has wrought – you know you are sharing in a visual delight enjoyed by three centuries of Londoners before you, and it makes your heart leap.
Consequently, I am grateful to Angelo Hornak who photographed this gallery of golden weathervanes for his magnificent book AFTER THE FIRE, London Churches in the Age of Wren, Hawksmoor & Gibbs published by Pimpernel Press, which I heartily recommend to you.
Spire of St Mary-Le-Bow, Cheapside, by Christopher Wren
Dragon upon St Mary-Le-Bow, representing the City of London
Arrow & pennant on St Augustine, Watling St
Spire of St Bride’s Fleet St by Christopher Wren
Gridiron on St Lawrence Jewry, symbol of the martyrdom of St Lawrence
Weathervane on St Magnus the Martyr by Christopher Wren
Weathervane on St Michael Paternoster Royal, College St
Galleon on St Nicholas Cole Abbey, moved from St Michael Queenhithe after demolition
Weathervane on St James Garlickhythe
Crown on St Edmund King & Martyr, Lombard St
Key on the Tower of St Peter Cornhill
Cockerell on St Dunstan-in-the-East by Christopher Wren
Comet on St Mary-Le-Strand
Spire of St Martin in the Fields by James Gibbs
Square-rigged ship on St Olave Old Jewry
Flaming red-eyed dragon on St Luke, Old St, described as a flea in popular lore
Weathervane on St Stephen Walbrook by Nicholas Hawksmoor
‘Flame’ on the top of the Monument by Christopher Wren
Photographs copyright © Angelo Hornak
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Doorkins Magnificat, Southwark Cathedral Cat
‘Pussycat, pussycat, where have you been? I’ve been up to London to visit the Queen’
When Elizabeth II undertook an official visit to Southwark Cathedral, she stopped in her tracks once she spotted Doorkins Magnificat, the Cathedral Cat. I was informed that her Majesty was fascinated to meet this working feline who embodies the lines of the traditional nursery rhyme but I was not told if Doorkins also frightened a little mouse under her chair.
Verger Paul Timms is responsible for the Cathedral Cat – a duty that he oversees with tender devotion and yesterday morning he led me out into the courtyard where Doorkins likes to spend the quiet hours before noon. Sure enough, Paul only had to call and Doorkins appeared from a conveniently-placed stand of shrubs and shady undergrowth, running enthusiastically to greet us.
Quite a small cat, with delicate features and graceful movement, the gentle creature was happy to be petted and photographed while Paul Timms told me Doorkins’ story
“One of my jobs as Verger is opening the cathedral in the morning and closing it at night, and one particular morning in 2008, a young cat appeared at the door to the courtyard when I opened it at seven. Remarkably, we’d just been having a conversation with the Dean about the mouse problem and we had decided that we should get a cathedral cat, when – lo and behold – Doorkins appeared.
At first, I wouldn’t see him for a couple of days but then he came back and I started feeding him, and he began to present himself every day at the door at seven. I called him ‘Doorkins’ because he was the cat in the doorway, although sometimes people think we named our cat after Professor Richard Dawkins, the Atheist. It was the clergy who came up with ‘Magnificat.’
The congregation are in love with Dookins and give money for food and for visits to the vet. They asked us to produce postcards and greetings cards with pictures of the Cathedral cat, and Doorkins even has a facebook page. The vet discovered Doorkins was a female and of Abyssinian breed. She certainly has her mood swings and, somedays, she will let you pet you pet her but, on other days, you only have to look at her and she’ll scratch you.
They knew Doorkins in the Borough Market, she used to go over there and catch the mice. At first, she had divided loyalty and used to go to both the Market and the Cathedral but nowadays she is solely our Cathedral cat.
In the winter, Doorkins spends all her time in the cathedral. I open the door but she takes one look outside at the weather and walks back inside again. In the summer, she spends all her time outside. In the morning, she is in the courtyard and then in the afternoon she moves round to the churchyard. She’s very popular with visitors, they come to visit her and take her photograph, but when it gets too busy she goes down into the crypt where they can’t follow her, and just comes up every now and again to use her litter tray.
One day, a ginger cat appeared in the cathedral and they began having conversations, screetching at each other during services, so the Dean said, ‘One has to go.’ A Verger took Ginger home and adopted him. Another time, we had an an art installation created by an Artist-in-Residence with beautiful textiles and the Artist was scared what Doorkins might do to it, so she had to go to a cattery for three weeks, but she was quite happy once she came back and fell into her old routine again.
We think Doorkins is about ten or eleven, we’ve had her eight years and she was about two when she arrived.”
Southwark Cathedral
Doorkins Magnificat
Doorkins’ summerhouse at the south side of the cathedral
A painting of Doorkins greets visitors to the cathedral
Doorkins shares the same colouration as the cathedral
Doorkins merchandise in the cathedral shop
Doorkins recumbent in the cathedral yard
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Drink-In At The Still & Star
Please join me & The Victorian Society for a drink-in at the Still & Star, Aldgate, from 6:30pm next Tuesday 16th August to celebrate this historic pub and learn how to stop its demolition. Meanwhile you can register your objection online at the City of London Planning website.
Still & Star by Gustave Dore, 1880, and as it is today – montage by Adam Tuck
“Let us pass down Harrow Alley, leading to the City Clothes Exchange. Harrow Alley is Petticoat Lane over again – smaller, and, if possible, dirtier than her neighbour. Bestriding the path, like a greasy Colossus, leaning against the wall, or squatting in the mud, are men and women by the score. Beside, behind, and before them, are spread out their miscellaneous wares, to which they supplicate your notice or imperatively demand your attention.
The various public-houses in Petticoat Lane, Harrow Alley, and elsewhere, are generally crammed to excess. Through the open doorways we look into the back rooms, where some dozen men are always smoking, their faces lost in the clouds of smoke which emanate from their lips. These men are known to the initiated as Petticoat Lane fencers, or receivers of stolen goods. Patiently they sit in these filthy rooms, waiting news from their scouts, who they throw out as antennae to ‘feel the way,’ or for the appearance of the thief’s confederate, who ‘gives the office,’ and tells where the booty may be found.”
from The Wild Tribes of London by Watts Philips, 1855
Gustave Dore’s drawing of the Still & Star, 1880, from ‘London: A Pilgrimage’
The Still & Star
The proposed office block
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Tony Hall’s Pub Photography
Libby Hall remembers the first time she visited a pub with Tony Hall in the nineteen sixties – because it signalled the beginning of their relationship which lasted until his death in 2008. “We’d been working together at a printer in Cowcross St, Clerkenwell, but our romance began in the pub on the night I was leaving,” Libby confided to me, “It was my going-away drinks and I put my arms around Tony in the pub.”
During the late sixties, Tony Hall worked as a newspaper artist in Fleet St for The Evening News and then for The Sun, using his spare time to draw weekly cartoons for The Labour Herald. Yet although he did not see himself as a photographer, Tony took over a thousand photographs that survive as a distinctive testament to his personal vision of life in the East End.
Shift work on Fleet St gave Tony free time in the afternoon that he spent in the pub which was when these photographs, published here for the first time, were taken. “Tony loved East End pubs,” Libby recalled fondly, “He loved the atmosphere. He loved the relationships with the regular customers. If a regular didn’t turn up one night, someone would go round to see if they were alright.”
Tony Hall’s pub pictures record a lost world of the public house as the centre of the community in the nineteen sixties. “On Christmas 1967, I was working as a photographer at the Morning Star and on Christmas Eve I bought an oven-ready turkey at Smithfield Market.” Libby remembered, “After work, Tony and I went into the Metropolitan Tavern, and my turkey was stolen – but before I knew it there had been a whip round and a bigger and better one arrived!”
The former “Laurel Tree” on Brick Lane
Photographs copyright © Libby Hall
Images Courtesy of the Tony Hall Archive at the Bishopsgate Institute
Libby Hall & I would be delighted if any readers can assist in identifying the locations and subjects of Tony Hall’s photographs.
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March’s New Cries Of London
Even though it is nine months since my CRIES OF LONDON book came out, yet I still cannot resist collecting more, especially when they are as appealing as those in this lovingly-handmade booklet from the early nineteenth century that I acquired for just a couple of pounds recently. The street names in the background of these images fascinate me, and I wonder if that is ‘White Hart Court’ Bishopsgate, in the first picture?
CLICK TO BUY A SIGNED COPY OF THE CRIES OF LONDON FOR £20
You may like to explore these sets of Cries of London
More John Player’s Cries of London
More Samuel Pepys’ Cries of London
Geoffrey Fletcher’s Pavement Pounders
William Craig Marshall’s Itinerant Traders
H.W.Petherick’s London Characters
John Thomson’s Street Life in London
Aunt Busy Bee’s New London Cries
William Nicholson’s London Types
Francis Wheatley’s Cries of London
John Thomas Smith’s Vagabondiana of 1817
John Thomas Smith’s Vagabondiana II
John Thomas Smith’s Vagabondiana III
Thomas Rowlandson’s Lower Orders
Music Hall Stars Of Abney Park Cemetery
When the summer heat hits the city and the streets get dusty and dry, I like to seek refuge in the green shade of a cemetery. Commonly, I visit Bow Cemetery – but recently I went along to explore Abney Park Cemetery in Stoke Newington to find the graves of the Music Hall Artistes resting there.
John Baldock, Cemetery Keeper, led me through the undergrowth to show me the memorials restored by the Music Hall Guild and then left me to my own devices. Alone in the secluded leafy glades of the overgrown cemetery with the Music Hall Artistes, I swore I could hear distant singing accompanied by the tinkling of heavenly ivories.
George Leybourne, Songwriter, Vocalist and Comedian, also known as Champagne Charlie (1842 – 1884) & Albert Chevalier (1861- 1923), Coster Comedian and Actor. Chevalier married Leybourne’s daughter Florrie and they all rest together.
George Leybourne – “Champagne Charlie is my name, Champagne Charlie is my name ,There’s no drink as good as fizz, fizz, fizz, I’ll drink every drop there is, is, is!”
Albert Chevalier – “We’ve been together now for forty years, An’ it don’t seem a day too much, There ain’t a lady livin’ in the land, As I’d swop for my dear old Dutch.”
G W Hunt (1838 – 1904) Composer and Songwriter, his most famous works were “MacDermott’s War Song” (The Jingo Song), “Dear Old Pals” and “Up In A Balloon” for George Leybourne and Nelly Power.
G W Hunt
Fred Albert George Richard Howell (1843 – 1886) Songwriter and Extempore Vocalist
Fred Albert
Dan Crawley (1871 – 1912) Comedian, Vocalist, Dancer and Pantomime Dame rests with his wife Lilian Bishop, Actress and Male Impersonator. He made his London debut at nineteen at Royal Victor Theatre, Victoria Park, and for many years performed three shows a day on the sands at Yarmouth, where he met his wife.They married in Hackney in 1893 and had four children, and toured together as a family, including visiting Australia, before they both died at forty-one years old.
Dan Crawley
Herbert Campbell (1844 – 1904) Comedian and Pantomime Star. The memorial behind the tombstone was erected by a few of his friends. Herbert Campbell played the Dame in Pantomime at Drury Lane for forty years alongside Dan Leno, until his death at at sixty-one.
Herbert Campbell, famous comedian and dame of Drury Lane
Walter Laburnum George Walter Davis (1847 – 1902) Singer, Patter Vocalist and Songwriter
Walter Laburnum
Nelly Power Ellen Maria Lingham (1854 – 1887) started her theatrical career at the age of eight, and was a gifted songstress and exponent of the art of male impersonation. Her most famous song was ‘The Boy I Love Is Up In The Gallery.” She died from pleurisy on 19th January 1887, aged just thirty-two.
Nelly Power – Vesta Tilley was once her understudy
The Music Hall Guild host a free guided walk through Abney Park Cemetery to visit the Music Hall Artistes on the last Saturday of each month – meet at the gates at 2pm
