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The Cockney Alphabet

September 2, 2012
by the gentle author

Jonathon Green, the notorious lexicographer of slang, introduces Paul Bommer’s beautiful print celebrating Cockney culture.

Illustrated with characteristic brio by Paul Bommer, this is The Cockney Alphabet, sometimes known as the Surrealist Alphabet. It is first recorded in the late 1920s, and was seen as a parody of the mnemonic-didactic lists of letters and words that have been taught to children from at least the mid-nineteenth century.  It seems to require English as its base language, and while it has been offered in a variety of forms, it pays a consistent tribute to that much-loved linguistic freak: the pun.

It must, because in language as in life we demand our creation myths, have an origin. My predecessor in slang lexicography, Eric Partridge, who in 1961 published a monograph on the subject, sought links to the children’s alphabets of the nineteenth century when A was most commonly either an ‘Apple’ or an ‘Archer’, and the practical ones of World War I signallers when clarity was all and the letter was enunciated as ack (able and alpha would follow later, products of a new cataclysm). Pushing further back, he made reference to Old English. But this was surely wishful thinking and the origins, or to be more precise the first recorded appearance, remains less than a century old.

It all starts around 1930. There are roots of course and attributions, not least to a throwaway line from Jonathan Swift’s Polite Conversation – his skewering of supposedly smart society’s verbal clichés – of 1734, and Swift was also responsible for a humorous alphabet in which each phrase was created by prefixing a letter of the Greek alphabet to the word guinea, e.g. alpha guinea (half a…), beta guinea (bet a…), gamma (i.e. game which also means bet) guinea etc., but for the genuine beginnings we must return to the palmy, not to mention stilted days when Lord Reith still sat on high and all was right with the BBC:

‘Hello, Uncle Charlie… and what have you got for the kiddies, this afternoon?’
‘Hello, Uncle Willie… well I’ve got cakes and some porridge and…’
‘No, no… what have you got in the way of entertainment?’
‘Oh!… I’ve got a new alphabet.’
‘A new alphabet?’
‘A brand new alphabet… it’s a surreal-al-al-al-ist alphabet.’
‘A what?’
‘Don’t you know what surreal-al-al-al-ism is?’
‘Oh!… surrealism!… Something different!’
‘That’s it!… instead of ‘A for apple’, ‘B for boy’ and ‘C for cat’…’
‘Ah!… you’re going to be changing all that!’
‘Yes, I’m going to be all new.’
‘May we try it?’
‘We’ll try it now, shall we?’
‘Off we go, then.’
.
And ‘Uncles’ Charlie and Willie, the radio comedians Clapham and Dwyer, self-billed as ‘The Wireless Nuisances,’ proceeded thus:
.
A for ‘orses (Hay for horses)
B for mutton (Beef or mutton)
C for th’ighlanders (Seaforth Highlanders)
D for ential (Deferential)
E for Adam (Eve for Adam)
F for vessence (Effervescence)
G for police (Chief of police)
H for respect (Have respect)
I for novello (Ivor Novello)
J for orange (Jaffa orange)
K for ancis (Kay Francis)
L for leather (Hell for leather)
M for sis (Emphasis)
N for lope (Envelope)
O for the garden wall (Over the garden wall)
P for relief (Pee for relief)
Q for music (Cue for music)
R for mo (‘Arf a mo)
S for you (it’s for you)
T for 2 (Tea for two)
U for films (UFA films)
V for la France (Vive la France)
W for a fiver (Double you for a fiver)
X for breakfast (Eggs for breakfast)
Y for God’s sake (Why, for God’s sake)
Z for breezes (Zephyr breezes)
.

There have been alternatives – A, for instance, can stand for ‘ism’, E for ‘brick’, N for ‘mation’, T for ‘painful’ and Z for ‘effect’ and each letter can muster half a dozen or so – but this is the canonical list. Paul Bommer’s version follows very much on these lines. It has an added dimension, denied other examples of this popular, if skewed A-Z, of referring whenever possible to Spitalfields landmarks, for instance the action of K for Restaurant ‘takes place’ in E. Pellicci. R for Cock Linnet offers a sign for the one-time animal market of Club Row, P for relief is set on Middlesex Street (with ads for ‘Schmutter,’ ‘Whistles’ and ‘Titfers’) and so on.

Charlie Clapham and Bill Dwyer, the cross-talk double act who were the first of their kind to be broadcast on the BBC, and the first to air this version of the A-Z, called it the ‘Surrealist Alphabet’; more often it is known as the Cockney one. The question must be asked; is it in fact either? As for the former, the French poet Apollinaire, who coined the term in 1918, would not have recognised it as especially avant garde. If it is surrealist then it is not ‘super-realism, the literal meaning, but a weaker, popularised use: quirky or eccentric.  As for Cockney… listening to the scratchy recording of Clapham and Dwyer from 1933, it is apparent that the former, who had been a clerk in legal chambers, was no East Ender. Photos have him in a stereotyped ‘silly ass’ monocle, sometimes even a topper, and his accent is to match. Dwyer, who had been a commercial traveller, is a candidate for Cockneydom, but if his syllables suggest a Londoner, they are nothing like the self-consciously tortured tones of such music hall ‘costermongers’ as Gus Elen.

[youtube mCbOx1q06-Y nolink]

It was not the first word-game that used the alphabet as its source. For instance there was the nursery sequence, again based on that ubiquitous apple, in this case en-pastried: ‘A was an Apple-pie, B bit it, C cut it, D dealt it,  all the way to ‘X,Y,Z and Ampersand’ who ‘All wish’d for a piece in hand’. Nor is it the last. In December 2000 Jeff Aronson, a clinical pharmacologist, published his ‘medical alphabet’ in The Lancet:

‘A for a disiac
B for blockers
C for lytic
D for Kate
E for anaesthesia
F for fescent tablets’
.

The list ended with ‘Z for de doctor (I’be got a code iddy doze)’, although that combination had already been used in less specialist phonetic compilations.

It is, however, the most important, or at least the source from which all others have stemmed. The reality seems to be, and again I nod to Partridge, that the alphabet was generated sometime in the Twenties, as a form of game conjured up by the touring casts of Variety shows, playing with words to help while away the tedium of provincial boarding houses. Its basis is indeed the old children’s alphabets, which it parodies. Somewhere along that line Clapham and Dwyer must have picked it up (although they had had no Variety career themselves); the radio gave it a popularity among the uninitiated. It was not especially Cockney – Spitalfields references aside, it is only the dropping of the aitches in the first line (and in L, i.e. ’ell, and R, i.e. ’arf) that suggests the connection (and Cockneys are hardly unique in that omission) – but after the pre-war radio duo, it was heard most commonly on the lips of comedians, again BBC stars, such as Flanagan and Allen (they of the Crazy Gang), Arthur Askey (and R, in one version is ‘for Askey’ and in time ‘for Daley’) and Ted Ray, all of whom played the metropolitan card.

So if not surrealist and if – strictly speaking – Cockney has to be declared a misnomer, then what is the alphabet? The answer must be what Partridge if few others have termed it: a comic phonetic alphabet. Ultimately it is about pronunciation and beyond that, puns. Sometimes ‘for’ may need to be pronounced ‘fer’ but at others it requires the sound of standard English. As in rhyming slang certain popular figures, e.g. ‘I for Novello,’ have been sustained within its playfulness, but again, they are not especially Cockney. Others have vanished, e.g. ‘K for ancis’: Kay Francis, a twenties star, having left little trace. ‘K for Restaurant’ has succeeded, and is timeless. That it depends on the pronunciation ‘kayf’ rather than the Frenchified café does nod Eastwards, but the word is far more usually sounded ‘caff’.

Clapham and Dwyer were big enough to be included in early TV’s programming for the 1937 Coronation but they seem to have faded with the Thirties. Their alphabetical creation – or at least popularization – is in robust health. The ludic potential remains. Y for ‘unts, anyone? Z for Elli?

Copies of Jonathon Green’s epic three volume masterpiece ‘Green’s Dictionary of Slang’ are available here.

Copies of Paul Bommer’s print ‘The Cockney Alphabet’ are available from the Spitalfields Life online shop.

You may like to read my original profile

Jonathon Green, Lexicographer

The Last Fish Porters of Billingsgate Market

September 1, 2012
by the gentle author

John Schofield, porter for thirty years

The fish porters of Billingsgate Market have been abolished. On 28th April this year, a centuries-old way of life came to an end as the porters who have been in existence since Billingsgate started trading in 1699 had their licences withdrawn by the City of London Corporation. Long-established rights and working practises – and a vibrant culture possessing its own language and code of behaviour handed down for generations – were all swept away overnight to be replaced by cheaper casual labour.

Thus, a cut in economic cost was achieved through an increase in human cost by degrading the workforce at the market. The City recognised the potential value of the land occupied by the Billingsgate fish market at the foot of the Canary Wharf towers, and the abolition of the porters was their first step towards moving it out and redeveloping the site.

While the news media all but passed this story by, photographer Claudia Leisinger took the brave initiative herself to be down at the market continuously throughout the last winter, documenting the last days of this historic endeavour, and taking these tender portraits of the porters in the dawn, which record the plain human dignity they have shown as their livelihood and identity were taken from them .

“My interest in the Billingsgate porters’ story stems from a fascination with the disappearance of manual labour, work generally considered menial by our society, yet carried out with a great deal of pride and passion by those small communities involved.” Claudia told me, and it is to her credit that in a moment of such vulnerability these men trusted her to be their witness for posterity.

Bradley Holmes, porter for twenty years.

Nick Wilson, porter for twelve years.

Micky Durrell, porter for forty-five years.

Jeff Willis, porter for twenty-five years.

Gary Simmons, porter for thirty-three years.

Dave Bates, porter for twenty-two years.

Conor Olroyd, apprentice porter.

Three generations – Edwin Singers, porter for fifty-three years, with his son, Leigh Singers, porter, and grandson, Brett Singers, porter.

Steven Black, porter for twenty years.

Tony Mitchell & Steve Martin, both porters for over  thirty-two years.

Martin Bicker, porter for twenty-four years.

Andy Clarke, porter for two years.

Laurie Bellamy, porter for thirty-one years.

Alfie Sands, shopboy.

Gary Durden, porter for thirty-one years.

Jack Preston, porter for two years.

Dicky Barrott, porter for twenty years.

Alan Downing, porter for forty-five years, with his grandson Sam who comes down on Saturdays.

Dave Auldis, porter for six years.

Colin Walker, porter for forty-six years.

Brett Singers, shopboy for three years.

Bobby Jones, porter for thirty years.

Basil Wraite, porter for thirty-one years.

Steve Sheet, porter for fifteen years.

Steve Jones, porter for thirty years.

Greg Jacobs, porter for thirty-two years.

Chris Gill, porter for thirty-two years.

Photographs copyright © Claudia Leisinger

See more of Claudia Leisinger’s Billingsgate pictures and hear the voices of the porters by clicking here

You may like to read these other Billingsgate stories

Charlie Caisey, Fishmonger

Albert Hafize, Fish Merchant

At the Fish Harvest Festival

Graffiti at the Tower of London

August 31, 2012
by the gentle author

Once the tourists grow scarce and the trees begin to turn, it suits me to visit the Tower of London and study the graffiti. The austere stone structures of this ancient fortress by the river reassert their grim dignity when the crowd-borne hubbub subsides, and quiet consideration of the sombre texts graven there becomes possible. Some are bold and graceful, others are spidery and maladroit, yet every one represents an attempt by their creators to renegotiate the nature of their existence. Many are by those who would otherwise be forgotten if they had not possessed a powerful need to record their being, unwilling to let themselves slide irrevocably into obscurity and be lost forever. For those faced with interminable days, painstaking carving in stone served to mark time, and to assert identity and belief. Every mark here is a testimony to the power of human will, and they speak across the ages as tokens of brave defiance and the refusal to be cowed by tyranny.

“The more affliction we endure for Christ in this world, the more glory we shall get with Christ in the world to come.” This inscription in Latin was carved above the chimney breast in the Beauchamp Tower by Philip Howard, Earl of Arundel in 1587. His father was executed  in 1572 for treason and, in 1585, Howard was arrested and charged with being a Catholic, spending the rest of his life at the Tower where he died in 1595.

Sent to the Tower in 1560, Hew Draper was a Bristol innkeeper accused of  sorcery. He pleaded not guilty yet set about carving this mysterious chart upon the wall of his cell in the Salt Tower with the inscription HEW DRAPER OF BRISTOW (Bristol) MADE THIS SPEER THE 30 DAYE OF MAYE, 1561. It is a zodiac wheel, with a plan of the days of the week and hours of the day to the right. Yet time was running out for Hew even as he carved this defiant piece of cosmology upon the wall of his cell, because he was noted as “verie sick” and it is low upon the wall, as if done by a man sitting on the floor.

The rebus of Thomas Abel. Chaplain to Katherine of Aragon, Abel took the Queen’s side against Henry VIII and refused to change his position when Henry married Anne Boleyn. Imprisoned in 1533, he wrote to Thomas Cromwell in 1537, “I have now been in close prison three years and a quarter come Easter,” and begged “to lie in some house upon the Green.”After five and half  years imprisoned at the Tower, Abel was hung, drawn and quartered at Smithfield in 1540.

Both inscriptions, above and below, have been ascribed to Lady Jane Grey, yet it is more likely that she was not committed to a cell but confined within domestic quarters at the Tower, on account of her rank. These may be the result of nineteenth century whimsy.

JOHN DUDLE – YOU THAT THESE BEASTS DO WEL BEHOLD AND SE, MAY DEME WITH EASE WHEREFORE HERE MADE THEY BE, WITH BORDERS EKE WHEREIN (THERE MAY BE FOUND) 4 BROTHERS NAMES WHO LIST TO SERCHE THE GROUNDE. The flowers around the Dudley family arms represent the names of the four brothers who were imprisoned in the Tower between 1553-4 , as result of the attempt by their father to put Lady Jane Grey upon the throne. The roses are for Ambrose, carnations (known as gillyflowers) for Guildford, oak leaves for Robert – from robur, Latin for oak – and honeysuckle for Henry. All four were condemned as traitors in 1553, but after the execution of Guildford they were pardoned and released. John died ten days after release and Henry was killed at the seige of San Quentin in 1557 while Ambrose became Queen Elizabeth’s Master of the Ordinance and Robert became her favourite, granted the title of Earl of Leicester.

Edward Smalley was the servant of a Member of Parliament who was imprisoned for one month for non-payment of a fine for assault in 1576. Thomas Rooper, 1570, may have been a member of the Roper family into which Thomas More’s daughter married, believed to be enemies of Queen Elizabeth. Edward Cuffyn faced trial in 1568 accused of conspiracy against Elizabeth and passed out his days at the Tower.

BY TORTURE STRANGE MY TROUTH WAS TRIED YET OF MY LIBERTIE DENIED THEREFORE RESON HATH ME PERSWADYD PASYENS MUST BE YMB RASYD THOGH HARD FORTUN CHASYTH ME WYTH SMART YET PASEYNS SHALL PREVAIL – this anonymous incsription in the Bell Tower is one of several attributed to Thomas Miagh, an Irishman who was committed to the Tower in 1581 for leading rebellion against Elizabeth in his homeland.

This inscription signed Thomas Miagh 1581 is in the Beauchamp Tower. THOMAS MIAGH – WHICH LETH HERE THAT FAYNE WOLD FROM HENS BE GON BY TORTURE STRAUNGE MI TROUTH WAS TRYED YET OF MY LIBERTY DENIED. Never brought to trail, he was imprisoned until 1583, yet allowed “the liberty of the Tower” which meant he could move freely within the precincts.

Subjected to the manacles fourteen times in 1594, Jesuit priest Henry Walpole incised his name in the wall of the Beauchamp Tower and beneath he carved the names of St Peter and St Paul, along with Jerome, Ambrose, Augustine and Gregory – the four great doctors of the Eastern church.

In this graffito in the Salt Towerr, the “E” in the heart stands for Elizabeth. Giovanni Battista Castiglione, Italian tutor to Queen Elizabeth.

JAMES TYPPING. STAND (OR BE WEL CONTENT) BEAR THY CROSS, FOR THOU ART (SWEET GOOD) CATHOLIC BUT NO WORSE AND FOR THAT CAUSE, THIS 3 YEAR SPACE, THOW HAS CONTINUED IN GREAT DISGRACE, YET WHAT HAPP WILL IT? I CANNOT TELL BUT BE DEATH. Arrested in 1586 as part of the Babington Conpiracy, Typping was tortured, yet later released in 1590 on agreeing to conform his religion. This inscription is in the Beauchamp Tower.

T. Salmon, 1622. Above his coat of arms, he scrawled,  CLOSE PRISONER 32 WEEKS, 224 DAYS, 5376 HOURS. He is believed to have died in custody.

A second graffito by Giovanni Battista Castiglione, imprisoned in 1556 by Elizabeth’s sister, Mary, for plotting against her and later released.

Nothing is known of William Rame whose name is at the base of this inscription.  BETTER IT IS TO BE IN THE HOUSE OF MOURNING THAN IN THE HOUSE OF BANQUETING. THE HEART OF THE WISE IS IN THE MOURNING HOUSE. IT IS MUCH BETTER TO HAVE SOME CHASTENING THAN TO HAVE OVERMUCH LIBERTY. THERE IS A TIME FOR ALL THINGS, A TIME TO BE BORN AND A TIME TO DIE, AND THE DAY OF DEATH IS BETTER THAN THE DAY OF BIRTH. THERE IS AN END TO ALL THINGS AND THE END OF A THING IS BETTER THAN THE BEGINNING, BE WISE AND PATIENT IN TROUBLE FOR WISDOM DEFENDETH AS WELL AS MONEY. USE WELL THE TIME OF PROSPERITY AND REMBER THE TIME OF MISFORTUNE – 25 APRIL 1559.

Ambrose Rookwood was one of the Gunpowder Plotters. He was arrested on 8th November 1606 and taken from the Tower on 27th January 1607 to Westminster Hall where he pleaded guilty. On 30th January, he was tied to a hurdle and dragged by horse from the Tower to Westminster before being hung, drawn and quartered with his fellow conspirators.

Photographs copyright © Historic Royal Palaces

You may also like to read about

In the Debtors’ Prison

Graffiti at Arnold Circus

Chris Kelly & Dan Jones in the Playground

August 30, 2012
by the gentle author

Hopscotch at Columbia School, Bethnal Green, 1997

When photographer Chris Kelly sent me these exuberant pictures taken in East End primary schools, I realised it was the ideal opportunity to invite Dan Jones to select children’s rhymes to complement her playful images, drawing from the thousands he has collected in playgrounds here and elsewhere since 1948.

Asked to produce photographs for an education brochure, Chris Kelly turned up at six schools between 2000 and 2002 with camera, lights and optimism. There was never any shortage of ideas or young art directors, and the pictures you see here are the result of a collaboration between photographer, teachers and pupils, with the children aways having the biggest say.

Meanwhile, the heartening news from the playground that Dan Jones has to report is that the culture of rhymes is alive and kicking, in spite of the multimedia distractions of the modern age. The endless process of repetition and reinvention goes on with ceaseless vigour.

(Click here to go to an interactive painting by Dan Jones commissioned by The Museum of Childhood entitled “The Singing Playground” where you can to listen to recordings he made of all the different rhymes in the picture.)

Susan Lawrence Junior School

School dinners, school dinners,

Squashed baked beans, squashed baked beans,

Squiggly semolina, squiggly semolina.

I feel sick! Get a bowl quick!

It’s too late, I done it on the plate!

(Manya Eversley, Bow)

Susan Lawrence Junior School

Everywhere we go

Everywhere we go

People always ask us

People always ask us

Who we are

Who we are

And where we come from

Where we come from

So we tell them

So we tell them

We’re from Stepney

WE’RE FROM STEPNEY

Mighty, mighty Stepney!

MIGHTY, MIGHTY STEPNEY!

And if they can’t hear us,

IF THEY CAN’T HEAR US

We sing a little louder

WE SING A LITTLE LOUDER!

(Call and response chat from Rushmore Junior School)

Bonner Primary School

Inky Pinky Ponky,

Daddy had a donkey.

Donkey died,

Daddy cried,

Inky pinky ponky!

(Dip from St Paul’s Church of England School, Wellclose Sq)

Susan Lawrence Junior School

Zum gali gali gali,

Clap clap clap

Zum gali gali

Clap clap clap

Zum gali gali

Clap clap clap

Zum

clap clap clap

We can work with joy as we sing

Clap clap clap

We can sing with joy as we work

Clap clap clap

(Israeli round from the children of Kobi Nazrul School)

Olga Primary School

Pepsi Pepsi came to town,

Coca Cola shot him down,

Dr Pepper picked him up,

Now they order Seven Up!

(Clapping game  from Honor, Sadia, April and Jahira of Bangabundu  Junior School)

Bangabandhu Primary School

Im Pim Safety pin

Im pim

Out!

Change your nappies inside out

Not because they’re dirty

Not because they’re clean

Not because your mother says

You’re the Fairy Queen!

(Counting out rhyme from the children of Bangabandhu Primary School)

Holy Family Roman Catholic Primary School

London Bridge is falling down, falling down, falling down.

London Bridge is falling down, My Fair Lady.

Build it up with sticks and stones, sticks and stones, sticks and stones.

Build it up with sticks and stones, My Fair Lady.

Sticks and stones will wear away…

Build it up with iron and steel…Iron and Steel will rust away…

Build it up with bricks and clay…Bricks and Clay will wash away…

(Arch game from children of Bluegate Fields School, Stepney)

Susan Lawrence Junior School

Down in the valley where nobody goes,

There’s an ooky spooky woman who washes her clothes.

With a rub-a-dub here and a rub-a-dub there,

That’s the way she washes her clothes.

(Clapping game from children of St Paul’s Church of England School, Wellclose Sq)

Susan Lawrence Junior School

Please Mr Porter, may we cross your water

To see your lovely daughter, swimming in the water?

(Chasing game for running across the playground at St Paul’s Church of England School, Wellclose Sq)

Marion Richardson School

Once I had a snail

And I 1 it

I 2 it

I 3 it

I 4 it

I 5 it

I 6 it

I 7 it

I ATE (8) it

(Riddle from Colin and his mother at Museum of Childhood, Bethnal Green)

Holy Family Roman Catholic Primary School

Racing car number 9

Losing petrol all the time

How many gallons did you lose?

(6!)

1, 2, 3, 4, 5, 6

You’re OUT!

(Counting out rhyme from Shamima, Natalie Abida and Shazna of Hermitage School, Wapping)

Susan Lawrence Junior School

Twinkle, twinkle, chocolate bar, 
Daddy (or Mummy) drives a rusty car

Push the button, pull the choke,

Off we go in a puff of smoke,

Twinkle, twinkle, chocolate bar, 
Daddy drives a rusty car.

(Miming game from infants at Christchurch School, Brick Lane)

Olga Primary School

I like coffee

I like tea

I like climbing up the tree

1, 2, 3, 4, 5

(Dip from the children of Year 4 Christchurch Primary School, Brick Lane)

Holy Family Roman Catholic Primary School

Ta-ra-ra Boom-de-ay!

My knickers flew away

They came back yesterday

From a little holiday

I said “Where have you been?”

They said ‘To see the Queen

At  Windsor Castle!”

You little rascal

(Comic song from Katie, Lizzy Alison (Ashford) at Museum of Childhood, Bethnal Green)

Susan Lawrence Junior School

Olicker Bolicker

Suzie Solicker

Ollicker boliker

Knob!

(Dip from Sonny and Marina of Wapping)

Holy Family Roman Catholic Primary School

Ecker decker,

Johnny Cracker,

Ecker decker do,

Ease, cheese,

Butter, bread,

Out goes you

(Counting out rhyme from Columbia School, Bethnal Green)

Bonner Primary School

Jee Jai Jao (Brother-in-law)

Kabhi upor Kabhi nicheh   (You’re going up, you’re going down)

Kabhi ageh Kabhi pitcheh   (You’re going in front, you’re going behind)

Kabhi eke Kabhi ekh dui teen  (Going 1. Going 2. Going 1, 2, 3)

Pushu!   (Punch!)

(Hindi dip from Christchurch Primary School, Brick Lane)

Susan Lawrence Junior School

Boom Boom

Shakalaka

Out goes you

Out goes another one

And that is YOU

(Dip from children of Bangabundhu School)

Holy Family Roman Catholic Primary School

In a golden treasure, with an East and a West,

I took my boyfriend to the Chinese shop.

He bought me ice-cream, he bought me a cake,

He sent me home with a bellyache.

I said: “Mama, Mama, I feel sick.

Call me a doctor quick, quick, quick!

Doctor, Doctor, am I gonna die?”

“Count to five if you’re alive

With a 1, 2, 3, 4, 5, 6, 7, 8, 9, 10

You’re dead again!”

(Skipping song from children of year 5 at Arnhem Wharf School)

Holy Family Roman Catholic Primary School

Miss Polly had a dolly that was sick sick sick

(Rock baby in arms)

She called for the Doctor to come quick quick quick

(Hold telephone to ear)

The doctor came with his bag and his hat

(Touch imaginary bag and hat)

And he knocked on the door with a Rat Tat Tat Tat!

(Knock on door)

He looked at the dolly and he shook his head

(Shake head)

He said “Miss Polly, put her straight to bed”

(Wag finger to indicate telling her off)

He wrote out a paper for a pill pill pill

(Write on imaginary paper)

“I’ll be back in the morning with my bill bill bill”

(Clapping and miming game from Rukhaya and Siobhan at Christchurch Primary School, Brick Lane)

Holy Family Roman Catholic Primary School

Sally go round the sun,

Sally go round the moon,

Sally go round the chimney pots

on a Sunday afternoon.

WHOOPS !

(Dancing game from Redriff Primary School, Rotherhithe)

Photographs copyright © Chris Kelly

You may also like to take a look at

Chris Kelly’s Columbia School Portraits 1996

Chris Kelly’s Cable St Gardeners

and read about

Dan Jones, Rhyme Collector

Dan Jones’ Paintings

Here are some earlier collections of photography of children in the East End

Colin O’Brien’s Travellers’ Children in London Fields

Horace Warner’s Spitalfields Nippers

An Old House In Whitechapel

August 29, 2012
by the gentle author

There is a magnificent old house in New Rd in Whitechapel, rich in patina and heavy with creepers, yet surrounded on either side by offices and workshops. It appears an untouched survival from an earlier age, and I half-expect to see an old, old man climbing the worn steps, the original resident of the house where nothing has changed. He is now over two hundred years old and oblivious to the transformation in the world around him. I shall call him Mr Redman.

New Rd follows the line of a rampart constructed as the Eastern defence of the City of London at the time of the English Civil War, and the Whitechapel Mound – which formerly stood upon the site of the Royal London Hospital and to which some infer mystical significance – was a bulwark attached to this earthwork. Around 1750, the rampart was flattened and laid out as New Rd where speculative builders constructed terraces and sold them to sea captains and merchants from the nearby docks. Gloucester Terrace, containing the old house in question, was built in 1797 – facing fields to the East and with mews to the rear, both gone long ago.

The first recorded owners in the early nineteenth century were the Redman family who made their living in the shipping business. They had three sons – a sea captain who became one of the elder brethren at Trinity House on Tower Hill, another who was a ship owner and a third who started a chandlery business in the basement kitchen, establishing independent premises for his enterprise in the 1840s. By the 1850s, the family had prospered and moved to Kentish Town, and by the 1880s the house was Jewish owned, as the surrounding streets became a ghetto for those fleeing for their lives from Eastern Europe. The ground floor was opened up as a tailoring shop and through the twentieth century the upper floors also became clothing workshops as Pakistanis and then Bengalis arrived, creating a reputation for New Rd as the prime location for the manufacture of school uniforms.

When Tim Whittaker, director of the Spitalfields Trust, bought the old house from a maker of twin sets, it had not been inhabited for more than thirty years. Tim took up the nineteenth century floorboards on the ground floor, laid down when it was converted to a shop, and he found the worn Georgian floor beneath, with lines that indicated the former position of the partition walls, allowing him to reinstate them in an arrangement close to the original. With a lifetime’s experience of working with old buildings, both for the National Trust and more recently in Spitalfields, Tim set out to make no impositions upon the house and, after ten years of  renovations, his achievement is to have restored it as a seamless whole.

With a trained eye, Tim sought to replace the missing fireplaces with suitable examples of the period and where possible he used salvaged timbers to harmonise with the textures that two centuries of use have imparted to this dignified old edifice, which has been both workplace and dwelling. Offering interesting, idiosyncratic spaces and subtle eye-catching detail, this was never a grand house but an everyday living environment, full of charm.

Reflecting this utilitarian spirit, Tim has installed a bath in the first room on the ground floor and delights to sit here, soaking in hot water and peering out the window at the ceaseless parade of life, up and down New Rd. Yet step through into the room at the back and sounds of the street fade away. Here, fine eighteenth century plasterwork  – with details of ears of corn and oak leaves – draws your eye, leading you to a drunken bay window, tilted to one side, and creating the distinct impression of being upon a ship. Only, instead of looking upon an expanse of ocean, you discover a dense garden where dahlias grow six feet high and oranges ripen in the climate protected between high walls.

Step down to the basement, where Tim lifted the flagstones that were laid directly upon earth in rooms just six feet high, digging deeper to lay a damp course and lower the floor, before relaying them and creating the cosiest spaces in the house. “When I started, I didn’t have much money, so I took my time and the house told me what it should be like – it led me, and I stopped telling it what it should be,” explained Tim with a bemused smile, as we sipped hot tea at the kitchen table whilst peering out to the dark clouds lowering over Whitechapel that morning. “I wanted the house to work as it did in the early years of its life in the first decades of  the nineteenth century, because that was the period I felt romantic about,” he admitted to me with a blush at his own sentiment, casting his eyes around lovingly at his glorious collection of old china and portraits that fills the house.

Amidst the clatter of Whitechapel, the old house in New Rd stands as an enclave of peace where – thanks to Tim Whittaker –  the world of two centuries ago still lingers and where, if old, old Mr Redman should return and climb the worn steps to put his key in the lock after a long, long voyage, he would discover his house shipshape and welcoming – just as he might expect it.

Photographs 3,4,5,9 & 10 © Tim Clinch

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The Return Of Norah Pam

August 28, 2012
by the gentle author

Norah Pam first came to Spitalfields in August 1931 and made a return visit recently, just to see how things were ticking over in her old neighbourhood eighty years later. Here you can see her standing outside 11 Victoria Cottages, where her great-grandparents Lewis Carr, a silk dyer, and his wife Louisa came to live with their three children, shortly after the terrace was built in the 1860s. Norah was delighted to see that the gardens are well kept – just as she remembers them in her childhood in the 1930s.

By 1881, the family had moved to the flats at the rear of the cottages, known as Albert Family Dwellings and it was there that Norah grew up. She still has vivid memories of these formative years in Spitalfields, even though she only came to live in the Dwellings at the age of six and left in 1940 at the age of fifteen when the bombing of London made it too risky to stay.

It was my pleasure to introduce Norah to Spitalfields resident Mavis Bullwinkle who also grew up in Albert Family Dwellings in the 1930s, which was the cause of considerable mutual excitement since – although Mavis does not remember Norah – Norah, being seven years older, remembers seventy-nine year old Mavis being born. “You were such a little baby,” she recalled sweetly, causing Mavis to blush, “I remember when your sister was born, she had golden curls and blue eyes and everyone doted on her, and my mother said to me, ‘Pay some attention to the little girl standing at the side of the pram,’and that was you.”

This was a cause of great amusement to Mavis, who shrieked with girlish delight to confirm this unexpected recollection. “Yes, that’s right” she exclaimed in surprise, “My hair was was straight as die!” Yet all these years later, this conversation was evidence that Norah had taken notice of her mother’s instruction. “I can see you now coming down the stairs beside the pram,” she added, thinking back across time, on the occasion of meeting someone she had not seen in more than seventy years.

We all sat in a garden at Victoria Cottages and enjoyed a sunny morning chatting together, while Norah brought out her family photographs, which span dizzying amounts of time, and beguiled us with her account of her Spitalfields childhood.

We moved into a flat in Albert Family Dwellings to be close to my grandmother – the family had been in Spitalfields since the 1840s.

I went to All Saints School in Buxton St. Some of the children were quite poor. I had a friend whose father was a ganger – a roadworker – and if it rained he got no work and he had no money. Several children had parents who were builders, they couldn’t work in bad weather either. Some were railway people, and if they had big families they couldn’t manage. My friend’s family worked in the parcels office, they were comfortable, they even had a holiday because they got free travel. There was a lot of poverty because in 1931 all public service workers had a pound cut from their pay – a wage of three pounds and five shillings a week went down to two pounds and five shillings a week. It was a significant amount of money and people had to cut back.

I wasn’t allowed to play outside. I was an only child and very protected, but I caught Scarlet Fever. I was taken to Homerton in the fever ambulance which was grey. My parents weren’t allowed to visit. They would bring a parcel each week and stand outside. The flat was sealed and the bedding taken away for fumigation, and my father had to have three days off work because it was so contagious. Then after six weeks, they said I had Nasal Diptheria and I had to stay another six weeks, so it was very harrowing for all of us. My mother cried when people asked how I was.

When the war came, everyone was evacuated but, because I had been seriously ill, I pleaded with my parents to let me stay at home, and there was no school, so I had a heyday. I remember the bombing of the docks. On that day, I went on my own to Dalston on the bus to buy a skirt at Marks & Spencer. The air raid siren went at two o’clock and we were told to get off the bus and go to a shelter. Then, at four, I bought my skirt and walked back to Spitalfields.

I wanted a pair of silk stockings to go with my skirt and in Hanbury St there was a little shop that sold everything. The owner was Noah Cohen, so I went to his shop and there was this little old lady and her daughter who was in her thirties. Noah let them go into the back to change and he told me their story. The girl had been in the bath when the air raid siren went and her mother called her to go to the Anderson shelter. The house was in Jamaica St and it got a direct hit, but they were saved by the shelter and all she had left was the dress she put on when she got out of the bath. Her mother had come to buy her a set of underwear to go to a night shelter in a school, and he let her change into her new clothes. I often wondered what happened to that woman because a lot of the schools were hit.

I went home and, by the time I got to the Cottages, I was running because I could smell the fires burning at the docks. And, as my mother opened the door, the people upstairs were coming down for safety. We sat in the doorway and my mother made tea while the bombs fell. The German planes made a particular noise. They got nearer and nearer and nearer, and you heard the bombs dropping, and you thought, “This is us,” and then they went over.

The people in the building across the road all left, and they set their cats and dogs loose. We found a dog in the street and my mother called it “Victory “because she said, “We’re going to have victory! They can continue bombing but we won’t give in. They can do what they like.” We kept him for seven years and he died on 31st May 1946, on my twenty-first birthday, in his sleep.

Then, in 1940, a landmine fell on the Crown & Leek in Deal St and they evacuated a mile around, and that’s when we all decided to leave. But even after we moved out, I was always coming back to see my friends. I missed by friends. And my father said, “But I thought you wanted a house with a garden?!”

Today, the Albert Family Dwellings have long gone, demolished in 1975. Mavis Bullwinkle who lived in the Dwellings until the end and now lives a quarter a mile away, told me she had not been over to this area of Spitalfields for thirty years, “Because I miss them so much.” The pair of terraces named Victoria and Albert Cottages, and St Anne’s Church, are all that remain now of the world that Norah and Mavis knew in their childhood. Yet for a couple of hours it came alive again, as they sat in the garden and shared recollections of the two old ladies who ran the sweetshop across the road – gone more than half a century ago – the mission hall that moved to Bethnal Green in 1935, and of the teachers at Sir John Cass School where they were both pupils before the war.

In contrast to the general assumption of poverty in the East End, Norah and Mavis’ history reveals a more complex social picture of people of different incomes living in close proximity. Norah and Mavis were also keen to emphasise the self-respecting ethic they grew up with.“They think we were all prostitutes and drunks, and we were dirty, but our working class morality was strong,” declared Mavis, turning passionate, “We didn’t think we were poor, we had enough to eat and we never wasted anything.” A statement which prompted the exchange of a glance of unity between the two women.

Then it was time to say goodbye – once Norah Pam and Mavis Bullwinkle had swapped numbers, because a new friendship had been kindled that morning. Norah took one last glance at the gardens of Victoria Cottages, where her great-grandparents lived one hundred and fifty years ago, and looked up to the space in the sky where Albert Family Dwellings once stood. “I had a happy childhood here,” she said.

Norah’s great grandparents, Lewis and Louisa Carr, and their children, Lewis, Louisa Ann and George – the residents of 11 Victoria Cottages, Spitalfields. On the reverse of this photograph Norah has written, “When my great-grandfather became a widower, he went to lunch each Sunday with my gran, always arriving wearing wearing a tall silk hat.”

Norah’s great uncle, Lewis Carr. He became a vaccination officer for Smallpox and lived on Cheshire St.

Norah’s grandmother, Louisa Ann Carr as a young woman. She worked at home sewing waistcoat buttons for Savile Row.

Norah’s grandmother, Louisa Ann, as an older woman at Albert Family Dwellings.

Norah’s parents’ on their wedding day.

Norah’s father Edward Samuel Simmonds in 1939.

Norah’s mother, Violet Louisa Simmonds, with their dog Victory.

Norah’s class at All Saints’ School, Buxton St in 1934.  Nine year old Norah is in the check dress with spectacles, third from the right in the first row seated on chairs. Norah’s glasses were from Mr Stutter, the optician in Bishopsgate.

Norah in 1940, aged fifteen.

Norah and Mavis both grew up in the Albert Family Dwellings in Deal St that were demolished in 1975.

The last May Queen at Sir John Cass School in 1939, Mavis is third from the right in the front row of girls standing.

Mavis’ Aunt Ada and her mother Gwen in Deal St outside the Albert Family Dwellings in the 1920s.

Norah Pam & Mavis Bullwinkle at Victoria Cottages.

You may like to read my profile of Mavis Bullwinkle, Secretary

and A Walk with Mavis Bullwinkle

Among the Lightermen

August 27, 2012
by the gentle author

At the bottom of Anchor & Hope Lane, you will find the last lighterage company on the upper reaches of the Thames. Begun in 1896 as William Cory & Sons, delivering coal to London and filling the empty barges with rubbish for the return journey, today Cory Environmental is a vast corporate endeavour, compacting the capital’s waste, transporting it downriver by barge and incinerating it at Belvedere in Kent.

These “rough goods,” as the lightermen term them, are now the only commercial cargo transported on the Thames, once the primary thoroughfare of our city. Yet in spite of all the changes on the river, the task of the lighterman has remained essentially unchanged for centuries. Originally, each barge or “lighter” was rowed or punted by one lighterman with a boy to assist, lightening the cargo of merchant ships delivering to the Port of London. In the nineteenth century, the introduction of steam powered tug boats allowed the lighters to be towed in multiples, but the equation of one-lighterman-one-lighter persisted. And when I joined John Dwan – skipper of the tugboat Recovery – for a day, his crew consisted of mate, engineer and two lightermen to go aboard the barges, manoeuvring and leashing them as required.

We set out upriver from Charlton Pier under an overcast sky, with barges of empty containers in tow for delivery to the depots at Walbrook in the City of London, Cringle in Battersea and Wangas in Wandsworth. “It’s a contact sport! You don’t put your hands in your pockets – that’s the first thing you learn,” John declared with relish when the sturdily-built tug lurched and rolled as the barges were shunted around prior to departure, bouncing off the rubber enforced sides of the boat and clanging together with a boom which resonated like thunder. Starting on the river at age fifteen, becoming a skipper at twenty-one, John has held licences as both waterman & lighterman since 1972, like his father Albert, and grandfathers Gosso Williams and Charlie Dwan before him. And going back as far as he knows – for at least four generations – all the men in John’s family worked afloat. “Most of the people you speak to on the Thames will have ancestors who worked on the river.” he promised me.

Once we reached central London, the clouds parted and – apart from occasional passenger boats – we had the expanse of sparkling water to ourselves. Coming under Hungerford Bridge in the small tugboat just above water level, the Wheel loomed over us on the left while Big Ben and the houses of Parliament rose up to the right, seemingly to create a theatrical spectacle for our sole enjoyment, at the centre of the river. “It’s the best way to see London,” said John in understatement, thinking out loud for my benefit.

We were joined by mate John Hughes, John Dwan’s long time accomplice on the river. They were at school together, started out afloat together as pleasure boat skippers at the age of twenty-one, and now both have sons working on the Thames. With a riverine ancestry as long as his partner, John Hughes can talk of his great-grandfather who was in the great docks strike of 1889. “Years ago there were thousands of us lightermen, if we weren’t happy, the docks shut down. We didn’t really worry what we said, but these days we’ve had to tone it down a bit.” he confided to me with a playful grimace. “The older lightermen could navigate their way in the fog by smell, there were three hundred miles of wharf space then and every one smelled differently. I remember, when I was a boy, coming out of Barking Creek once at three or five in the morning and sitting in the back of the boat, when I looked behind me it was daylight while in front of me it was night, pitch black, like the end of the world. When it was cold, the skippers used to give you a tot of gin…”

Thus a pattern was set for the day – of leisurely discourse and wondering at the ever-changing spectacle of the river, punctuated by bouts of intense activity, shunting the barges at each depot. Every barge has tethering posts at either end and on each side, permitting them to be shifted in any direction by a tug boat. Yet such manoeuvres were rarely straightforward, with plenty of work for the lightermen, walking up and down perilously narrow ledges along the sides of the barges with ropes – attaching and reattaching them to different corners of the barge so the tug could pull the vessels in different directions and thereby achieve the desired position.

Dexterity in handling boats is a prerequisite in this job and these men have been doing it their whole lives, coaxing five hundred ton barges to travel in exactly the right direction. London’s Victorian bridges were built for the fifty ton barges of their day which gives John Dwan little margin for error when towing several of his vessels through at once. Although he makes it appear effortless, it was apparent that the consequences of an error would be disastrous. “The industry hasn’t changed, the barges just got bigger!” he quipped.

“We’re river men and we don’t want to go to sea.” John Dwan informed me, speaking for his crew, outlining how the lighterman gets to enjoy life afloat and go home to his family at the end of the day. “The only difference between us and a lorry driver is the road don’t change.” he proposed unconvincingly.

As we returned down the Thames with full containers, I looked up at the city workers crossing bridges. We were within metres yet they did not see me, because we were in separate worlds – and I understood how the life of a lightermen encourages a propensity for independent thought, observing life from the water. We passed Charlton, where we set out, and travelled on through the afternoon to the vast complex at Belvedere in Kent, where red cranes like giant spiders lifted the containers from the barges. Even six months ago, London’s waste had been creating landfill at Mucking but now, after incineration, the metal can be recycled and the ashes are used to manufacture breeze blocks, which can return to rebuild the city.

After so many generations, the lightermen feel the loss of all the wharves which once lined the Port of London, leaving nowhere to unload even if someone wanted to return to river transport for freight. River transport should be the ideal way to take lorries off the road and transport commodities into London, but the removal of the infrastructure makes such a move impossible, at present. “We’re sliding into history,” John Hughes told me, shaking his head as we sailed in the lone vessel down the empty river where once was the busiest dock in the world. Yet the lightermen are still here for the foreseeable future, and keeping their hands in, lest the tide should change in their favour.

John Dwan, skipper of the tugboat Recovery

John Dwan & John Hughes – both watermen & lightermen – they were at school together and worked on the Thames over forty years.

William Cory & Sons now known as Cory Environmental, London’s last lighterage company.

Outside the Anchor & Hope

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