Abney Park Cemetery, N16. © David Secombe 2010.
Shoreditch. © David Secombe 2011.
The Short Story by Peadar O’Donoghue:
Live live live
another sip of death
another day between
one eye bright
one eye closed
one day all this will be yesterday
different the same the one
the man with his head on his hand
the man with the stick
the man in the ground
the man in ashes
we all come we all go
I won’t tell the secret
I won’t reveal the truth
I will tick all the boxes
Bite the hand that feeds
Take what’s owed
take what’s coming to me
what passes you by
walks on by
the wild side
the wild dream
the one eye love
soft focus hard lens
and this too shall come to pass
and this and this and this.
© Peadar O’Donoghue 2013.
© Martin Usborne.
I was born right by Old Street roundabout on January 1st, 1927. Some of the kids used to beat me up – but in a friendly way. Hoxton was full of characters in those days. The Mayor was called Mr. Brooks and he was also a chimney sweep. Guess what? Before the coronation, he was putting up decorations and he fell off a ladder and got killed. Well, it happens. Then there was a six-foot tall girl, she was really massive. She used to attack people and put them in police vans. Maria was her name. Then there was Brotsky who used to kill chickens with a long stick. His son’s name was Monty. That’s not a common one is it? ‘Monty Brotsky’.
© Martin Usborne
I worked two years as a cabinet maker in Hemsworth Street just off Hoxton market. But when my sinuses got bad I went to Hackney Road putting rivets on luggage cases. For about twenty years I did that job. My foreman was a bastard. Apart from that it was OK. But if I was clever, very clever, then I would have liked to be an accountant. It’s a very good job. And if I was less heavy … you know what I’d like to be? I’d like to be a ballet dancer. That would be my dream.
© Martin Usborne
I don’t mind people taking pictures of me. But I wouldn’t let a girl take a picture of me. She might have a boyfriend. I don’t want any trouble. And who knows, he might think she wants to run off with me. You got to be careful where you go nowadays. Martin, if you want to take this picture you had better be quick. I don’t take a good picture when my bladder is full.
© Martin Usborne
If I try, I can imagine the future. It’s like watching a film. Pavements will move, nurses will be robots and cars will get smaller and grow wings … you’ve just got to wait. They will make photographs that talk. You will look at a picture of me and you will hear me say: ‘Hello I’m Jospeph Markovitch’ and then it will be me telling you abut things. Imagine that! I also have an idea that in about fifty years Hoxton Square will have a new market with an amazing plastic rain cover. So if it rains the potatoes won’t get wet. I don’t know what else they will sell. Maybe bowler hats. Nothing much changes round here in the end.
© Martin Usborne.
There’s no point crying about things is there? People don’t see you when you’re sad. Best just to keep walking.
Do you know that I can’t eat lettuce? I’ve got no teeth, not for ten years. It’s hard to like lettuce if you haven’t got teeth.
… taken from I’ve Lived In East London for 86.5 Years, photographs by Martin Usborne, the debut publication of Hoxton Mini Press. More details may be found on their Kickstarter page.
Holy Ghost Zone, Old Kent Road. © David Secombe 2008.
When playing Monopoly my father was always determined to acquire Old Kent Road and Whitechapel, and to build on them as soon as possible. It’s the most modest portfolio on the board, with houses on Old Kent Road, as I remember, costing little more than a hotel on Mayfair. ‘You might laugh,’ my father would tell us in baleful tones, ‘but everybody always lands on Old Kent Road.’
I’m interested in the Old Kent Road as a sort of social counterweight to Hampstead, but my friend David, a South London partisan, is a genuinely keen on it, and gave me a guided tour this week.
Tesco, Old Kent Road. © David Secombe 2004.
‘When the evening sun’s like this,’ he said cheerfully, as we skirted a sofa that had been thoughtfully set out on the pavement, ‘it’s got a sort of I’m-in-a-scary-part-of-LA charm.’ We were walking past the Old Kent Road’s array of cosmopolitan food shops, beauty parlours, international cash transfer places, evangelical ministries, van washing businesses. As the cars screamed by, David would stop every now and again to photograph the lowering clouds over some light industrial unit or brutalist block of flats. He seemed particularly taken with the visual possibilities of the flyover at the southern end of the Road. ‘A friend of mine owns a flat that looks right on to that,’ he said enviously.
I looked at a price list outside one of the Road’s pubs: it advertised a cocktail called a Slippery Nipple, consisting of Sambuca, Bailey’s and Grenadine. You could have a jug of Slippery Nipple for £12.50. Another sign forbade anybody wearing a hat to enter the pub. You knew there was some insight into human behaviour behind this, and that it had been won the hard way.
Re-branding exercise, Old Kent Road. © David Secombe 2008.
‘If Dickens were alive today he’d be down here all the time,’ said David as car came crawling noisily down the Road with only two of its tyres inflated. David then attempted, with windmilling arms, to direct the dazed-looking driver to a nearby sprawling depot called Madhouse Tyres.
As he did so, I reflected that the Old Kent Road does have the look of suburban LA or Chicago – that rangy wildness – and it occurred to me that this is what happens to British streetscapes when middle class vigilance is reduced and planning controls relaxed: they begin to look American.
Chinese Elvis restaurant, Old Kent Road. © David Secombe 2002.
David pointed out East Street, which goes off the Old Kent Road. Its market features in the opening credits of ‘Only Fools and Horses’, in which Rodney and Del Boy inhabit a tower block inevitably called Nelson Mandela House. David took me to Mandela Way, which intersects with Old Kent Road, and where there is a small patch of green space occupied by a tank that has been painted pink and decorated repeatedly with the stencilled word ‘Scab’. ‘If this was North London,’ I marvelled, ‘there would be letters in the Hampstead and Highgate Express every week until it was taken away.’ ‘Really?’ said David, snapping away, ‘it’s been here for years.’*
Tank, Mandela Way. © David Secombe 2004.
In the streets off Old Kent Road, you never know what you’ll find: a battered looking Georgian house with an ice cream van parked in the front drive and a lone security camera staring at it; a tiny house with a sign saying ‘This property is protected by guard dogs’ – that’s dogs, plural; sudden bombsites with rampant buddleia, the scars of the Second World War still seemingly fresh. There are also surprising runs of pristine Georgian and Victorian houses with obviously middle class occupants.
Almshouses, Asylum Road, SE15. © David Secombe 2008.
You could argue that Old Kent Road is going upmarket. The famous old Dun Cow pub is now the Dun Cow Surgery, and the Thomas A Becket, the even more famous boxing pub, built on one of the many sites where the Canterbury pilgrims took liquid refreshment, is now an estate agency, a sign of the times to an extent almost ridiculous. ‘You’d think there’d be a plaque acknowledging what it used to be,’ I said to David. But he frowned and shook his head, ‘That’s one of the great things about the Old Kent Road,’ he said, as we trudged on, ‘a profound lack of sentimentality.’
© Andrew Martin. This article originally appeared in Andrew’s Class Conscious column for The New Statesman in 2004.
(*The tank is a Soviet T-34 placed on Mandela Way as a protest by a disgruntled property developer following the rejection of a planning application.)
© David Secombe.
July, 1978. I am 16. I am serving out my final days as a pupil at a comically inadequate private school in Surrey’s lush commuter belt. I am bailing out before ‘A’ levels because it has not been a happy three years and I am taking the earliest opportunity to escape. To mark the end of my final term I take my camera to school. There are some interesting things to photograph.
The shrine in the locker above (it wasn’t my locker) consists of pictures cut from the pages of the sacred music title of the day, New Musical Express. The photos of the Sex Pistols, The Clash, the young Bob Geldof, Ian Dury and company were most probably the work of NME stalwarts Pennie Smith, Chalkie Davies and Kevin Cummins, and would have accompanied articles by the likes of Julie Burchill, Tony Parsons, Charles Sharr Murray, Nick Kent, etc.. By the summer of 1978, Punk was mainstream enough to be embraced by all but the most fastidious privately-educated schoolboy, even if the irony of its acceptance by future mid-management executives was lost upon the lads themselves. (Although it is worth mentioning that the much-worshipped Joe Strummer had been a pupil at a neighbouring private school a few years earlier, where he became a friend of my brother. Joe – or John – swapped his camera for my brother’s drum kit, and later credited this exchange as furnishing him with his first musical instrument. Since I first got into photography by using my brother’s camera, you could say that Joe Strummer’s Minolta got me into photography – except that he also said that his first instrument was a ukelele.)
© David Secombe.
The atmosphere of those distant, final days was a strange admixture of gleeful anarchy and leafy English pastoral; exams done, the highlight of each afternoon was the illicit visit to an abandoned theatre, a crumbling, doomed edifice in a lush wooded hollow. This imposing structure offered wall area large enough to proclaim as loudly as one was able the primacy of favourite bands, whilst the surrounding greenery furnished a sylvan setting for ritualised smoking sessions.
© David Secombe, 1978.
© David Secombe, 1978.
The following year, the theatre and the grubby enchantment of its grotto was cleared and a monumental circulatory system took its place, thus wrecking a perfectly inoffensive little suburban town. Years later, when the thunderous circle of the M25 imprinted itself upon the green hinterland of the capital, the course of the motorway took it within a few yards of the school, destroying at least one of its favoured – and, by some of us, much-hated – routes for cross-country runs. Still later, the school was hit by a scandal attached to one of its teaching faculty (not present in my time), which made the national press and prised skeletons loose from various closets. I was able to revisit a decade or so ago, after suggesting to a director friend that it would make a good location for an episode of a TV detective series he was filming. I visited the unit on location; and it seemed to my 40-year old self that the entire school had been demolished and replaced with an 8:10 scale replica.
The late 1970s have become subsumed into the nostalgia business, and there is something absurd and not a little nauseating about the era being trumpeted as some kind of lost eden.But the youth we are given is the only one we have; as some Facebook wag said recently, Punk was for my generation what World War 2 was for our fathers’. (And what did we get afterwards? The New Romantics. That has always struck me as an indication of cultural failure.) I felt largely out of sync with my time then and, predictably enough, have felt largely out of sync with it ever since. In any case, these 35-year old photos strike me as being better than they have any right to be, and almost persuade me that I knew what I was doing when I took them. This is what our memories should look like: a flattering improvement on reality – and they are dedicated to anyone finishing school this month. Someone like my daughter, in fact.
© David Secombe 1978.
… for The London Column.
Sweet Toof artwork, Regents Canal, Haggerston. © David Secombe 2010.
From Wikipedia entry ‘Sweet Toof’:
Sweet Toof is the pseudonymous name of well-known United Kingdom graffiti and street artist.
Meaning of Mouth, Teeth and Gum imagery
According to an account by Olly Beck, Sweet Toof looked at himself in a looking glass “in crisis after a messy break-up”, with the enlarged and distorted imagery of the “crescents of teeth”, the “visible part of our skeletal frame” as a reminder of mortality. Beck relates Sweet Toof’s concerns and imagery with the 16th Century Northern European “Vanitas” tradition of reminding of the transience and vanity of life, and to the Mexican celebration of skull imagery to accepting, honouring and celebrating death as part of the life trip.
Sweet Toof’s own comments seem to uphold this interpretation, in which the artist comments, “To get one’s teeth into things, before it’s too late.” Elsewhere he notes, “Teeth can be really sexy, or aggressive, but they’re also constant reminders of death. They’re how we get recognised by police when there’s nothing else left.”
Mural, Chaldon Church, Surrey. Photo © David Secombe, 1989.
When I was a boy, Halloween was a shadowy, elusive affair; the occasional carved pumpkin glowing in a window; the occasional fleeting glimpse of a reveller skipping away in a witch’s hat – usually some person you didn’t know and had never seen before. As a festival, it was upstaged by Bonfire Night, and I was frustrated by Halloween in those days. There was nothing you could buy, or be given in connection with it. Today, there is a great deal you can buy, as a result of the promotion of Trick or Treat, by which Halloween has eclipsed Bonfire Night and ghostliness has given way to mock horror. In the weeks before Halloween, Asda stores offer, amid a landslide of plastic tat; the Asda Squeezy Eyeball, the Asda Rat, the Asda Inflatable Coffin, the Child Grim Reaper Outfit (‘one size fits all’), the Adult Grim Reaper Outfit, the Inflatable Pumpkin Cooler (not for cooling pumpkins, you understand), the Skull Martini Shaker.
Asda is American-owned, and Trick or Treat came to us from America. The British folklorist Doc Rowe, believes that the Trick or Treat contagion began with a programme broadcast on BBC2 in the early ’70s as part of a documentary strand called Look Stranger. It depicted life on the American airbase in Woodbridge, Suffolk, and showed the children trick-or-treating. ‘Within two years,’ Doc Rowe told me, ‘all the tabloids were running features on how to dress up for the occasion.’ But his point is that this was merely the re-introduction into this country of a tradition rooted in psychology.
It helps to think of both Halloween and Bonfire Night as outgrowths of the Celtic celebration called Samhain, which marked the turning of their year and the beginning of winter. Samhain was associated with the lighting of fires to honour the dead, and defy malevolent spirits. The medieval church both denounced the festivals as diabolic and sought to appropriate aspects of them in the shape of All Saints Day on November 1st (on which the sanctified are honoured), and All Souls Day on November 2nd (a more democratic honouring of all Christian souls). According to Doc Rowe, ‘By tarring Halloween with an occult brush, by caricaturing it that way, the church made it an occult event.’ But while the original Halloween might not have been thoroughgoingly sinister, it did incorporate games and rituals of licensed naughtiness. All Souls Day, for example, was associated with Soul Caking, wherein poor Christians would say prayers for the departed relations of wealthier ones in return for food – and you can see how there might have been trouble if the rich didn’t play along.
It is likely that these traditions, these precursors of Trick or Treat, were taken to America by Scottish and Irish emigrants of the mid-nineteenth century … so the Asda Inflatable Coffin is actually our fault. But Doc Rowe believes these customs are ineradicable in any case. ‘The more you suppress these things, the greater they become.’ Apart from the Church, he identifies the main suppressors as ‘the health and safety camp’. I know what he means, and I wonder how long it will be before the words ‘high visibility vest’ come up in a ghost story.
… from Ghoul Britannia, published by Short Books. © Andrew Martin 2009.
Chaldon Church is a tiny and ancient (11th Century) church tucked away in an unnervingly isolated hillside location about a mile north of the junction of the M23 and the ‘Magic Roundabout’ (a.k.a. the M25, London’s present-day Roman Wall). The church is famous for its terrifying medieval wall painting, described by Exploring Surrey’s Past thus: ‘The mural on the west wall of Chaldon church is one of the earliest known English wall paintings – it dates from about 1200 and is without equal in any other part of Europe. It is thought to have been painted by a travelling artist-monk. The picture depicts the ‘Ladder of Salvation of the Human Soul’ together with ‘Purgatory and Hell’. Wall paintings of this kind were intended as a visual aid to religious teaching. The whole picture is in the form of a cross, formed by the Ladder and the horizontal division between Heaven and Hell.’ No photo can adequately convey the power of this mural, or the sense of unease I experienced whilst photographing it on a bleak, windswept afternoon 20+ years ago.The medieval imagination retains its capacity to disturb; and the thrum of traffic from the nearby motorways seemed very distant indeed.
See also: The Avoided House.