Blind Chivvy.Posted: August 6, 2015 Filed under: Architectural, Artistic London, Bohemian London, Churches, Eating places, Entertainment, Food, Graffiti, Housing, Literary London, London Music, Performers, Vanishings | Tags: 12 Bar Club, 1890s London, Arthur Machen, Brydges Place, Corpus Christi Maiden Lane, Denmark St., Dennis Nilsen, Ernest Dowson, Larry Parnes, Mariachi at E.N.O., Rules Restaurant, Save Tin Pan Alley, The Port House Strand, The Salisbury 6 Comments
Brydges Place, looking towards St Martin’s Lane. © David Secombe 2015.
From A London Phantom by R. Thurston Hopkins:
I spent many evenings with Dowson in the Bun House. Though the name of this rendezvous has a doughy sound, it never at any time offered buns to its customers. It is just a London tavern, but it was part of the literary and newspaper life of the eighteen-nineties. It was there that I saw Lionel Johnson, the poet, John Evelyn Barlas, poet and anarchist who tried to ‘shoot up’ the House of Commons, Edgar Wallace, just out of a private soldier’s uniform, Arthur Machen in a caped ‘Inverness’ coat which he told me had been his regular friend for twenty years. …
After I had met Dowson a few times at the Bun House we would sometimes rove forlornly about the foggy London streets, initiated bohemians, tasting each other’s enthusiasms. … As we wandered about London at night we often played a sort of game which we called Blind Chivvy. The idea was to find short cuts or round-about-routes from one busy part of London to another by way of slinking alleys and byways which then were not well known to the average London man.
D.S.: We at The London Column like to think of ourselves as being in the vanguard of the Ernest Dowson Revival, but we can’t deny that our Ern remains something of a niche interest. My friend CJ – one half of the award-winning (really) wine blog, Sediment – is unconvinced by my claims for the poet who wrote the quintessential ‘decadent’ poem of the 1890s, Cynara. That said, CJ liked the sound of ‘Blind Chivvy’ and agreed to join me for an afternoon in a bid to play it. Admittedly, we were doing it on a bright July day rather than a murky November evening, and a few things have changed since Dowson’s time, but the promise of some light lunchtime drinking rendered CJ putty in my hands. We met at The Port House on the Strand, an Iberian sherry bar located in the building that was once The Bun House. In the candle-lit gloom, CJ and I munched tapas, drank white wine and attempted to visualise the interior peopled with the bohemian talent of decadent London. We failed. The ambience in the Port House is that of a bodega in Madrid, and there was no way we were going to conjure up the shades of Dowson, Johnson, Machen or anyone else. But it was a start.
Ernest Dowson has left the building … The Port House, Strand. © David Secombe 2015.
Emerging from the Port House, I led a dubious CJ into a narrow entrance next door. Exchange Court is one of those ancient pathways off the Strand that bears witness to a lost London landscape. Halfway up this remnant of 17th century town planning there is a courtyard behind a new (early 1990s) bar called The Porterhouse. Before the construction of this establishment, it was possible to come here – a spot no-one had any reason to visit – and discover a genuine fragment of the ‘Great Wen’: a desolate cul-de-sac that Dickens would have recognised. When I visited in 1984, you could still see the original box office window of the Adelphi theatre, complete with Victorian London prices, bricked up in an alcove. Then they built the pub and the alcove disappeared. Now they store barrels here and the court seems almost cheerful.
We followed Exchange Court to the end and emerged in Maiden Lane, CJ looking around him like a lost Japanese tourist. ‘Where are we now?’ Doing my best Peter Ackroyd, I replied that Maiden Lane was one of the oldest thoroughfares in the West End – and, in the same mode, indicated a plaque above the Adelphi’s stage door commemorating the murder of William Terriss. ‘Who? What?’ On cue, the shutter of a loading bay was yanked open and for a moment we had a glimpse of the business end of a working theatre. The sight of the vast maw of an empty auditorium brought back memories of other West End venues, not to mention Proustian associations of childhood visits backstage. Me: ‘What’s playing here now?’ CJ: ‘Kinky Boots’. We moved on.
Your correspondents reflected in the doorway of Rules. © David Secombe 2015.
We crossed the road to look in the window of Rules, ‘the oldest restaurant in London’ (est. 1788). To celebrate the august history of its dining rooms, Rules’s website features a poignantly misjudged piece of copywriting which is worth reproducing here:
As well as being frequented by great literary talents – including Charles Dickens, William Makepeace Thackeray, John Galsworthy and H G Wells – Rules has also appeared in novels by Rosamond Lehmann, Evelyn Waugh, Graham Greene, John Le Carré, Dick Francis, Penelope Lively and Claire Rayner.
Whilst studying the menu I asked CJ if a publisher had ever taken him to Rules and he looked at me beadily, suggesting that I might be confusing him with someone else; Ian McEwan, maybe. Or Marian Keyes, perhaps.
Bull Inn Court. © David Secombe 2015.
Rules faces Bull Inn Court, another alley where Dowson might have gone to find company (‘absinthe makes the tart grow fonder’ is his line); in July 2015 it is a spot where office workers go to juggle cigarettes and smart phones. But a couple of doors further along, the tone is abruptly elevated by the ecclesiastical majesty of Corpus Christi. Mirroring the promise of the Adelphi, its doors were invitingly open, affording views of ‘the grey twilight of gothic things’ (or the 1870s repro version) in WC2. Dowson converted to Catholicism in the last years of his short life, so it’s at least possible that he took communion in Corpus Christi. In any case, we yielded to the lure of its gilded interior and behaved like a pair of sightseers, taking photographs and lighting candles (25 pence a go).
Corpus Christi. © David Secombe 2015.
We backtracked west along Maiden Lane, down Chandos Place and thence into Brydges Place. We have featured Brydges Place on The London Column before, so I won’t dilate on this atmospheric passageway here – except to note that there were more homeless pitches since my last visit and the stink of piss was overwhelming. Brydges Place debouches into St Martin’s Lane next to E.N.O., where we emerged to see a Mariachi band posing on the steps of the Coliseum. Mexican dance music seemed like a bit of a departure for English National Opera, but the band looked fun and an obliging gaucho performed some impressive lasso moves for the cameras. Diverting as it was, this wasn’t the woozy, drink-soaked metropolis we were looking for, so we repaired to The Salisbury to re-group. The Salisbury was once a well-known gay pub, extensively referenced in the Dirk Bogarde film Victim, and where the serial killer Dennis Nilsen cruised in the 1970s and 80s – but any flickers of the city of dreadful night were banished by the holiday crowd ramming the bar. The Salisbury’s ghosts were as lost to us as those at The Bun House. We sat behind an etched glass window, drank London Pride and swapped stories of career disappointment. The phantom of Thurston Hopkins’s essay, who they fear is haunting them on their nocturnal rambles through London, is a man Dowson described as having ‘a face like a wizened bladder of lard’ – but in the noisy saloon of the Salisbury, CJ and I were merely haunting each other.
Mariachi at English National Opera. © David Secombe 2015.
Opposite The Salisbury is an entrance to another 17th century survival, a passageway called Goodwins Court. Needless to say, Goodwins Court was a surprise to CJ, who remarked upon the beautiful bowed shop-fronts (18th century, I am told, although they are no longer shops, and it is hard to tell exactly what they front now). When I was a boy my parents took me to a show-business party in the house at the end, the one that abuts Bedfordbury. The host was the late Tony Sympson, an actor whose family were instrumental in preserving Goodwin’s Court against destruction. I remember a jewel-box of a house composed of implausibly large rooms, their Regency elegance constituting an act of defiance: as late as 1978, the threat of wholesale demolition still loomed over Covent Garden. The house is still someone’s home; perhaps the most desirable place to live in all the West End. Next door is Giovanni’s, a discreet Italian restaurant popular with old-school actors and producers. I have purple memories of this place too: a lunch with an actor friend which deteriorated into an afternoon lurid enough for me to give up drinking for months afterwards. After mistily reminiscing on all of the above, CJ pointed out, not unreasonably, that those anecdotes are specific to me, and that the state of my liver was of little interest to him.
Bedfordbury, looking into Goodwin’s Court. © David Secombe 2015.
Taking the hint, and with time against us – CJ’s dinner beginning to call, in far distant Mortlake – the rest of our dèrive went at something of a galop. By this stage, I had a destination in mind, a spot with more recent associations than the 1890s. We walked swiftly up Garrick Street, crossed Long Acre towards Seven Dials, cut up West Street (past The Ivy and those strangely conjoined twins of tourist theatre-land, The Mousetrap and Stomp), crossed Shaftesbury Avenue, continued north on Stacey Street – alongside the vast bulk of the Covent Garden Odeon and beyond the fragile greensward of Phoenix Garden – and finally arrived in crumbling, doomed Denmark Street.
In the 1950s Denmark Street (‘London’s own Tin Pan Alley!’) was London’s music business quarter, an Expresso Bongo world of post-Suez Britain. Then, the street was the domain of the impresario Larry Parnes, (much-mocked svengali of improbably-named singers like Vince Eager, Dickie Pride, Johnny Gentle, and some others who actually made it), songwriter Lionel Bart (‘King of Denmark Street’), the jingle writer Johnny Johnston (Softness is a thing called Comfort, Beanz Meanz Heinz, and 5000 others), and all the other personalities of the pre-Beatles universe. In the 1960s The Stones, The Who, The Kinks, Donovan, Bowie, Hendrix all came here to record, in studios carved out of 17th-century basements. Ten years later it was the turn of the phlegm-flecked protégés of Malcolm McLaren (the ’70s version of Larry Parnes) The Sex Pistols, who rehearsed and lived here for a while. And, whilst he is unlikely to get a blue plaque, Dennis Nilsen – abovementioned, hanging around the Salisbury – spent the early ’80s working in a jobcentre that used to be on the corner with the Charing Cross Road. This jobcentre’s speciality was the catering industry, and for one Christmas staff party Nilsen made his colleagues punch in a large cooking pot he brought from his home, the same pan he used for boiling his victims’ heads.
Hanks, Denmark St.; Centre Point behind. © David Secombe 2015.
There are still music shops to be found on Denmark Street, but the redevelopment of St Giles has been the cause of much anguish amongst London’s music lovers, as first the Astoria and then the 12 Bar Club have been laid waste in favour of Crossrail and a looming corporate/retail zone. Around 1900, the year Dowson died, the great loss London suffered was the destruction of Wych St. and environs to create ‘new’ Aldwych and Kingsway (the subject of one of our previous walks). That particular act of civic philistinism didn’t just obliterate some of the prettiest streets in the capital, it cauterized life on the streets – which is exactly what it was intended to do, removing ‘unwholesome’ theatres and booksellers and erasing one of London’s cultural centres. The destruction of the area around Denmark Street is the 21st Century equivalent. How do we characterise it? London dans le style Boris, perhaps, London après Cameron, London sans coeur, etc. Chalked graffiti on the hoarding in front of the remains of the 12 Bar was eloquence itself …
Hoarding where the 12 Bar Club used to be. © David Secombe 2015.
By now CJ and I were starting to feel generally chivvied out. The day-glo office blocks opposite St.Giles in the Fields measured the gulf between the city of our imaginings and the one we are actually stuck with. Calling it a day, Charles headed for Waterloo and his train to Mortlake, and I boarded a quasi-Routemaster 38 to Hackney. Sitting on the top deck, in an interior as retro as the Orla Kiely catalogue, I considered the dilemma: if Soho is dead, if the West End is dead, if Chelsea is dead, if Shoreditch is dead (no cheering please), what is left? A Bright New World safe for out-of-town consumers to play in – but not somewhere you would want to live, even if you could afford to. Hence London becomes the new Dubai, and Margate the new Peckham. Good for Margate, perhaps, but London as a place of invention and creativity becomes no more than a historical footnote. Don’t look for culture here, mate, only ad agencies can afford the rent. Live music? Try the relocated 12 Bar Club – it’s on the Holloway Road (if you can find it). No call for it round here, pal. The revolution will not be televised – but you can download it as a podcast.
Denmark Place. © David Secombe 2015.
(I have just noticed that this post is the 250th on The London Column. I was going to apologise for the fogeyish tone, but then thought ‘why should I?’)
See also: In Search of Old Wych, The Riverine Strand.
London Gothic. Photo & text: David Secombe (2/5)Posted: July 3, 2012 Filed under: Crime and Punishment | Tags: Cranley Gardens, Cricklewood, Dennis Nilsen, killing for company, Muswell Hill, The Salisbury Comments Off on London Gothic. Photo & text: David Secombe (2/5)
Parkway, Camden. Photo © David Secombe 1989.
From This is London, 9th November 2006:
Serial killer Dennis Nilsen confesses to first murder
London serial killer Dennis Nilsen speaks today about his first victim – a boy of 14. In an extraordinary letter sent from his prison cell, Nilsen tells how he picked up Stephen Holmes in December 1978 in a Cricklewood pub. He took the boy to his home where he killed him. It was the beginning of a series of gruesome murders of young men that went on until his arrest in 1983 after human remains were found in a blocked drain at his Muswell Hill home. In the letter sent to the Evening Standard Nilsen, 60, confesses: “Stephen Dean Holmes was the first of 12 homicide victims.” In fact it is known he killed at least 15 men, among them rent boys, students and the homeless he lured back to his homes in Cricklewood and Muswell Hill. At least seven victims remain unidentified.
Nilsen promises to help police identify the rest of his victims although Scotland Yard has ruled out ever knowing definitively the names of the other men he murdered, usually by strangulation. Nilsen, a civil servant who had previously worked in the Army and police, was never charged with the offence because at the time of his trial in 1983, Stephen could not be identified. But a photograph of the boy, who was reported missing by his family, was shown to Nilsen last year by police visiting him at Full Sutton. The killer confirmed to detectives that the boy in the photograph was his first victim. He kept the body stuffed under the floorboards of his flat in Melrose Avenue, Cricklewood, for eight months before burning the remains in the back garden. He used the same method to dispose of several victims. Nilsen was only caught out after moving to a flat in Cranley Gardens, Muswell Hill, where he lived in the attic and had no access to a garden. He chopped up three victims and stuffed their bodies down the drain. After complaints about the smell, a plumber found 30 to 40 pieces of human flesh beneath the manhole cover, leading to Nilsen’s arrest and eventual conviction on six counts of murder.
Nilsen’s grim story is well know and has been much picked over by writers (e.g.Brian Masters in Killing for Company) seeking to examine the nature of evil and the way London – or any big city – swallows the unwary. The police hadn’t been looking for a serial killer, Dennis simply made his victims disappear without trace – until Dyno-Rod were called in to investigate a blocked drain.
There is a rich seam of modern folklore surrounding Nilsen. There are Nilsen’s own work colleagues at the job centre in Denmark Street – he was popular – who helped him move between Cricklewood and Muswell Hill (‘What have you got in here, Dennis? Bodies!’ ‘Yeah’) or who drank his punch at the office Christmas party, Dennis doling it out from the same enamel pot he used to boil heads in. A man living adjacent to Nilsen’s Cricklewood house who was plagued by ghoulish treasure hunters. The woman who went to look at an ‘amazingly cheap’ flat in Muswell Hill and was about to make an offer when a work colleague asked if it was a top floor flat in Cranley Gardens? (She didn’t buy the flat, it was then sold to a foreign couple who discovered what had gone on there after they’d bought it and then couldn’t live there … ) I have met people who have told me all of these stories – although they didn’t actually happen to them, but someone they knew. In a way, Nilsen has become a much a part of London folklore as Sweeney Todd – except that the latter (‘Attend the tale of Sweeney Todd/His skin was pale and his eye was odd’, according to that alleged lyrical genius Stephen Sondheim) never existed in reality as anything other than a Penny Dreadful ballad. Nilsen was the real thing: nemesis in the form of a good samaritan helping a homeless youth; the friendly chap propping up the bar at The Salisbury or The Coleherne, always willing to buy a stranger a drink and offer him a bed for the night.
… for The London Column.
London Perceived. Text: V.S. Pritchett, photos Evelyn Hofer (2/5)Posted: July 26, 2011 Filed under: London Types, Pubs | Tags: Evelyn Hofer, London Perceived, The Salisbury, V.S. Pritchett Comments Off on London Perceived. Text: V.S. Pritchett, photos Evelyn Hofer (2/5)
The Salisbury, St. Martin’s Lane, 1962. © Estate of Evelyn Hofer.
V.S. Pritchett, writing in London Perceived*, 1962:
The square is our characteristic alternative to the grande place or the piazza. There are no central places, foreigners complain, where “Londoners meet” or stroll along together to pass the time of day. The answer to that is, first, that Lononders do not meet, do not gather, and reject the peculiar notion that people like “running across each other” in public places. They emphatically do not. We are full of clubs, pubs, cliques, coteries, sets, although the influence of mass life are changing us so that even the London public house is becoming public. But most pubs are still divided into bars, screened and provided with quiet mahogany corners where the like-minded can protect themselves against those of different mind. And – one must admit – with different purses.
Clearly, between the saloon bar and the public bar there is, or was, a class division; nowadays, the public bar is where men play darts. In the public bar, there being the thirsty tradition of manual work, you drink your beer by the pint; in the saloon, in the private, you drink it in half-pints; occasionally there is a ladies’ bar, and there ladies – always in need of fortifying, for they have been on their “poor feet” – commonly order stout or “take” a little gin in a refined medicinal way. The pubs catering for the Irish are rather different; the Irish like to swarm in public melancholy, their ideal being, I suppose, a tiled bar resembling a public lavatory a mile long, and with barmen who, as they draw your draught stout, keep an eye on you, show their muscles, and tacitly offer to throw you out by collar and shirt-tail. This is not the London English fashion, which is livelier, yet more judicious, sentimental and moralizing. The London publican cultivates a note of moneyed despondency and the art of avoiding “argument” by discussing the weather. One foggy, snowy morning in a pub in Lamb’s Conduit Street, near Gray’s Inn, I hear a customer mention the cold and the snow, and, in doing this, he was simply repeating what every customer had said as he came in.
“Couple of cases of sunstroke in the Feobal’s Road, I hear” said the poker-faced old Weller behind the bar – belonging to that generation of Cockneys who pronounced a “th” as an “f” and were averse to a final “d”. He spoke in the gravelly voice of one about to “cut his bloody froat”.
There are pubs where the same people always meet, where they tell the same stories, where they glance up at the changing London sky and sink into mournful happiness or fatten and redden with natural bawdy – I do not mean dirty – stories but with licence of their own invention. One is reminded that this is the city of the riper passages of Shakespeare and the sexy London papers. London is not puritan; it is respectable – quite another matter. Behind the respectability is the sentimental and fleshly riot. If they can be sure that they are among “a few pals, the male and female Londoners like to abandon themselves. The whited sepulchres turn rosy, the tongues wag, even raucously sing, and the ladies come out with quiet remarks that are surprising. There is a touch of “Knees up, Mother Brown” in all of them; in London, Eros is a shade hearty, and what is elsewhere called passion, in London is called being “friendly”. Friendliness is, of course, double-edged , for it suggests that some would-be friends must be kept out. A little scene I once observed at the bar of the Edinburgh Castle, in Camden Town – the Bob Cratchit country – goes to the heart of this aspect of London manners. A middle-aged couple were having a friendly talk, and an old man, suffering from city loneliness, occasionally “passed a remark” – always an offence – hoping to join in. The lady reached for her large handbag – an emblem of respectability – and took out a pound note – a sign of grandeur – put it on the counter and called to te old man in a “friendly” voice:
“Have a drink. Say ‘No thank you’; I always say ‘No, thank you’ when a stranger offers me a drink.”
And she put her pound note back in her bag, closed it with a slow snap, and, swollen with savoir-faire in the art of “friendliness” she resumed her private conversation. The Londoner know how to finish things without being, as the saying is, “nasty”. One had witnessed a death, of course.
* © 1962 and renewed 1990 by V.S. Pritchett. Used by permission of David R. Godine, Publisher, Inc.
[Special thanks in assembling this week’s feature are due to: Jim McKinniss; Mark Giorgione of the Rose Gallery in Santa Monica, California; Andreas Pauly at the Hofer Estate; and Carl Scarbrough at David Godine.D.S.]