Friday, 12 May 2017

Spiritus Soho

Robert Rubbish, photo by mary cigarettes
Robert Rubbish is an artist and filmmaker based in London He was a founding member of the Le Gun art collective.. Robert Rubbish presents a new body of artwork inspired by Soho.

Cathi Unsworth Photo Etienne Gilfillan.

Cathi Unsworth is the author of five pop-cultural crime fictions, The Not Knowing, The Singer, Bad Penny Blues, Weirdo and WIthout The Moon, all published by Serpent's Tail and many of which draw upon the history of Soho. She lives in London and is a member and regular host of events for The Sohemian Society, celebrating the characters that have populated both the geographical Soho and the Soho of the Mind. For more, please go to

Prelude is a new body of work that explores places and people in Soho’s rich history. Robert likes to think of his work as "drifting though Soho’s time and space fabric". It is the third exhibition in his ongoing project Spiritus Soho.

Spiritus Soho

Robert Rubbish takes Cathi Unsworth on A Drift through Soho…

CU Where do your Soho memories start – and what first drew you to the place?

RR My interest in Soho started when I was nine or ten and being into Mod music. Soho was name-checked in Lola by The Kinks, Pinball Wizard by The Who and A Bomb in Wardour Street by The Jam, so I think that’s how I first became aware of it as a place. My first visit was on a school trip in 1988, where we given an afternoon to do what we wanted to and me and a mate went for a wander into Soho… What I remember most is going into a shop on Carnaby Street and buying some smiley acid house badges – and booming out of the shop stereo was I Got A Big Dick by Maurice Joshua, which me and my friend found very funny as teenagers. So that was my first introduction to Soho!

The Drift starts at 33 Wardour Street, original home of the Flamingo Club (Black Bombers)…

CU The associations for me are all checked in your picture – snappy dressers, black bombers, underworld figures and GIs mixing with the Modernists. Georgie Fame and the Blue Flames, Johnny Edgecombe and Lucky Gordon, Jack the Hat dancing to Prince Buster in The Long Firm… Did you ever dip a pointed toe in there yourself?

RR I am too young to have visited The Flamingo, though I have been interested in it since I got more into all things Mod when I was 18 and bought the book Mods! by Richard Barnes. It had photos of Mods in The Flamingo and newspaper cuttings about purple hearts and drugs… The thing that has influenced me most in recent time is a photo of Andy Summers and Zoot Money taken by Jeremy Fletcher at The Flamingo. I love the vibe of this photo the fashion of the men and the look of the outside of the club.
…then to Meard Street and 69 Dean Street (Traces of the Night People)…

CU This is Gossips/Billy’s/The Batcave/The Gargoyle/Alice in Wonderland/The Comedy Store/Gaz’s Rockin’ Blues and the home of night club culture – a corner of Soho that has started many trends! You seem to have represented them all in this picture. Is it also Lord Longford with his camera in the corner? Is this referencing his 1971 enquiry into pornography that basically brought down the Dirty Squad who really ran all the Soho rackets, as told in Paul Willetts’ Paul Raymond biography Members Only/The Look of Love?

RR It’s amazing that so much stuff happened in that building! In my artwork I have featured King Charles II’s mistress, Nell Gwynne, who once lived in this building. Then all the history with David Tennant, who ran The Gargoyle Club. All the club people are represented from the Bowie night at Billy’s, The Batcave goths and Gaz Mayall from Gaz’s Rockin’ Blues. The man in the corner is actually based on a photo of the Soho photographer Harry Diamond – I liked the idea he is someone who took photos of Soho and jazz musicians. He is another ghost of the Soho night…

…then to Bar Bruno (Boys in the Cafés)…

CU A proper greasy spooner left in Soho! This picture makes me think of many classic London books where Soho cafés play a central role – James Curtis’ The Gilt Kid, Colin Wilson’s Adrift in Soho, Laura Del Rivo’s The Furnished Room, Roland Camberton’s Scamp, Terry Taylor’s Baron’s Court All Change and of course Colin MacInnes’ Absolute Beginners… Again you seem to have captured the characters of these books passing through…

RR Bar Bruno to me is one of the last links with the old cafés that Soho once had and have all sadly gone now. All of the books you have mentioned have influenced this artwork, and also Bernard Kops’ The World Is A Wedding and Frank Norman’s Stand On Me – I love how a lot of the action takes place in Soho cafés. The title of the artwork comes form The Pogues’ song The Old Main Drag, where Shane MacGowan tells the story of how a young boy ended up on his uppers on the old main drag (Old Compton Street). This song is like a novel in a song and the lyrics: ‘Where the boys in the cafés would give you cheap pills’ always made me think of one of these old cafés. So I went in to Bar Bruno and took some photos as reference.
…then to the Bateman Buildings (Skiny White Sailor)…

CU Well, we all want a homage to the sailors and working girls of the district that populate all the above books and, of course, the works of Patrick Hamilton, Julian MacLaren-Ross and Daniel Farson’s essential Soho in the Fifties… I believe this was once the site of The Duke of Monmouth’s stately home and was described in 1895 by William Le Queux as: “a short, paved court, lined on each side by grimy, squalid-looking houses, the court itself forming the playground of a hundred or so spirited juveniles of the unwashed class.”

RR I didn’t know it was the site of Duke of Monmouth’s stately home but I like this –another layer! I have used sailors a lot in my work for Spiritus Soho as the sailor represents the pleasure-seeker of the past looking for a good time. The working girls of Soho’s past I have read about in books like Barbara Tate’s West End Girls and Streetwalker: An Autobiographical Account of Prostitution 1960. There’s a great photo of working girls lined up on a Soho street in the daytime, prior to the Street Offences Act of 1959.

…then to Bateman Street (Lorelei mural)…

CU The Lorelei, like Bar Bruno, was an authentic family-run Italian Old Soho café that The Kid in Absolute Beginners would likely have frequented. The mural of the mermaid took up an entire wall – although strangely the legend of Lorelei is a German one. This perhaps sums up the fusion of cultures that has always been a Soho hallmark?

RR If there’s one place that I miss in Soho its the Lorelei – I had so many great times in there. The Lorelei was a time capsule, a place that connected Soho past and present. The mural was amazing and even though it was based on the German legend, it seemed to me to be about Soho the siren, beckoning the sailor to the rocks. Yes, the history of Soho is all about different cultures mixing and bringing their food culture and styles, and no more so than in the coffee shop boom of the 1950s.

…then to Archer Street, site Charlie Chester’s Casino (Caught in a Game of Chance)…

CU Named after (though not run or owned by) the popular 1940s-50s comedian, Charlie Chester’s casino was at 12 Archer Street and once had a laudably Pop Art exterior… The trainee dealers were called ‘Lumpies’ and debuted their skills at the 10p per stake ‘Lumpy Pit’. The place was described by a former of their number, Chris Moore as: “an incubation chamber for the London gaming industry,” that was: “aimed squarely at the bottom of the market”. Like The Flamingo, a melting pot of Soho sinners and no doubt a handy stop-off point for the Dirty Squad…

RR I like the fact that building still has the casino sign on it if you look up! This to me is another ghost of Soho’s past. This artwork was the meeting of three different influences. I read Francis Bacon in Your Blood by Michael Peppiatt and it was so good it really gave me the feel for Soho at that time, Bacon’s attitude to life and his gambler’s instinct that lead me to re-watch John Maybury’s Love is the Devil and I loved the film even more from reading Michael Peppiatt’s book – and they both use Charlie Chester’s. I like how John used the real outside of the building in his film, with all the neon and dice. At the same time, I have been in love with the song Madame George by Van Morrison – its other-worldly vibe made me riff a reworking of it as poem for this artwork:

Guided and wired by the pink moon
You slip into a trance intoxicated by a game of chance
And the sweet smell of men’s perfume fills the room
In a subterranean bar you take another drink
Just to see how far you may fall
And you fall
In love again

…then 8 Marshall Street, site of William Blake’s birthplace (Visions of William Blake)…

CU You have captured perfectly here the way I feel when I look up at that tower block and wonder what William ‘Nature Boy’ Blake would have made of it all…

RR I would like to think William Blake would like this Brutalist tower block. I like to think of it as an Obelisk to Blake’s memory. As I was wandering down Broadwick Street last year, there was a building hoarding in front of what was to be the site of The Ivy and on it was printed a reproduction of William Blake’s The Grave Personified artwork of a figure holding poppies. At the time, I was thinking of making a artwork about Blake and the tower block, so I took this as a gift from the Soho streets. A lot of my ideas come from walking around Soho.

…then 43 Carnaby Street (Lord John 1967)…

CU This wonderful homage to Swinging London and Warren and David Gold’s boutique brings to mind one of my favourite films, Smashing Time – written by top Soho swinger George Melly – in which Northern lasses Yvonne (Lynn Redgrave) and Brenda (Rita Tushingham) arrive in the capital in 1967 in search of paradise. Winding up in Camden Town instead, Yvonne instructs Brenda: “Give us ten bob and wait here while I got to Carnaby Street, get a job as a model and find us a flat. Then I’ll come back and get you.” Yvonne and Brenda were turned into Princess Margaret and The Queen by Private Eye and there is a song on the soundtrack about Carnaby Street that is playing in my head as I look at this…

RR George Melly is one of my all-time big influences and yes, Smashing Time is a great take on the Swinging Sixties. I’ve always loved photos of the Lord John shop in Soho and it has always interested me as a visual landmark of the point when the 1960s went psychedelic – the music changed, the style changed and the mindset changed. LSD was a big factor in this change and that’s what I wanted to get across in this artwork, that the mural on the building has come alive and is projecting beyond. One bit of music that I had in my mind when making this artwork was Nicky Hopkins’ 1967 instrumental version of the Rolling Stones’ She’s A Rainbow.

…ending at Walker’s Court (Red Light artwork and Sailor Minotaur and Twilight Daughters) relate to the death of Soho’s past walk ups.

CU The end of Walker’s Court is what sort of brought us together, isn’t it Robert? I had more responses to my FB outpouring of grief on this subject than anything else I have ever put on there… My own first entrée to Soho was listening to Soft Cell’s Non-Stop Erotic Cabaret, with its cover of Marc Almond and Dave Ball in a neon-lit doorway underneath The Bridge of Thighs that demarks the former territory of Paul Raymond’s Revue Bar and all those little shops and secret places… Remembered for posterity in Gallon Drunk’s Jake on the Make. Is this really the end of Soho?

RR Walker’s Court was an unique piece of London architecture and walking though it gave me a feeling, a vibe. I think it’s so short-slighted to knock down the old buildings and replace them with glass boxes. They call it progress, but why can’t we have a mix of both old and new? Non-Stop Erotic Cabaret has been a big influence on my work for Spiritus Soho, it evokes the seedy underbelly of the old place. Your post about Walker’s Court was interesting and people really care and are affected by what’s going on in Soho – once you knock it down it’s gone forever.

And thank you for bringing Gallon Drunk’s song Jake on the Make to my attention. Jake Vegas is part of the Soho I know and love and its good to see him leaning on a lamppost playing his stereo in plastic bag, sipping one can of lager and having a chat with him.

Soho will never die. It will keep changing, but maybe it’s the death of the Soho I feel in love with and still love. People are being priced out and that’s sad – and to think it will just become about who can afford to be there is very short-sighted and kills the community that Soho has always had.

"Prelude" the exhibition continues at We Are Cuts, 33a Dean Street. 11 May – 30 June 2017.

Tuesday, 14 February 2017

Piccadilly. My Stop.

Piccadilly. My Stop, by Clayton Littlewood.

I step off the train, onto the escalator, up the stairs, until I’m above ground, on the Dilly Boy ‘meat rack’ of old, on the outskirts of Soho. I walk down Brewer Street, past the ‘closing-down’ Vin Mag, the NCP Car Park, my mood lifting as I enter the village, following in the footsteps of my heroes; Wilde, Crisp, Almond and Horsley.

Walker's Ct. Soft Cell-Non Stop Erotic Cabaret.
I first came to Soho in the 80s, drawn by the Non Stop Erotic Cabaret world of seedy films and sex dwarves. I’d stand outside Madam JoJo’s, gazing up at Marc’s flat, or linger outside the Trident Studios on St Anne’s Court (home to Bolan, Bowie and Freddie), hoping to catch a glimpse of my hero. Then at night, high on speed, I’d climb a rickety staircase on Wardour Street to the The Pink Panther, mixing with rent boys and goth girls, East End crims and West End toffs, drag kings and scene queens, ‘dancing, laughing, living, loving’. That was my Soho, so long ago.

Old Compton St.
From the dying embers of the sex industry (on Walker's Court) I cross the film world of Wardour Street, turning into the gay world of Old Compton Street. On my right, Cafe Espana. On my left, St Quentin’s old haunt, The Black Cat (where he was beaten by ‘the roughs’). The street’s awash tonight, with tourists and hen nights, Hari Krishnas and socialites, a melting pot of London life, thrown together on one street, like a modern day Hogarth painting. I walk past the 2is (the birthplace of British rock and roll), a pack of bears outside Comptons (the new Coleherne clones), bowing my head in remembrance as I pass the Admiral Duncan, breathing in the rich aroma from the 125 year old Algerian Coffee Shop, until I’m standing on the Dean Street crossroads. It was these magical few yards that Daniel Farson captured when chronicling Bacon’s ‘gilded gutter life’, that 50s Love Is The Devil drunken period when he’d stagger from Gaston’s bohemian The French House, to Muriel’s ‘concentration of camp’ at The Colony, recovering over breakfast at number 50, Cafe Torino’s, where a ten foot marionette once perched above the door, and where ‘dark Italians and pale young artists and poets’ would search halfheartedly for jobs. I have a connection to this building. This is where my partner and I once lived, in the damp rat-infested basement, just feet away from Elizabethan plague pits (and where I too would chronicle life on this street).

The Gargoyle Club.
I turn into Dean Street, waving at Maggie, one of the madams from the ‘walk up’, heading for Meard Street, the little cobbled Georgian thoroughfare where the famous Soho clubs The Mandrake and The Gargoyle once stood; where Tallulah Bankhead danced, where Fred Astaire was entranced, where Farson took Josh Avery in the book Dog Days of Soho. The prettiest street in the village. Whenever I’m in Soho I make a point of coming here. I stand outside number seven, the house with the sign that reads,

This is not a brothel.

‘This is not a brothel. There are no prostitutes at this address,’ and I remember. For it was here that Sebastian Horsely, the Soho dandy, once lived. I would ring his bell, the shutters would open on the 1st floor and he’d lean out, in a black silk negligee with a marabou feather–lined neck, his face coated in a fine white powder, his eyes caked in last night’s mascara and he’d purr ‘Hello Romeo, Juliet here. Welcome to Horsley Towers.’ When he died his coffin was wrapped in blood-red tissue paper, draped in jewels and it was placed in a Victorian style horse drawn hearse. And the hearse went all round the streets of Soho. It was as if Sebastian was saying a last goodbye to the village that he loved.

Pam outside the French.
Now I’m back on Dean Street, looking toward The Golden Lion (a one time serial killer haunt). It was here I last saw Pam, the local homeless ‘celebrity’. Wherever I was in Soho, Pam was here too. If I was walking past the Coach and Horses, Pam would step out of a doorway. If I was having a coffee outside Maison Bertaux, her radar would home in on me, dressed in her usual attire; camouflage trousers, donkey jacket, ‘barn owl’ NHS glasses, sporting a number one haircut. ‘Gotta gold one for me?’ she’d mumble. I’d hand her a coin. She’d squint at it, not looking impressed. ‘It’s all I’ve got, Pam.’ Then she’d wrap her arms around me, snuffling into my jacket. ‘Thank you ... Luv you!’ And off she’d trundle, like something from Beatrix Potter. Pam the Fag Lady. The hardest worker on Old Compton Street.

I turn left into Old Compton Street, and look, there’s the woman with the striking eye makeup and the ‘bum length’ multi-coloured plaits. And over there, that’s Michele, the aging trans woman, shuffling past, in a moth-eaten fur. Like an ancient Romanov in exile. This street maybe predominately youth oriented, but the old return, often unnoticed, to remember, to reflect. They see a different Soho. The ghosts.

A minute later I’m at ‘Fruit Corner’, the proliferation of coffee shops on the corner of Frith Street, within sight of Kettners. It is said that Wilde and Lord Alfred Douglas entertained rent boys there. And a couple of decades before them, two other doomed lovers, Rimbaud and Verlaine, socialised in a public house on this street. And this is what I love about Soho - sitting in these coffee shops, by the window, writing in my notebook, watching the mayhem outside - I imagine the artists, the writers and the eccentrics that have flocked here over the centuries, attracted by the cosmopolitan feel, the lure of sex, and the hint of danger that lies within. You can’t transport this vibe. It’s in the brickwork. It’s in their footsteps. The High Street chains maybe moving in, but old Soho is still here if you care to look. There’s nowhere like it in the world. And one day it will rise again. It always does.

The Caravan Club.

A Call for Volunteers. Caravan Club Project. In 2017 organisations across the country mark the 50th anniversary of the 1967 Sexual Offences Act that partially decriminalised homosexuality and the signals it sent out about rights and freedoms. This spring, The National Archives and the National Trust are working with set designers to recreate the Caravan Club of 1934; an illegal gay club that was the subject of a sensational court case in 1934. The space will act as a focal point for a wider programme of volunteer led tours, debates, events, and a guidebook that celebrates the history of club culture c. from 1918 to now in the Soho, Covent Garden and Fitzrovia areas. There will also be a physical and online archival displays curated by The National Archives.We’re offering 25-35 volunteers the chance to be trained as National Trust tour guides as part of the project. In addition to meeting like-minded people and broadening your knowledge, you’ll be invited to a special ‘club night’ for volunteers to thank you for your time.If you’re passionate about LGBTQ+ heritage, love learning about London’s history and are a confident speaker in front of small groups, we’d love for you to get in touch. Click here for more info on volunteering. 


Thursday, 5 January 2017

In the Shadow of the Prince Edward Theatre.

The Prince Edward Theatre has been a familiar Soho landmark for generations of people to enjoy since opening its doors on the 3 April 1930. Its own illustrious history has seen the theatre go through many transformations over the past 86 years. In 1929 the buildings which stood on the corner of Old Compton Street and Greek Street were demolished to make way for the new theatre completely eliminating any trace of the people and business which occupied the address of 41 Greek Street and 53 Old Compton Street.

While the buildings were home to a diverse mix of inhabitants and occupations the silk and linen drapery business was the main trade which eventually spanned several buildings as the business grew from small shops to a wholesale warehouse business.
Here are just a few of the businesses which occupied the space along with Auctioneers, Candle makers and residents living in the rooms above the offices and shops.
1796, 41 Greek Street, Thomas Clarke, Silk Dyer
1807, 41 Greek Street, Stephen Callahan, Silk Dyer
1808, 53 Old Compton Street, William and Joseph Bryan, Linen Drapers

In April 1824 Andrews, Stobbs and Maggs opens at 41 Greek Street 1826, 41 Greek Street, John Jenner and Ambrose Boodle, Linen Drapers and Mercers
1826, The Examiner, 12 November reports

The Evening Standard, 16 October 1828 reports, new proprietors of the “Emporium” Messrs Wagner and Chapman, Greek Street Soho, The business closed in 1830 when William Chapman and George Wagner were declared bankrupt.

In 1862, the final chapter of the address at the corner of Greek Street and Old Compton Street commenced when William Taylor Reddan a butcher’s son from Parson Drove in Cambridgeshire opened his drapers business, William Reddan & Sons Ltd.
William’s empire spanned several buildings 51 to 54 Old Compton Street and 41 & 42 Greek Street with around 14 drapers’ assistants and staff living above the business. Reddan’s was renowned for its Victorian charm and its most discerning cliental on its books which included Winston Churchill and members of the Royal family.

Image of William Reddan & Sons Ltd Drapers shop in 1926, 3 years before the buildings were demolished to make way for the Prince Edward Theatre. In 1899 the building numbers changed to 22, 24 & 28 Old Compton Street.

Members of William’s own family worked within the business, his brother Charles set up his own drapers business in North London. William died in 1920 year after his Wife Emma and was survived by his four children; in 1928 his children Minnie and Charles wound up their fathers 66 year old business and sold the premises to the Hay Hill Syndicate to make way for the Prince Edward Theatre. Reddan’s loyal staff moved on and his trusted store managers were remembered in Williams will.
On Monday 3 September 1928 The Evening Telegraph reports on the close of Reddan’s, One landmark falls into the shadow of another.
Further reading at  Arthur Lloyd Music Hall and Theatre History Website

The Prince Edward Theatre research by mosoho volunteer Sarah Buttery.
Sarah’s own family has a long history in Soho with Italian restaurants; Sarah worked for Kettner’s before its closure last January to make way for the next phase of its life and has researched the history of Kettner’s, the families and people involved in running the business and holds a private archive of information and artefacts which she has collected over the past few years. I hope Sarah will share this untold story with us in 2017.

We offer a bespoke research service to business and individuals. If you'd like to find out more please email:

Saturday, 6 August 2016

Not Fade Away – The Rolling Stones in Soho.

“The streets of Soho were reserved for characters, cappuccino action, nerve, real verve and chat, most of it about music. The streets reeked of chutzpah and skiffle was dead – long live pop.” Andrew Loog Oldham, Stoned.

Although legend has it that Keith Richards and Mick Jagger hooked up on a station platform in Dartford, the Rolling Stones as we know them were born above a pub in Soho. 

The Bricklayers Arms in Edward Street (since renamed Broadwick Street) was where Brian Jones held auditions to form a rhythm and blues group in 1962. Some of the hopefuls replied to his ad in Jazz News, while others - including Mick and Keith - came from Alexis Korner’s Blues Incorporated sessions at the Marquee in Oxford Street. 

The Rollin’ Stones played their first gig at the Marquee in July ’62, and rehearsed different line-ups until Brian, Mick and Keith were joined by Bill Wyman on bass and Ian Stewart on piano. Drummer Charlie Watts climbed aboard last in January 1963. Another regular gig for the Stones in this period was at Studio 51 in Great Newport Street, where Ken Colyer ran his jazz nights.

De Hems.
Meanwhile, down the road apiece, journalists from the music papers in Denmark Street and Shaftesbury Avenue did their quaffing in De Hems bar in Macclesfield Street. It was here, in April ’63, that New Record Mirror editor Peter Jones tipped off pop publicist Andrew Loog Oldham about a certain group playing sensational R&B at the Crawdaddy club in Richmond. Over a vodka & tonic, the suave Mr Jones told Oldham that his paper was running a big piece on the Rollin’ Stones in the forthcoming issue, predicting they will “soon be the leading performers of R&B in the country” – incredible for a group that didn’t yet have a record out.

Those heady early days are captured in the photographs of Terry O’Neill and Gered Mankowitz in the book Breaking Stones, 1963-1965, A Band on the Brink of Superstardom.  O’Neill, who was then Fleet Street’s youngest photographer, walked the Rolling Stones around Soho carrying their brand new bags. They look every inch the travelling troubadours on their way to a recording session in Regent Sound studio (where the group cut their debut album and 1964 single Not Fade Away). 

Breaking Stones, 1963-1965, A Band on the Brink of Superstardom 
The black-coated Stones lined up in front of Tin Pan Alley’s red and yellow Members’ Club is a quintessential snapshot of Soho in the early 60s, with the band already exuding locked-out cool. 

O’Neill’s half of the book is a reportage-style account showing the life of a typical pop group – where the boys had to thank their lucky stars for plates of egg and chips in the BBC canteen, and the makeshift dressing rooms where Keith ran his shaver from a light fitting, while Mick wears a hair net with a fag on the go. The fateful New Record Mirror article, written by Norman Jopling and titled Genuine R&B, is also reprinted inside.

The second half of Breaking Stones features the work of Gered Mankowitz, the son of writer Wolf Mankowitz (author of Expresso Bongo, based on the 2i’s coffee bar scene in Old Compton Street). Gered’s portraits have a strong sense of creative direction and image building – from the band looking through a cage in Ormond Yard (they were dubbed ‘animals’ by the Daily Mirror) to the cover of 1965 album Out Of Our Heads. By the closing frames of the book, when Gered joins the band on their ’65 US tour, the Rolling Stones can no longer walk the streets unmolested. 

The 2i's Coffee Bar. Now Poppie's Fish 'n' Chips.

Their view of the world is from the back of limousines, with cops struggling to control thousands of screaming teenagers causing pandemonium everywhere they go. One heart-stopping moment shows Keith out cold on stage, electrocuted by a microphone stand. We see the band taking control of their own destiny as Mick and Keith become songwriters. The irony is that, by writing their own hits, the Beatles and the Stones started a trend that took the shine off Tin Pan Alley’s song merchants and hastened the end of an era. But, when midnight comes around, the streets of Soho will always echo with the sound of pointy-booted footsteps. Claudia Elliott.

Claudia Elliott is a freelance journalist who has written for BBC's Sounds of the 60s, The Blues magazine and Classic Rock.

Twitter: @Claudia_Elliott

Blogger for BBC Radio 2 Sounds Of The 60s

Terry O’Neill’s photograph of the Stones walking in Soho can be seen at Exhibitionism, a retrospective show of the band’s history. Other Soho-related pieces include guitars and amps bought from Ivor Arbiter’s Sound City shops and gear from John Stephen boutique in Carnaby Street. Exhibitionism runs until 4 September at the Saatchi Gallery.

Wednesday, 29 June 2016

Ghosts of Soho Restaurants.

Soho Restaurants.

Restaurants. Do we regret the loss of Tomato when it turned into Barrafino? No.  L’Epicure when it turned into Waikkiki? Yes. Waikkiki when it turned into Bar Shu? An emphatic no!  In Soho we see them come and we see them go. Very few are mourned to tell the truth. It’s a hard place both physically and financially to run a restaurant.

We lived in Old Compton Street for ten years and could never quite get away from the smell of cooking.  We opened the window onto the street, and it was Opuz and Amalfi.  We opened the bedroom window one story up and it was Margot Henderson making trotters at the French House.  All of our household objects were covered in a very thin film of cooking oil.

A slice of Soho_Sunday Times Magazine 1968.
Below us then was Duke’s Bar, which changed hands several times before becoming Opuz Kitchen (now Pepe’s).  I was then a film critic on The Independent.  One evening I happened to see a Michael Winterbottom film called Wonderland (1999), and thought the location looked familiar. A large part of the film had been made twenty feet below us, without our ever noticing.  Such is Soho.

By 2008 I had become a restaurant critic for the Zagat Guides, the US equivalent of the Michelin Guides, now owned by Google.  Since then Soho has been reviving its foodie credentials, but there’s been a corresponding haemorrhage of good, cheap places to eat.   The area may have gained two or three Michelin stars and won restaurant of the year two years running in the Tatler, but where to the waifs and strays eat these days? Especially now that Stockpot is destined for the stockpot?

Soho dining originally was quite grand. Casanova’s mistress Teresa Cornelys first brought Venetian small plates to 18th century Soho (revived again by Polpo in St James bailiwick centuries later).  At the super exclusive and fashionable Carlisle House in Soho Square the food wasn’t just Venetian.  She had Brunswick pastry-cook Louis Weltje working in the kitchens; he later went to feed up the Prince Regent.  But cheap restaurants? The impoverished poets Rimbaud and Verlaine were able to dine cheaply on food that smelt of home in Old Compton St in the 1870’s.

This golden period of cheap dining was to last about 50 years. Here’s Thomas Burke in 1917 talking about Soho, bewailing to loss of bargain eateries. ‘Gone are the shilling tables-d’hote and their ravishing dishes…not in 1917 do you see Old Compton St as a line of warm and fragrant café-windows…gone are those exotic food which brought such zest to a jaded palate’.

Passport to Soho.

I rather miss L’Epicure with its fantastic gas-filled flaming torches, and its doddery waiters seemingly auditioning for a Victoria Wood sketch.  But there again Bar Shu with its Sichuan Fuschia Dunlop menu, in the same site, is one of my favourite restaurants. I remember that old-school 1950’s Italian family restaurant in Green Court, but it’s now replaced by Yalla Yalla, which is better.

A succession of awful restaurants on the site of Arbutus have been replaced by Arbutus (whose future is now sadly in doubt). One of the best new restaurants in London – Sri Lankan slice of happiness known as Hoppers – is on the site of the little-missed Alastair Little eaterie at 49 Frith St.  Bao offers brilliant cheap food but you have to queue for 40 minutes to get it.

One of the Italian restaurants I remember with particular fondness was Presto on Old Compton St, which was beloved by Derek Jarman, who lived nearby, and Sebastian Horsley.  You only ordered the ravioli, because that’s what Derek did.

Recently Young Cheung’s on Shaftesbury Avenue has closed, a particular sadness to me, not because it was the best restaurant in the world but because it was good and cheap and had the air of old Soho to it.  But it did help that I have a Chinese partner who could read all the special menus only in Chinese.

Also vanished, ECapital was a superb Shanghainese mid-priced restaurant at 8 Gerrard St, where the overpraised Haozhan is now.  Its chef David Tam is now at China Tang at the Dorchester – that’s how good it was.  Delicacies included pressed pig's ears, filleted duck's feet with celery, Lion's Head meatballs, Beggar's Chicken.  The actor Johnny Rhys Meyers was a regular after I took him there.
And we also loved China Experience on 118-120 Shaftesbury Avenue, and I remember the Swindon-based owner telling me he was spending £5,000 week in rent.  They had paper-lantern shadow beef and golden fried prawns.  The subsequent restaurant used the Zagat listed stickers for years afterwards, quite illegally.  Royal Dragon is still in Gerard St, but was ruined like Kettners by a revamp, and we followed our friend who manages it next door to Golden Dragon (her name is Jackie and we’ve known her 25 years).

Soho is full of ghosts, most especially, the ghosts of restaurants.

©Roger Clarke 2016 Twitter
Roger Clarke@Skionar

The Soho Food Feast, Sat/Sun 2-3 July 2016

Supporting Soho Parish a small primary school situated in the heart of London on Great Windmill St.

Sunday, 26 June 2016

Soho and the Cholera outbreak of 1854.

The Modern Myth of Soho’s Dr John Snow.
History often gets things wrong either because of the way in which events are initially reported or as a result of later re-interpretation.

Such is the story of Dr John Snow who persuaded the Board of Guardians to remove the handle of the water pump in Soho’s Broadwick Street at the height of the 1854 cholera epidemic.  Memorialised by the John Snow pub and the replica water pump, which used to stand nearby on the corner of Poland Street, many today are of the mistaken belief that the Victorian doctor was the only scientist to discover cholera is a water-borne disease. 

Water pump in Broadwick St. removed whilst building works carried out.
Snow’s work did not make national headlines and newspapers in the 1850s were not brimming over with reports of Snow’s discovery, or that the handle removal had saved lives. 

Over 480 people died of cholera in and around Broadwick Street between late July and the middle of October 1854, but at the time the role played by Snow was not seen as particularly significant. Contrary to popular belief, the removal of the pump handle did not improve London’s sanitation overnight, and whilst Snow correctly concluded that cholera is contracted by ingesting tainted water, his work was overshadowed by others working in the tight-knit medical establishment and the widespread conviction that cholera was spread by foul-smelling air.

It is not all that surprising, therefore, that following his untimely death in 1858, Snow’s contribution to science was largely forgotten. In Bloomsbury when the new building to house the London School of Hygiene and Tropical Medicine was opened in 1929, it incorporated a frieze around the top of its exterior into which was carved the names of those considered to be of outstanding importance in the field of hygiene. Snow’s name was not included.

Yet today the story of the removal of the pump handle is seen as a symbol for scientists working in the field who fight - as Snow did - for effective and swift action to prevent the spread of epidemic disease.

Snow’s story is remembered because it was re-told in the early twentieth century by the American public health expert, William T. Sedgwick who, in his 1902 textbook, Principles of Sanitary Science and the Public Health, called Snow’s work ‘a monument of sanitary research.’  

Since 1902 science students in the United States have been taught the story of Snow and the pump handle removal and as a result many Americans who come to London are keen to visit Broadwick Street to see the replica pump.  Until recently the replica was situated on the corner of Poland Street, unfortunately some distance from its original position, potentially contributing to a re-interpretation of historical events. 
The John Snow Public House (1973).
Few realise the site of the original pump is to be found closer to the entrance of the John Snow pub. Its position is marked by a single red granite kerbstone and a discreet sign which incorrectly implies that Snow alone discovered cholera is a waterborne disease. Sadly little is known about Snow’s groundbreaking work on chloroform or his conviction that alcohol was a danger to health.

History has re-interpreted Snow’s story so that today the one lasting memorial to this visionary scientist - and one of the Victorian era’s greatest advocates of temperance - is a Soho pub.

Join us on Thursday, 6 Oct 2016, when author, linguist and historian, Amanda J Thomas, will be our guide on an historical journey through Soho in the time of cholera at Blacks Club, 67 Dean St. W1D 4QH.
Doors open at 7pm, talk begins 7.30pm. This is a Free event exclusive to mosoho followers and Blacks members.

Space is limited so please book early to reserve a

Amanda Thomas is the author of ‘Cholera: The Victorian Plague’ (Pen and Sword Books, ; ISBN 978-1783463503), and ‘The Lambeth Cholera Outbreak of 1848-1849’ (McFarland; ISBN 978-0786439898). Further information can be found at and on Amanda’s Amazon Author’s Page:

Saturday, 25 June 2016

Remembering The First Gay Pride.

West End

Wednesday 23rd June 1971, age 35

My first attempt at Gay Pride.
I’m at a Gay Liberation Front meeting at All Saints Church Hall in Notting Hill listening to Micky Burbidge of the counter-psychiatry group describe ‘aversion therapy’ to several hundred outraged gay people. ‘In this so-called “treat­ment,”’ he says, ‘gay victims are restrained and stimulated with erotic photos while electric shocks are administered to their genitals.’ After the cries of shock and outrage have died down, he asks for volunteers to march down Harley Street and paint black crosses on the doors of the guilty psychiatrists. I’m one of the many volunteers who raise their hands.

Two days later, I enter Cavendish Square to see a tiny group with a banner: ‘NO TO AVERSION THERAPY’ but am ashamed to admit I don’t dare join them because they look so few and so vulner­able! I will myself to do it but fail. Nor can I walk away but instead pathetically follow them along a parallel street listening to them chanting:
‘Give us a G! … give us an A! … give us a Y!
What does that spell? – Gay!
What is gay? – Good!
 What else is gay? – Angry!
I silently mouth the replies but still can’t join them which, unfortunately, confirms another thing Micky said: ‘Self-oppression is the ultimate subjugation which only succeeds when gay people believe straight definitions of what is good and bad.’ Chastened but thoughtful, I stumble home alone.

Next morning I realise that yesterday was a watershed for me all the same because acknowledging my own self-oppression is the first step to over­coming it.

West End

Saturday 28th August 1971, age 35

Taking Pride

The GLF Youth Group have organised a protest march against the male age of consent and this time I’ve eliminated any chance of copping out by wearing my jumpsuit embroidered with ‘Alan’ and ‘Gay Love’ on the epaulets and a rainbow on the breast pocket, plus all my gay badges and a peaked cap also embroidered with ‘Gay Love’ and my name. So I already feel ‘Out and Proud’ as I set off for Marble Arch tube where I find more happy gay people than I’ve seen in my entire life – and also discover that just ‘being in the majority’ is a liberating experience in itself.

Now we’re ambling down Oxford Street past crowds of Saturday shop­pers ‘protected’ by the police. It’s true that yesterday I thought people might throw stones at us but today I observe that most simply aren’t interested; a few look scared but many are cheering us on – so, by the time we reach Bond Street I’m so elated I go up to a gorgeous, curly-haired bearded onlooker and say: ‘You’re lovely! Can I kiss you?’

 The Sexual Offences Act 1967 decriminalised ‘homosexual acts between two men over 21 years of age in private’ in England and Wales only’ excluding the police, the army, the air force and the navy.

‘Yes, if you want to,’ he says. So I do! Then I do it again with another! And again, for the rest of the day – till I’ve kissed more divine men than I knew existed! I spot two elderly women huffing and puffing at a bus stop, clearly outraged, but today we’re the majority and they’re the psychologically disturbed.
Photograph, Nigel Robinson.

Every now and again I step out to watch my fellow marchers go by and am struck by what a complete cross-section of humanity we represent. We could be a crowd from any railway station in the rush-hour, from ordinary to amazing – especially the dozen drag queens sashaying at the front – and from my onlooker’s vantage point I carefully note how many protesters pass each minute and so, once arrived in Trafalgar Square, am able to calculate that there are about 900 of us altogether.

At one point I spot a young policeman wistfully shaking his head as he hears us chanting: ‘Two, four six eight, is that copper really straight?’ and when he sees me looking he gives me a secret smile.

Next day every national newspaper has front page photos of our dozen drag queens but not one of our 888 ordinary gay women and men. Thus stereotypes are maintained and our struggle continues.

"Fragments of Joy and Sorrow - Memoir of a reluctant revolutionary" by the late Alan Wakeman.

Gemini Press June 2015 - an Imprint of Fantastic Books Company © ALAN WAKEMAN 2015


In 2017 the BBC is marking 50 years since the partial decriminalisation of homosexuality. The BBC is crowdsourcing photos, memories, film footage, historic documents, club flyers, outfits, protest banners, posters, music, diary entries and much more to help tell the story of LGBT+ life in Britain from 1967 - 2016. Do you have photos of Soho of yesteryear? Footage of past Prides?
Memorabilia from past Soho clubs, pubs or cabarets? We will be making an interactive crowd sourced archive of LGBT+ life and a BBC television series based around some of the stories, objects and memories contributed. Is there something that has defined your life as an LGBT+ person over the last 50 years? Get in touch and let us know what you have at:

Tweet: The BBC is crowdsourcing photos, posters & more to explore #LGBT+ life in Britain 1967-2016. Share what you have:

Monday, 14 March 2016

Cinema and the West End. 1906-1930

Soho’s Silent Cinemas.

Because of his family’s health problems, the diarist George Thomas, whose tenement rooms overlooked Berwick Street Market, didn’t leave the house much. But, still, he managed to keep up with the latest film news from magazines and conversations with friends. Finally, in May 1930, he recorded a personal ‘high-spot’: a trip to see his first ‘talkie’, The Broadway Melody, probably at the nearby Empire Theatre, Leicester Square, which had recently been converted into MGM’s flagship London cinema. George was hooked. ‘From now on’, he wrote, ‘I am an ardent “talkie-fan,” in the sense that I will never refuse the chance of going again.’

The legacy of the West End’s gigantic movie palaces, most of them opened in the 1920s and 1930s, is still around us. As well as the Empire, the nearby Odeon Leicester Square and the recently closed Odeon West End have provided a link to a time when cinema was a large part of the glamour of a trip ‘Up West’. Less visible are the traces of the West End’s earlier film venues: the places that first introduced George Thomas’s fellow Soho-ites to the movies, and that helped make room for cinema in the busy West End entertainment scene.
Cinema and the West End, 1906-1930.

The National Bioscope.
The West End hosted film shows from the earliest days. In February 1896, a few months after the initial screenings in Paris, the Lumière brothers’ new Cinématographe device was given its first commercial demonstration anywhere in the UK at the Polytechnic Institute on Regent Street. Very quickly, the Cinématographe and other rival moving-picture technologies made their way onto the bills of the West End’s variety theatres, where they stayed (in some form or other) for the next two decades. Dedicated film venues took longer to emerge, although there were early experiments. In May 1896, the film pioneer Birt Acres chose ‘a pleasant little hall in Piccadilly Circus’ (at 2 Piccadilly Mansions) to open his short-lived Kineoptikon, arguably the West End’s first full-time cinema. More lasting was the venue opened in 1906 by Hale’s Tours of the World at 165 Oxford Street, which used films and special sound effects to give its visitors virtual trips to far-off locations inside a replica train carriage.

By the time Hale’s Tours closed in 1910, there were already several other cinemas in the West End. Soho proper got its first recorded cinema in 1908, when the French-born chemist Felix Haté opened the ElectricCinema Theatre at 6 Ingestre Place (later re-named the Jardin de Paris). Like many early cinemas, the Electric was a conversion, in this case from a ground-floor residence and an adjoining stable, which backed onto the narrow William and Mary Yard. This small cinema was popular with locals, especially working-class English, French and Jewish youngsters, who were charged rock-bottom prices to watch short programmes of films, accompanied by an electric piano. Also popular with Soho’s children was the National Bioscope at 20 Frith Street (a building best known for once being occupied by Mozart), which was opened by an Italian family in 1910.

Both these side-street cinemas closed before the end of World War I, unable to deal with the increasingly strict safety regulations imposed by the London Council Council, and also struggling in the face of competition from a new breed of purpose-built ‘picture palaces’. An early example was the Piccadilly Circus Cinematograph Theatre, at 43-44 Great Windmill Street, built on the site of a former motor garage. Backed by the cinema magnate Montagu Pyke, it boasted such genteel amenities as a ‘vestibule lounge’, decorated (according to one trade paper) to suggest ‘a drawing-room at a royal palace or ducal mansion’. Even more luxurious was the 700-seat West EndCinema (later the Rialto, and now the Grosvenor Casino), which opened in March 1913 at 3-4 Coventry Street, and soon became a favourite spot for film premieres and other gala events.

Palais de Luxe, Great Windmill St. Courtesy of  Media History Digital Library.

The wartime ban on luxury building meant that no new cinemas were constructed in the West End until well into the 1920s. When building re-started, the trend was for even larger ‘super cinemas’, like the Astoria on CharingCross Road, opened in 1927. But small, more specialist film venues also found a home in the neighbourhood. At the very end of the 1920s, the Avenue Pavilion on Shaftesbury Avenue (on the spot of what is now the Curzon Soho) and the Palaisde Luxe at 17-18 Great Windmill Street (before it was the Windmill Theatre) were pioneers of the repertory cinema movement in London. Their eclectic programmes of ‘classic’ and rare films from Hollywood, Britain and around Europe brought people into Soho from across the city, and allowed the era of silent films in the West End to last a little longer.

With thanks to Dr Chris O'Rourke and Media History Digital Library.

About the author: Dr Chris O’Rourke teaches Film Studies at University College London. More of his research into the West End’s early cinema history can be found on the website London’s Silent Cinemas (

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Soho and the Cholera outbreak of 1854.

The Modern Myth of Soho’s Dr John Snow. History often gets things wrong either because of the way in which events are initially reported ...