Category Archives: London

2012 ➤ How guitar wizard Bert taught two million young Brits to “play in a day”

Bert Weedon, “Mr Guitar” ,Play in a Day ,tutor,Eric Clapton,

ERIC CLAPTON, the only three-time inductee to the Rock and Roll Hall of Fame, once said: “I wouldn’t have felt the urge to press on without the tips and encouragement that Bert’s book gives you. I’ve never met a player of any consequence that doesn’t say the same thing”

➢ The Guardian pays tribute to Bert “Mr Guitar” Weedon, author of the novice guitar players’ bible which has sold over two million copies since it was published in 1957 …

The manual Play in a Day was the bible for generations of budding guitarists in the 1950s and 1960s. Its author was Bert Weedon, an unassuming dance-band musician whose unpatronising approach made him Britain’s earliest expert on the instrumental niceties of rock’n’roll. Weedon, who has died aged 91, was among the first British musicians to incorporate into his style the innovations of American country and western, boogie and rock’n’roll guitarists.

Hank Marvin, Paul McCartney, George Harrison, Brian May and Eric Clapton were among those whose introduction to the guitar was strumming through the exercises in Weedon’s tutor books. McCartney’s testimony was typical: “George and I went through the Bert Weedon books and learned D and A together … / continued online

➢ Play in a Day is still in print — details at Bert Weedon’s own website where he offers plenty of tips and hints

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2012 ➤ East London hipsters: leave your mark on Dazed’s instant history map

Jamie Hawkesworth,Dazed & Confused ,Secret History, East London

Photographed by Jamie Hawkesworth, clockwise from top left: Elijah Butterz, Nasir Mazhar, Tracey Moberly, Kathryn Ferguson, Yang Du, Martine Rose, Missy the dog, James Edson, Charlotte Jansen

➢ Kicking off its Secret History of East London project, the May issue of Dazed & Confused “asks a host of creatives, pioneers and dreamers whether rising rents, silicon roundabouts and a surfeit of artisinal [sic] coffee means that it’s all over for the creative inhabitants of east London”.

The young photographer Jamie Hawkesworth was asked to capture parts of the creative community — portraits of the artists, designers, musicians, publishers etc working from the area — and for his own memories of east London: “I’m always inspired by people that have a really strong character, a real sense of being and an expressive personality that comes across in the slightest of touches.” See above for the result.

Dazed Digital invites you to map your memories on its interactive timeline

Secret History ,East London ,dazeddigital,Cantaloupe

At Dazed Digital: a few hundred yards adrift, a black cross marks the fabled Cantaloupe where boys and girls learned the cruel facts of life about Shoreditch in the 90s


➢ Being taught the rules of London in the Canteloupe [sic] — See black cross added today by Duncan to Dazed Digital’s map. He says: “When I first moved to London in 1998 from Manchester, in fact my second day I think it was, I was in the back of the Canteloupe on Charlotte Road in Shoreditch and got talking to a guy from Manchester who told me the ‘rule of London’ being that you have to be brutal and move through social groups until you find YOUR people … taking the ones from a group you like the most and then surfing through people because London runs deep. It was a ‘big city’ chat. I didn’t really follow the advice, but I remember the advice like it was yesterday… Today (17th April) I walked past the Canteloupe and it has just closed, being refitted…”

Secret History ,East London ,dazeddigital,Cantaloupe,restaurants

Since November 1995 scruffy old Cantaloupe has been the benchmark of cool among the artisan streets of the Wild East: “as essential to Shoreditch as misunderstood haircuts, bubbling new musical hybrids and devil-may-care debauchery”

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1912–2012 ➤ My pal Tucker’s Titanic moment and the truth about the “Unsinkable” Molly Brown

A Night To Remember ,Tucker McGuire ,movies,Unsinkable Molly Brown,centenary, Titanic,Mrs James Joseph Brown,

“Come on girls!” — Tucker McGuire as the Unsinkable Molly Brown in A Night To Remember, 1958. (ITV Studios Home Entertainment DVD)

❚ TUCKER McGUIRE WAS SOMEBODY I’D KNOWN for years before we actually met in London in 1982. She was an American-born actress who’d made her home in England in the 1930s and she played 34 screen roles, according to IMDb, and hundreds more on radio. But the one I knew her from — along with thousands of other British cinema-goers — was her feisty performance in what endures today as the most thrilling version of the Titanic disaster, A Night To Remember, directed as an authentic docu-drama by Roy Ward Baker at Pinewood Studios in 1958.

As well as the stars Kenneth More and Honor Blackman, this J Arthur Rank mini-epic featured a galaxy of British character actors playing cameo roles from boiler-room to bridge. Tucker was cast as the American millionairess Mrs Margaret “Molly” Brown. And she delivers the scene-stealing line everybody remembers, moments after the world’s mightiest ocean liner slipped gently beneath the calm mirror-like North Atlantic 100 years ago today.

Though Lifeboat No 6 had capacity for 65 people, it held only 19 women and four men who now stared in horror and awe as the Titanic ultimately stood up on end then vanished. Unexpectedly, say eye-witness survivors, the clear night air was suddenly torn with an appalling crescendo of wailing from the hundreds of fellow-passengers struggling for their lives and drowning in the bitter freezing water.

A Night To Remember, DVD, Blu-Ray, Titanic,Roy Ward Baker,Pinewood Studios

A Night To Remember, 1958: the most accurate telling of the Titanic tragedy in its day thrilled audiences long before CGI effects were invented. This mighty mock-up of the doomed liner was built in a field at Pinewood and water scenes shot at Ruislip Lido. (2012 DVD cover from ITV Studios Home Entertainment)

In Rank’s movie, 44-year-old Mrs Brown grabs her oar and insists they turn their lifeboat round and return to save the desperate swimmers: “Come on girls! Row!” She is straight-away rebuked by quartermaster Robert Hichens, the 29-year-old crewman at the helm (who had been at the wheel of the Titanic itself at the moment of impact). He yells that turning back risked swamping the boat with too many people, whereupon the millionaire women’s rights activist becomes immortalised for ever as the heroic and “Unsinkable” Molly Brown. She tells him: “You get fresh with me son, and I’ll throw you overboard.”

It took 40 minutes after the Titanic sank for the wails of 1,514 doomed souls to be silenced. Hichens gloomily allowed the women to row around for a while, then his boat joined up with Lifeboat No 16 to await rescue in the silent night. With the dawn, a total of 710 survivors were taken aboard by the RMS Carpathia.

Titanic, Lifeboat No 6, Frederick Fleet ,Carpathia,Robert Hichens, Unsinkable Molly Brown,

Titanic’s Lifeboat No 6 rescued in 1912: Quartermaster Hichens can be seen at the rear manning the tiller and the look-out who first saw the iceberg Frederick Fleet is seen at the bow preparing to catch a tow-line from the Carpathia. Is it too fanciful to imagine the large hat at centre belonging to the “Unsinkable” Molly Brown?

❏ Tucker McGuire is among 13 actresses, including Debbie Reynolds, to have portrayed the “Unsinkable” Molly Brown, and like so many thespians, proved to be a hugely entertaining character when we met 30 years ago. She had been widowed three years earlier so wanted to widen her social circle by joining an evening class I used to give in creative writing in central London. She didn’t let on about her most famous role for a long while, but when she did I knew exactly who she was, along with the rest of the nation’s vintage movie fans who had seen A Night To Remember on TV seemingly every other Sunday afternoon since 1958.

Though at 69 she was old enough to be granny to most of us, Tucker was vivacious company and after the class often invited the regulars for drinks at her basement flat where she’d show us snapshots from her career and her yearbook for the class of 1930 at Handley High School in Winchester, Virginia. As part of our written coursework she submitted an affecting review of Katherine Mansfield’s Taking the Veil, “an unhappy daydream with a happy ending — a perfect love story. It has drama and comedy and leaves one glad to have read it”. In March 1982 our group went to the Lyric Theatre in Hammersmith to see Patricia Routledge and Paul Eddington starring in the newest comedy by Michael Frayn. It proved achingly hilarious and Tucker’s verdict was, in true billboard tradition, that “this one will run and run”. How prescient: a brilliant revival of Noises Off is playing to packed houses at the Old Vic right now.

Tucker died in 1988. Despite her extrovert demeanour, she’d never talked about her family or why she had left America so young. Last month’s DVD rereleases of A Night to Remember gave new life to Tucker’s line “Come on girls!” and prompted a sentimental search session with Google which revealed a daughter Janie Booth, who is also an actress here in Britain. Anne Tucker McGuire was born in Winchester, Virginia, where her father was President of the American Medical Association. Tucker’s first mentions in England include playing in Three Men on a Horse at the Wyndham’s Theatre, London, and making the Albert de Courville film Strangers on Honeymoon, both in 1936.

Tom Macaulay,Dark Stranger, Tucker McGuire,

Tucker’s husband, Tom Macaulay, in Dark Stranger, 1946

Her old Harrovian husband called himself Tom Macaulay as an actor but his fuller name Thomas Macaulay Booth resonates with British history. The Macaulays included Zachary, the 18th-century slavery abolitionist, and Thomas Babington, the celebrated historian and Whig politician.

The Booth family was no less distinguished: Charles Booth was a 19th-century social researcher whose study of working-class life in London led to the founding of old-age pensions. His greatest innovation, documented in Life and Labour of the People in London, included the socially coded Maps Descriptive of London Poverty 1898-99, and revealed that 35% were living in abject poverty.

A Night To Remember ,Tucker McGuire ,movies,Unsinkable Molly Brown,centenary, Titanic,Mrs James Joseph Brown

Two faces of Mrs James Joseph Brown: the real Denver socialite and women’s activist around 1912, and (right) feisty Tucker McGuire in the 1958 Titanic movie A Night To Remember


❏ Back in the real world of Mrs James Joseph Brown, “Molly” had been born Margaret Tobin in 1867 to Irish immigrants in Hannibal, Mo. From becoming a teen bride in Denver, she struck it rich with her husband, joint-owner of a Colorado gold mine, and enjoyed devoting her life to philanthropy and campaigning for labour rights and women’s suffrage. Mrs Brown eventually separated amicably from her husband and in 1912 went to explore Egypt with Colonel John Jacob Astor and his wife Madeleine, stars of New York society. All three boarded the Titanic at Cherbourg, along with their servants, to return to the States. In the ship’s final hour, the chivalrous Colonel kissed his wife goodbye, saw her into a lifeboat and went to his death smoking a cigarette by the bridge. He was the richest passenger aboard the Titanic, and left a $150 million fortune ($11.92 billion, today).

Mrs Brown died in 1932 pursuing another lifelong passion — acting. Incidentally, she didn’t use either of the nicknames Molly or “Unsinkable”. These were given her by a gossip columnist in her hometown of Denver, Colorado.

A Night To Remember,centenary, Titanic,John Jacob Astor,lifeboats

“Women and children first”: The Edwardian code of chivalry prevented men from boarding the Titanic’s 20 lifeboats before all the women had done so. The grim truth was that there was lifeboat capacity for only half the passengers and crew. The agony for American millionaire John Jacob Astor was deepened by knowing his wife Madeleine was pregnant with their first child. (Illustration by Fortunino Matania)


➢ Museum located in her Denver home tells story of Titanic survivor Molly Brown — By Colleen Slevin, Associated Press

➢ A Night to Remember (1958,digitally remastered DVD)

➢ Criterion Collection: Night to Remember (1958, Blu-ray US import)

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➤ Trimphone aside, can you spot the designs that changed the look of Britain over 60 years?

British Design,exhibition ,Innovation, Modern Age, Victoria & Albert Museum,

British Design catalogue collage: road signs, high-rises, Kodak cameras, postage stamps, computers and Henry Moore — all are exhibited here

“Britain has since 1948 sustained an extraordinarily vigorous creative culture, even against a background of manufacturers leaving the stage like the instrumentalists in Haydn’s Farewell Symphony. It’s an inclusive culture, hence tapestries and Jaguars. It’s a culture that swoops artfully between high and low. It’s a culture that could import, with characteristic fairhandedness, both John Betjeman and Nikolaus Pevsner. The one in thrall to the village, the other in thrall to steel and glass. Wonderfully, each was a founder of The Victorian Society. Their contrasting spirits dominate British design in the years before The Beatles’ first LP. Thereafter, the Britain of crumpets-with-vicar became the undisputed global capital of youth culture whose furious organic vitality still invigorates business life.”

➢ Stephen Bayley, former chief executive of the Design Museum, writing in The Independent

Denys Lasdun, University of East Anglia,architecture

Architect Denys Lasdun’s University of East Anglia, 1962-68: raised walkways, striking ‘ziggurats’ and no building on campus more than five minutes’ walk away

❚ AN EXHIBITION TITLED British Design 1948–2012: Innovation in the Modern Age, is bound to infuriate as much as it excites. The grimly claustrophobic galleries that host temporary shows at the Victoria & Albert Museum abound with iconic and nostalgic everyday objects, rather as a good car-boot sale does. Yet the omission of much imaginative British media is unforgivable — the template for newspaper colour supplements laid out by The Sunday Times plus a serious investment in photo-reportage, for example… the more-British-than-British essence with which the American Joseph Losey propelled a whole chapter of stylish cinema… the sci-fi television fantasies of The Prisoner or Doctor Who…

Twiggy , Mary Quant ,miniskirt,Swinging London, youth culture

Twiggy models the Mary Quant miniskirt, 1965: named after the designer’s favourite car, the mini encapsulated the youth culture of Swinging London — energetic and unconventional

What the V&A show’s three themes propose — under the headings Tradition & Modernity, through the Subversion of pop, to Innovation & Creativity — amounts to a vital module for every art or design student in the education system, whose forebears, thank goodness, benefited from the shake-up imposed in 1960 by the Coldstream Report.

Ignore most dithering reviews of this hot-and-cold exhibition. Instead, do savour the argumentative Stephen Bayley, writing in that onetime model of new newspaper design, The Independent. He nails the paradox of this show in a daydream: “I became drunk on memories of whimsy, charm, gentility, wit and Macmillan-era futurism. My imagination never turned to the ruins of industry, the loss of technological competence, the barrenness of every British city except London and the fact that the economy of our once-busy island workshop is now based on the theory and practice of a dodgy casino.”

Bayley then comes to the nub of the matter: “The tricky thing is ‘design’ itself. It’s often muddled not only with ‘innovation’, but with invention, fashion and taste-making, sometimes even with art. After more than 150 years of promoting design at the V&A, no one seems to have any very clear idea of what it is. If it is a real subject, it must have a discipline. But what discipline connects Spence’s Coventry Cathedral with Damien Hirst’s 1997 Pharmacy restaurant in Notting Hill, west London, each of which features here?

“If, as the design lobby often insists, ‘everything has been designed’, then everyone is a designer. So what special qualities do professional designers bring to any task?”

British Design,exhibition ,Innovation, Modern Age, Festival of Britain, Skylon, Concorde

Notions of modernity: at the Festival of Britain, 1951, the Skylon designed by Powell & Moya was rendered by the practice’s junior architect James Gowan as a monumentalised missile, and symbolised the dawning age of science. In 1979, BA’s sixth Concorde took off on its maiden flight

Aim Bayley’s question at three triumphs of design in the V&A show: the kinetic balancing act of the Festival of Britain’s Skylon structure; the bird-wing aerodynamics of Concorde miniaturised at the V&A in a 20-ft model; and the most thrilling artefact in the entire show: the skilfully lit Jaguar E-Type from 1961 which rival manufacturer Enzo Ferrari declared “the most beautiful car ever made”. Drop down to one knee and view the Jag diagonally from any corner and wonder at its lack of straight lines. One curve after another creates changing perspectives that conspire to emulate speed even as it stands motionless before you. Seldom will you hear both men and women purring over such a seductive silhouette! Seldom will you ever see such a thrilling manmade object.

There are a good number of breathtaking moments in this show that beg you to ask why and how an exhibit stopped you in your tracks, though not as many as you would wish.

Malcolm Sayer, Jaguar E-Type,sports car ,

Relish the curves: designed by Malcolm Sayer, the Jaguar E-Type 3.8-litre sports car was launched at the Geneva Motor Show in 1961 as a two-seat coupe or convertible, with a top speed of 150 mph. The car’s shape is the epitome of speed

➢ British Design 1948–2012: Innovation in the Modern Age, runs at the Victoria & Albert Museum, Mar 31 until Aug 12

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➤ Proustian frissons aplenty as Derek Ridgers’ photographs revisit three decades

Derek Ridgers, photography, exhibition, Society Club,Morrissey

Derek Ridgers in Soho last night: his portrait of Morrissey a bridge between two eras. Photographed by Shapersofthe80s

❚ SOME PHOTOGRAPHERS ARE as extrovert as their famous sitters, but Derek Ridgers has captured the essence of British street style and achieved a uniquely influential status by tip-toeing through the margins of life, feather-footed as the questing vole. Anyone who has followed the Punk and New Romantic scenes recognises the Ridgers types — “transient beings moving across an urban landscape, experimenters, flamboyant souls who cared more than anything about how they looked and whose greatest fear was of being ordinary”, as writer Val Williams noted in the Ridgers photobook of 2004, When We Were Young: Club and Street Portraits. His straight-up photographic style pinned those clubbing butterflies like curios into the display case labelled Swinging 80s. They trigger the involuntary remembrance of the texture of an era as readily as cake did for Marcel Proust: each image has the potential to become the “vase filled with perfumes, sounds, places and climates”.

Throughout April and May we may relish the Ridgers back catalogue in a new exhibition titled Unseen at Soho’s Society Club. The selection documents celebrities and street stylists from 35 years of commissions by music mags and national press. Here is an engaging mix of concert shots and powerfully intimate portraits in which eye-contact is key: Nick Cave, David Lynch, J G Ballard, Boy George, Leigh Bowery, Tom Waits, The Cramps, Mick Jagger, plus the image of Keith Richards which is currently touring in the Sunday Times Magazine 50th anniversary show.

Another exceptionally striking portrait has the singer Morrissey eyeballing the Ridgers lens with an intense gaze that definitely says misunderstood but could just as easily be saying cussed. It was shot in London in 1985, year of The Smiths’ second album, Meat Is Murder, when Moz began raising the temperature with political views about the Thatcher government and the monarchy.

Derek Ridgers, photography, exhibition, Society Club, Keith Richards

Soho last night: Ridgers, Richards and a new snapper called Tracy Jenkins. Photographed by Shapersothe80s

Ridgers said: “He’s a bit of a strain to photograph in the sense that there is so little of his personality coming back at you. Or at least there wasn’t in those days. Maybe he was very shy but he seemed taciturn in the extreme. The two times we met, he gave the impression of not wanting to say boo to a goose. He honestly hardly said a word to me. Nothing at all like the extremely opinionated personality that comes across in interviews these days.”

The two characteristic Morrisseys of then and now — the one taciturn, the other curmudgeonly — bestride three decades which completely reinvented British notions of youth culture, music, sexuality and success, yet at last night’s preview it was salutory to be pulled up by a 26-year-old illustrator among the guests who had to ask: Who was Morrissey?

All the more reason to buy ourselves a cool black-and-white print as a Proustian trigger, either directly from the Ridgers Archive or from an earlier catalogue viewable at the Society Club. Titled Previously Unpublished, this takes us from an iconic 1982 lineup of the ever-evolving band The Fall, through Culture Club, John Galliano, Roddy Frame, Tim Roth, into the 90s of the Charlatans, Ray Winstone, Lee Scratch Perry and a pensive Kylie Minogue to a raunchy Boo Delicious and more in the new century.

Ridgers has published three books of photographs, has exhibited frequently, and was a judge in How We Are Now, an online photography project launched by Tate Britain in 2007.

➢ Derek Ridgers Unseen runs until May 31 at the Society Club, 12 Ingestre Place, London W1F 0JF

➢ Previously Unpublished can be bought in various formats from Blurb, “a creative publishing service”

➢ 50 Years of The Sunday Times Magazine is viewable in Bristol, Manchester and Birmingham until June

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