➤ 80s shapers win 2010 New Year Honours for fashion, music and walking in space

Katharine Hamnett, Fashion Aid

Fashion Aid 1985: Katharine Hamnett’s dazzling style, plus slogans

❚ IN THE FASHION WORLD, protest T-shirt designer Katharine Hamnett, 63, and Raymond Kelvin, 55 (founder of Ted Baker), are appointed CBEs, an order of chivalry granted twice a year by the British monarch for exceptional public service. Hamnett graduated from Saint Martin’s School of Art in 1969. Ten years on, she launched the Katharine Hamnett label and her first protest T-shirts bearing slogans such as Choose life, Worldwide nuclear ban now, Preserve the rainforests, Save the world. The British Fashion Council declared her designer of the year in 1984, when her designs became popular with pop stars including Wham! and Madonna. That year she famously met the then-prime minister Margaret Thatcher at a Downing Street party wearing a T-shirt proclaiming “58% don’t want Pershing” (the US ballistic missile). The meeting made news across the world and Vogue called it one of the most iconic moments in fashion. Hamnett remembers: “She didn’t notice it at first, but then she looked down and made a noise like a chicken. Then quick as a fishwife she said: ‘Oh well we haven’t got Pershing here, so maybe you are at the wrong party’, which I thought was rather rude as she had invited me.”

➢ New Year Honours reported by the BBC

Sandy Powell, Gwyneth Paltrow, Shakespeare in Love, OBE, Oscars

Gwyneth Paltrow sports her blue number from Shakespeare in Love: Sandy Powell’s costumes drew on half a century of Elizabethan design

❚ OSCAR-WINNING COSTUME DESIGNER SANDY POWELL, 50, receives an OBE for services to the film industry. She studied theatre design at Saint Martin’s and won her third Oscar earlier this year for The Young Victoria. Her previous wins were for Shakespeare In Love, in 1999 and The Aviator, in 2005. Of her job, she once said: “A costume designer’s contribution is to help make some believable characters, that’s all.”

Annie Lennox, Eurythmics, Rolling Stone

Annie Lennox: Cover girl in 1983. Photographed by C J Camp © Time Inc

❚ ABERDEEN-BORN SINGER ANNIE LENNOX, 56, is appointed an OBE for work fighting Aids and poverty in Africa. As one half of the Eurythmics, she brought her own unique voice and style to the music scene in 1981 with the hit Sweet Dreams, and later Thorn in My Side and Walking on Broken Glass. Today she is an Oxfam ambassador and, inspired by Nelson Mandela, founded her SING campaign to raise awareness of Aids in Africa. She said of her OBE: “It either means I’ve done something terribly right — or they’ve done something terribly wrong.”

➢ Entertainment honours reported by the BBC

Buggles, Video Killed the Radio star, Trevor Horn

Trevor Horn, left, as one half of Buggles, 1979

❚ RECORD PRODUCER TREVOR HORN, 61, who dominated orchestral pop in the 80s, receives a CBE, as does Howard Goodall, 52, National Ambassador for Singing, who created theme tunes for TV shows that included Blackadder. During Horn’s influential career his epic treatment made ABC’s The Lexicon of Love one of the masterpieces of 1980s pop, and enhanced hits by Frankie Goes to Hollywood on his own ZTT label, the Pet Shop Boys, Robbie Williams, Tina Turner, Simple Minds and Grace Jones’s mesmerising Slave To The Rhythm. He was named best producer at the Brit awards in 1983, 1985 and 1992, and won a Grammy in 1995 when Seal’s Kiss from a Rose was named record of the year.

❚ TALKING OF BLACKADDER, its producer John Lloyd, 59, also becomes a CBE — he also oversaw the landmark 80s comedy series Not The Nine O’Clock News and Spitting Image.

BRITISH ASTRONAUT RECALLS
THE SMELL OF SPACE

Atlantis, Nasa, Piers Sellers,shuttle, STS-112 crew portrait

Atlantis shuttle crew, summer 2002: Sandra Magnus, David Wolf, Pamela Melroy, Jeff Ashby, Piers Sellers, and the Russian cosmonaut Fyodor Yurchikhin © Nasa

❚ HE WAS NEVER A NEW ROMANTIC, but astronaut Piers Sellers, 55, from Crowborough, East Sussex, is from the same generation. He is one of the nine Brits who have flown in space and he receives an OBE for services to science. Dr Sellers had to become an American citizen to be considered by Nasa, and then flew three missions aboard the shuttles Atlantis and Discovery in 2002, 2006 and again this year. He has carried out six spacewalks to continue the assembly and maintenance of the International Space Station. With the shuttle programme coming to an end, Dr Sellers — who took a degree in ecology and a PhD in climate simulation — is set to return to Nasa Goddard to resume his science pursuits.

Nasa, patch,space shuttle,Atlantis, STS112

Nasa patch for Atlantis mission STS112

When I met him and the Atlantis crew at the US embassy in London, touring the world in 2004 to talk up the Nasa programme following the Columbia shuttle disaster, the most startling thing he said was that space had a unique smell of its own: “Like burning steel.” The most shocking aspect of this observation is how the smell is transmitted. Smells comprise minute particles of material, which stimulate the sensory receptors in the nose. They could be as small as molecules, or ions, but to notice them at all space-walking astronauts must inevitably have brought them inside the shuttle from the exterior working environment of space. You hesitate to mention the word “alien”, but surely these particles have the potential to infect us earthlings with, er, whatever?

Each of the crew seemed to have been handpicked for their social skills, so during the party I questioned them all on the nature of this smell. Unprompted, every astronaut provided roughly similar descriptions of the smell of space — a mixture of sharp, smoky, acrid, burned metallic odours that permeate their Orlan space suits.

Michael Fossum,Piers Sellers, spacewalk,Nasa, space shuttle, Discovery, mission STS121

British astronaut Piers Sellers during the third spacewalk from the shuttle Discovery, July 2006: photographed by Michael Fossum, whose reflection is visible in the visor

When I asked mission commander Jeffrey Ashby about the risks of contamination, he said that in the early days of space flight, astronauts were always quarantined on returning to Earth and kept under observation for many days. With the passing of the years, and a marked absence of spiny creatures bursting out of people’s chests, quarantine was simply abandoned. The reasoning is that the extreme temperatures in the vacuum of space (+270 degrees C to –270 degrees C) would have exterminated any viral threats — especially the searing heat that had created the smell of space by burning the shuttle’s steel exterior, similar to that from an arc-welding torch used to repair heavy equipment. Yes, but, I hear you say: What about the cockroach?

➢ More from Nasa on the smell of space

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1980 ➤ Secrets revealed about the SAS, arming Afghanistan and death of the tanner

Yes Minister, Nigel Hawthorne, Paul Eddington

Rt Hon James Hacker MP (right): “This is a democracy, and the people don’t like it.” — Civil servant Sir Humphrey Appleby: “The people are ignorant and misguided.” — Hacker: “Humphrey, it was the people who elected me.” (From Yes Minister, BBC TV’s satirical sitcom set in Westminster, launched Feb 25, 1980)

❚ PREVIOUSLY SECRET UK GOVERNMENT RECORDS are routinely declassified after 30 years. Cabinet documents for 1980 were released by the National Archives at noon today, Dec 30 2010. Here’s a selection of titbits most of us have been unaware of…

➢ SAS to be given immunity for killing foreigners — The televised storming of the Iranian embassy building in London in 1980 boosted the SAS’s international prestige and generated invitations to deploy them on overseas hostage rescue missions. (Guardian)

➢ Margaret Thatcher in cover-up after Czech spy exposed John Stonehouse — Did you know that John Stonehouse, the former Labour minister who “did a Reggie Perrin” and vanished abroad, was said to have been a spy? (Guardian)

➢ Britain secretly agreed to back Afghan resistance fighters after the Soviet invasion of their country — One faction of the Mujahideen fighters, who were also covertly funded by the CIA, went on to become founding members of the al-Qaeda terrorist network. (Daily Telegraph)

➢ Unflappable Douglas Hurd stunned into silence during Afghan revelations — UK Confidential on the BBC iPlayer

Ahmad Shah Massoud ,Afghanistan, 1983, Nagakura

Ahmad Shah Massoud (left): on the ground in Afghanistan in the Panjshir province of Afghanistan 1983. Photographed © by Hiromi Nagakura

❏ Listen online to BBC Radio 4’s response to today’s revelations in an excellent edition of UK Confidential chaired by Martha Kearney. After hearing that western powers had decided in 1980 to provide “discreet support for Afghan guerrilla resistance”, former Labour minister Roy Hattersley and former BBC chief political correspondent John Sergeant wrong-foot Douglas Hurd who had been a foreign office minister at the time. How much aid was spent on arms? Had we armed the wrong people? Kearney herself notes that “arms were going to Shah Massoud” (later dubbed “the Afghan who won the Cold War”.) Twice Hurd is forced into silence, as he formulates his eventual reply: “I’m not saying. Of course I’m not saying.” Terrific radio, from the 32-minute mark.

Other topics include Margaret Thatcher’s patrician scolding by Harold Macmillan… her furious row with the Bank of England… her moderate reaction to early trade-union strikes … and how the government tackled an Iranian warship on the River Tyne.

➢ Cabinet ministers feared 30 years ago that MPs were abusing their expenses — Margaret Thatcher was warned that there was a “grave risk of serious public scandal” over Parliamentary allowances and that some politicians may have to be prosecuted. (Daily Telegraph)

Harold Macmillan, Supermac, Vicky

Harold Macmillan: depicted as Supermac by the cartoonist Vicky

➢ Macmillan’s 11-page private warning to Margaret Thatcher — “Supermac”, the Conservative prime minister from 1957-63, sent a remarkable letter criticising the PM’s economic strategy. (Guardian)

➢ The sixpence was killed off to raise £3.5m by melting down the old coins — Margaret Thatcher ordered the “death of the tanner”, introduced in 1551 and made obsolete by the decimalisation of sterling. The last coins were struck in 1967. (Daily Telegraph)

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1980 ➤ As Spandau play in Heaven, all around we can hear the new sounds of 1981

Spreading the New Romantic message, including clothes by PX: Spandau Ballet play Heaven, Dec 29, 1980. Photographed © by Shapersofthe80s

❚ SIX WEEKS IN THE CHARTS with their debut single, To Cut a Long Story Short, on this day in 1980 Spandau Ballet play at Heaven, the biggest disco in London, and probably in Europe. Their average age is 20. A year after their unveiling at the Blitz club, this is still only the band’s tenth public date, and only their second concert since signing to Chrysalis in October. Their policy is to maintain an air of exclusivity, to thwart the backward rock press by playing admission-by-invitation dates in nightclubs rather than conventional rock venues, and to rely on stylish videos to stress the message that here was a new generation of new sounds and, equally important, new styles. Take it on trust that for the whole of 1980 Spandau Ballet had been the most achingly fashionable pop group on the planet, dressed by the designers of the moment. Significantly, as the first club band to win a record deal, they had been the only New Romantics to appear on Christmas Day’s year-ending edition of Top of The Pops, the BBC’s flagship music show. (Yes, Adam and the Ants also appeared, but he was “glam-punk”, important distinction, as Marco Pirroni confirms.)

On Dec 20, Visage, the Blitz club’s seven-piece studio line-up had entered the singles chart with Fade to Grey. The same week saw Le Kilt’s Christmas party, the new New Romantic club that had opened almost as soon as Steve Strange’s clubnights at the Blitz had ceased. Le Kilt’s co-host Chris Sullivan had murmured something about putting together a band he called Blue Rondo à La Turk. Not to be outdone, i-D’s cub editor Perry Haines had mentioned not only a band he was managing, Alix Sharkey’s Stimulin, but tonight in Heaven he now talks of his involvement with Duran Duran, the Rum Runner house band we’d all run into at Spandau’s November show in Birmingham.

Depeche Mode, Daniel Miller, Dreaming of Me, synthpop

Basildon’s finest: Depeche Mode recorded their first single, Dreaming of Me, in December 1980, after a verbal contract with Daniel Miller’s synth-driven label Mute

Here too is Daniel Miller, an anarchic electronic musician with his own label called Mute and a recording studio in an old church where he had set up all his synthesisers. Only last night he’d been watching Depeche Mode, an unsigned teenage band from Essex, playing the Bridge House pub in east London where they were regulars — he’d heard them play their technopop tune Dreaming of Me, helped them record it and they’d all agreed it would make a great first single.

All round us in UK clubland platoons of amazingly young bands making dance music were lining up to storm the charts in the New Year. By the spring, Spandau Ballet was staging the first Blitz invasion of America with a live concert plus fashion show by a gang of Blitz Kids whose average age was 21. During 1981 the group decided against a tour as being “too rocky”, and played only 10 live dates in the whole year — OK, plus a fortnight at the Ku club in Ibiza that summer, which counted as one booking. While the movement took root, staying cool seemed to suit the style of the times.

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1980s ➤ So many shapers shaped the decade that people think was all down to Margaret Thatcher

A handful of key books this year have added to our estimations of that much demonised decade, the 1980s, and to our understanding of its cultural shifts. Shapersofthe80s has of course always drawn a distinction between the youthful creativity of the earlier Swinging 80s, and the ethos that finally took hold in Britain and earned the name of “Thatcherism”

Loadsamoney, Harry Enfield, Thatcherism1980s

Emblem of the 80s: Harry Enfield’s yob character, Loadsamoney. © Rex features

➢ Rejoice, Rejoice!: Britain in the 1980s,
by Alwyn W Turner (Aurum Press, 426 pages)

Alwyn Taylor, Rejoice!,1980s,book❏ A SHARP AND WITTY ANALYSIS of the 80s came this year from cultural historian, Alwyn Turner. Its savage title Rejoice! Rejoice! echoes the triumphal cry that burst from the lips of prime-minister-turned-warrior-queen Margaret Thatcher in 1982 when victory was declared over Argentina in the Falklands War (910 dead, 1,965 casualties). Reviewing the book in The Sunday Times, Dominic Sandbrook wrote: “One of the pleasures of Alwyn Turner’s breathless romp through the 1980s is that it overflows with unusual juxtapositions and surprising insights. Who knew, for example, that not only Alan McGee’s Creation Records but the bawdy magazine Viz were set up with money from Thatcher’s Enterprise Allowance Scheme, dismissed at the time as a feeble attempt to disguise the horrors of mass unemployment?

“Where this book really shines is on the intersections between politics and popular culture… For Turner, the defining characteristic of the 1980s was its obsession with size: big money, big hair, big issues, big politics. But what also emerges from his account is the sheer, unashamed nastiness of public life during the Thatcher years. This was a time, after all, when Thatcher’s cheerleader [disc-jockey] Kenny Everett publicly joked about kicking [the elderly opposition leader] ‘Michael Foot’s stick away’, while thousands chanted ‘Ditch the bitch’ at anti-government demonstrations.

“It is a refreshing surprise, however, to read a book on the 1980s in which Thatcher, while naturally dominant, does not entirely drive out all other voices. As Turner admits, the Iron Lady cast a larger shadow over national life than any other prime minister since Churchill: the style magazine i-D, a quintessential product of the decade, called her ‘almost a fact of nature’. But the results of her revolution were mixed at best, and the irony is that in many ways her policies had the opposite effect from what she hoped.”

Turner is not alone in presenting Harry Enfield’s comic character Loadsamoney as the emblematic figurehead for Thatcherism, a swaggering slob waving a fistful of banknotes while yelling, “Look at my wad!”. In the Financial Times Francis Wheen follows through: “Even if many Britons eventually accepted [Thatcher’s] economic remedies, Turner infers in his history of the 1980s, Rejoice! Rejoice!, ‘culturally the country was unconvinced’. Ideals of enterprise were all very well but winning at all costs, with no thought for the loser and no care for the way one played the game, ‘seemed somehow wrong’. The British still sided with heroic failures and doomed underdogs such as the hopeless ski-jumper Eddie (the Eagle) Edwards.”

30-UP FOR A CLUBBING TREASURE

➢ Gaz’s Rockin’ Blues: The First 30 Years,
by Gaz Mayall (direct from Trolley, 280pp)

Gaz Mayall, Jarvis Cocker, Radio 2,

Gaz Mayall on 6Music: celebrating his 30th clubbing anniversary talking with Jarvis Cocker on The Sunday Service in October. © BBC

❏ GAZ MAYALL IS one of UK clubbing’s national treasures, and the paperback Gaz’s Rockin’ Blues is a nostalgic first-person collection of great club photos and comic-strip flyers that tell their own tale of London’s oldest continuous club-night, where Tracey Emin was once the cloakroom girl. The lad in the hat, who has kept his tiny nightspot jumping since July 3, 1980, supplies a brief but breathless string of anecdotes about live guests such as Prince Buster, Desmond Dekker and Joe Strummer. Gaz was one of the pathfinders who perfected the then brilliant notion of throwing a party every Thursday and playing his favourite rebel dance-tunes. As the 22-year-old Gaz told Shapersofthe80s that year: “People come here for good music”, which essentially meant his own heritage as a kid raised amid rock royalty and steeped in ska, reggae, rockabilly, rock and R’n’B.

Gaz's Rockin Blues, book, 1980sOn his club’s 30th anniversary, Kate Hutchinson wrote in Time Out: “It’s still going strong: you’ll find throngs of people swinging to guest live bands and DJs every Thursday night at the Soho basement dive St Moritz. It’s also the kind of hangout that keeps new generations coming, so the crowd always stays fresh. Those who aren’t old enough to go yet can mingle with everyone else at Gaz’s sound-system at Notting Hill Carnival, where he’s been causing a roadblock since 1982, or at his stage at Glastonbury, which he has run for the past three years.”

SHUFFLING BETWEEN STRAVINSKY AND ARMSTRONG

➢ The Music Instinct : How Music Works and Why We Can’t Do Without It, by Philip Ball (Bodley Head, 464pp)
➢ Listen to This, by Alex Ross (Fourth Estate, 400pp)

The Music Instinct, Philip Ball, books❏ TWO IMPRESSIVE BOOKS THIS YEAR have dissected how music works its magic. They are not posited on the 80s at all, though they may well be emergent phenomena of our era of musical diversity. Critics heaped praise on Philip Ball’s The Music Instinct, an engaging survey by a popular science writer. Bee Wilson in The Sunday Times called it a “wonderful account of why music matters, why it wrenches our souls and satisfies our minds and sometimes drives us crazy”. In The Guardian Steven Poole praised Ball’s “deft analyses of the limitations of attributing ‘emotion’ to music, or considering it as a ‘language’ (Lévi-Strauss: if music is a language, it is an ‘untranslatable’ one)”. And the Amazon reviewer Steve Mansfield liked the author’s scope “by drawing his examples from across the spectrum of music, equally comfortable discussing and occasionally comparing music as diverse as J.S. Bach, John Coltrane, Eliza Carthy, gamelan orchestras, ragas, Schoenberg, and the Sex Pistols”.

Alex Ross, Listen to This, books❏ IN 2008 ALEX ROSS, music critic for The New Yorker, landed an unlikely bestseller with his gripping survey of 20th-century music, The Rest is Noise, plus a torrent of highbrow praise. This year he packages some choice essays under the title Listen To This, which David Smyth in the London Evening Standard said “ranges even more widely, making century-spanning, triple-jumping connections in the same way his shuffling iPod leaps from Stravinsky to Louis Armstrong. Coming from a background of listening to nothing but classical music in his teens and discovering rock’n’roll in adulthood, Ross can explain the brute appeal of, say, Radiohead’s Creep in a way that makes you feel your mind enlarging as you read”.

TWO WHO CHANGED THE CHARTS

➢ I Know This Much: From Soho to Spandau,
by Gary Kemp (Fourth Estate, 320pp)

➢ If I Was, by Midge Ure with Robin Eggar
(Virgin Books, 288pp)

Gary Kemp, I Know This Much❏ FOR A MUSICIAN, the music really tells the life story. It’s rare for many of them to try to flesh out the story in prose, let alone as autobiography. Two who starred centre stage in 1980 were Ultravox’s Midge Ure and Spandau Ballet’s Gary Kemp, and though their accounts of the early transformative years of the decade weren’t actually first published this year, their paperback reprints continue to act as intelligent correctives to the hyperbole that accompanies some of the 30th-anniversary air-punching.

Songwriter Gary Kemp surprised many when last year’s autobiography, I Know This Much, proved so eloquent, encouraging rock writer Paul Du Noyer
to claim that it “sets a new standard for rock memoirs”. One of Amazon’s top reviewers, Mr Steve Jansen, believed that Kemp’s perceptive memories of a London now transformed make a “a touching testament to spiritual growth”. He wrote: “Kemp is able to reflect with great poignancy on a young man’s journey into, and through the shining city of dreams. In Kemp’s case that city, metaphorically, but more often literally — and literary in its evocation — is unmistakably London, and the metropolis is ever present like a ghost, framing his actions and attitude.”

The prominent journalist Robert Sandall of The Sunday Times, who died in July, had made Kemp’s his book of the year: “A sharply observed account by a quintessential London musician. Kemp exudes confidence, candour and a keen appreciation of the capital’s club culture.” This year’s paperback edition brought the story up to date with a postscript on his band’s reunion.

Midge Ure, If I Was❏ MIDGE URE IS THE OTHER eye-witness to the birth of Blitz culture, and his memoir, If I Was, hasn’t been out of print since published in 2004, and a revised edition is slated for next summer. Here, the musician tells with exceptional vigour a no-holds-barred story of his own journey from impoverished Glasgow childhood to new-wave superstar .

Amazon reviewer Lisby writes: “Ure writes fluidly and conversationally, imparting the kind of tactile detail that takes readers to the place and time of which he speaks. Ure is astonishingly honest, yet never vindictive. He is, in his prose, much as he is in his lyrics, a good person trying to be a better one while hoping the same for us all.” Another Amazon regular called thedouses adds: “Midge’s autobiography is a very well written, frank and honest book, which offers a fascinating insight into his own career and life but also other notable musical figures of the 80s and 90s music scenes in Britain, as well as providing background to the Band Aid and Live Aid events. He doesn’t use the opportunity to settle scores as so many of his contemporaries have done.”

Apart from being a busy wizard stirring the magic cauldron from which emerged many musical innovations in the 80s, Ure here establishes his central role in the production of Band Aid’s charity single, Do They Know It’s Christmas?, which led to Live Aid, the globally televised rock concert in 1985 which raised millions for famine relief.

NOT FORGETTING…

David Bowie, 1975 ➢ Any Day Now: David Bowie The London Years (1947-1974), by Kevin Cann (Adelita, 336 pages) was reviewed here on Dec 11. “Being a Bowie fan for almost 40 years I am flabbergasted. Many, many never before seen pictures” — Amazon reviewer Peter Gooren

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What larks! Festive fun and games and British ways to make merry

Bobbin’ about to the Fiddle ,Charles Williams, 1817,Thos Tegg,caricature, Almack’s,quadrille,dancing,Lady Jersey,

Bobbin’ about to the Fiddle — a Familly Rehersal of Quadrille Dancing, by Charles Williams, May 1817: published by Thos. Tegg No 111 Cheapside

❚ UNLIKE 21st-CENTURY DANCING, when the quadrille was introduced at Almack’s Assembly Rooms in 1815, its steps were notoriously difficult to perform correctly. This luxurious salon in King Street, St James’s — where the ballroom was partitioned off by crimson ropes — was governed by a committee of despotic lady patronesses who ruled over a “magic list” of those who may or may not be admitted to their weekly balls. Studio 54 had nothing on the power of these women: they effectively decided who belonged to “society”… “All on that magic list depends/ Fame, fortune, fashion, lovers, friends…/ Banished thence on Wednesday night/ By Jove you can do nothing right.

Yet even at Almack’s after Lady Jersey, wife of the 5th earl, brought the quadrille over from Paris as an energetic French precursor to traditional square dancing, wallflowers would sit sniggering as they watched the beau monde’s finest stumbling through the intricacies of its steps and twirls and changes of partner. The quadrille nevertheless soon became all the rage, so required determined practice.

Breeding counted for more than money at Almack’s and the prime role of the magic list was to exclude “cits”, precisely the kind of nouveau riche city-dwellers depicted above by caricaturist Charles Williams, in May 1817. This bourgeois family are preparing for their seaside vacation in Margate by practising their dancesteps at home.

The father is saying to the French dancing master: “I say, Mounseer Caper! Don’t I come it prime? Ecod, I shall cut a Figor!!” [ie, figure], and one of the daughters says “Law, Pa, that’s just as when you was drilling for the Whitechaple Volunteers — only look how Ma and I & sister Clementina does it!!” while the dancing master says “Vere vell, Sar, ver vell, you vil danse a merveille vere soon!” Nobody was spared from the satirist’s pen.

Tom Jerry and Logic, Making the Most of an Evening in Vauxhall,Vauxhall Gardens,George Cruikshank, Jonathan Tyers,Roger de Coverley ,Pierce Egan, Life in London,1821

Tom, Jerry, and Logic Making the Most of an Evening in Vauxhall: by Robert and George Cruikshank, from Pierce Egan’s Life in London (1821)

❚ FOR 200 YEARS THE VAUXHALL GARDENS were the most notorious and important of London’s many pleasure gardens, immortalised in Fielding’s novel Tom Jones by the description “where people come to undo others, and others come to be undone”. Vauxhall lay on the south bank of the Thames, up-river in a rural setting beyond London’s city limits, where the gardens opened before the Restoration of 1660 and closed finally with a fireworks display in 1859. Today all that remains is a small park bearing the name of the original Spring Gardens, while nearby streets do likewise for the enterprising proprietor, Jonathan Tyers, who from 1728 invested in enhancing the grounds so that in their heyday he could charge a guinea admission. (That would be £173 or $267 in today’s money!) He commissioned Roubiliac to make the great statue of the composer Handel for the gardens and added an orchestra pavilion, fountains and temples. Frederick Prince of Wales was his most prestigious patron.

Over several acres Tyers introduced formal plantings which offered attractive paved walks lit by thousands of glass lanterns in the arbours by night, and shrubberies for the making of mischief. Fireworks, hot-air balloon rides and circus performers provided entertainment along with music such as Handel’s from the bandstand.

Vauxhall Gardens, 1732,James Boswell, Dr Samuel Johnson,Rowlandson

Vauxhall, 1732, engraving after a watercolour by Thomas Rowlandson, published by Richard Powell: In the lower box is a supper party of James Boswell, Dr Samuel Johnson, Mrs Thrale and Oliver Goldsmith. Mrs Weichsel sings from the front balcony while Mr Barthelemon leads the orchestra (Princeton University Library)

Elegant painted booths afforded privacy while dining and the ornate Rotunda and other rococo pavilions became famous London attractions. An audience of 12,000 attended Handel’s Fireworks music at Vauxhall which brought together “persons of all ranks and conditions”. The 19th-century history of London Old and New observes “the English assert that such entertainments as these can never subsist in France, on account of the levity of the people”.

By 1712 Sir Roger de Coverley is supposed to have said that he’d have been a better customer to the gardens “if there were more Nightingales and fewer Strumpets.” So it was inevitable a century later that the rakish Tom and Jerry would pay their guinea for admission to Vauxhall. Their rip-roaring “sprees through the Metropolis” would one day give their names to Hollywood cinema’s cartoon cat and mouse, and in their own day they were no less famous.

“Jerry Hawthorn Esq, and his elegant friend, Corinthian Tom, accompanied by Bob Logic, the Oxonian” were young London clubmen created in 1821 by the sports-writer Pierce Egan in his monthly journal, Life in London, which became a runaway success. It was illustrated by the leading satirist of urban life George Cruikshank and its trio of hellraisers became contemporary pinups much copied by other engravers.

The topmost Cruikshank print is not among the best to record the showy splendour of Vauxhall Gardens but it is one of the few to locate Tom and Jerry, their journalist creator and the graphic satirist at London’s hedonist destination — five Regency legends in one image.

Twelfth Night,Isaac Cruikshank, Thomas Tegg,etching,parlour games

Twelfth Night by Isaac Cruikshank: published Jan 10 1807, by Thomas Tegg, Cheapside

❚ BEFORE TV RULED OUR LIVES, playing parlour games was how families amused themselves at the annual Christmastide gathering and Twelfth Night was the traditional day for games, merriment and feasting. The punch called wassail was the drink of choice, and in the Regency era a grand masqued ball often heralded an end to the solemnity of religious observance. Twelfth Night concludes the 12 days of Christmas and precedes the feast of the Epiphany on January 6 (though these dates vary under different sects of Christianity). It was not until the Victorians, influenced by the monarch’s Germanic roots, that we shifted celebrations to Christmas Day itself, which had previously been only a religious holiday.

Cruikshank’s hand-coloured etching from 1807 (above) shows three couples playing the traditional Twelfth Night game of acting out the character depicted on the tickets they have drawn from a bag held by a fat squire seated at left who sings the praises of “good old English customs”. Each ticket is inscribed with a portrait and description. Only two players are happy with their choice: on the left The Queen of Love has been drawn by a self-satisfied lady with a long nose, and on the right The Lovely Hostess by a jolly lady who smiles. The others have drawn unflattering or sarcastic tickets and regard them with expressions of dismay: the dandy in green is affronted by being perceived as a “man of fashion” while the fat woman in yellow has drawn “Miss Higginbottom” and remarks “Put in the bag on purpos to affront me I dare say”. We see a decorated Twelfth Night cake and candle on the side table.

Isaac Cruikshank is one of the four celebrated British illustrators (along with his son George, Thomas Rowlandson and James Gillray) who established satirical caricature as a powerful medium of social comment at the dawn of the 19th century. The Private Eyes of yesteryear.

The Plumb-pudding in danger, James Gillray,  Humphrey, Library of Congress

The Plumb-pudding in danger: by James Gillray, published London H. Humphrey, 1805 Feby 26 (Library of Congress)

❚ PLUM PUDDING IS THE ESSENTIAL CONCLUSION to a traditional Christmas feast. It is made not from plums but dried fruit and for good luck every member of the family should have a hand in stirring the mix before it is steamed or boiled. Since medieval times, the pud has become as symbolic of Britishness as Britannia and John Bull. This political cartoon was drawn by James Gillray in 1805 as a response to one of the most traumatic periods in Britain’s history.

It is titled The Plumb-pudding in Danger and shows William Pitt, Britain’s youngest prime minister, wearing a regimental uniform and sharing a table with the French emperor, Napoleon. A plum pudding represents the world as a globe and each leader is carving himself a slice. Pitt takes possession of the seas with a slice considerably larger than Napoleon’s, who carves off Europe where the French are the dominant military power. The previous year war had been renewed between Britain and the First French Empire that had followed the Revolution of 1789 and a period of continual warfare. With Napoleon intent on invading Britain, Gillray produced many prints in which he imagined the horrors of a successful invasion. By 1805 a British naval blockade on France was successfully frustrating French sea-trade and naval retaliation, so that January the emperor sought a reconciliation with England. Presciently this cartoon was published only months before the decisive British naval victory in the Battle of Trafalgar.

W Belch,January,engraving, ice-skating,1810,Henry Raeburn,Coleridge,Georgian England

January, one of a series of prints depicting the months, c1810: printed, published & sold by W. Belch, Staverton Row, Newington Butts, London

❚ THESE YOUNG BUCKS ARE FLOUTING THE RULES of ice-skating in the Regency period. Among outdoors activities in Georgian England, skating was so hugely popular that the poet Samuel Taylor Coleridge waxed exceeding florid in a prose essay about the pastime for The Friend magazine, where he noted “the melancholy undulating sound from the skate”. Inevitably society proposed “a proper attitude for genteel rolling”, the posture illustrated most famously in Sir Henry Raeburn’s painting of the Reverend Robert Walker, who as a member of the Edinburgh Skating Society is seen serenely gliding with arms crossed over his chest. Evidently, the two January bucks above were only too keen to flaunt their own style to catch the attention of their female admirers on the riverbank.

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