All posts by jedski

First to the Bar

In the first of a new series on local people and places,
Mister Adam looks at a woman who tore up the rulebook

When the whistle came through from Whistler HQ asking if I’d do a column on local history, I dusted off my books and compiled a list of olden days notables from this part of town. 

While the list is shorter than those of more seaward neighbourhoods, its demographics surprised me. The pre-railway districts are dominated by moustachioed fancy hats who look like Sherlock Holmes villains, whereas a surprisingly high percentage of historic Diallers were pioneering women.

So who better to pick for a first column than someone who achieved more firsts than a hangar full of Old Etonians? Helena Normanton (1882-1957) was the first woman to qualify as a barrister. Many other female legal firsts followed; becoming a King’s Counsel, prosecuting a murder trial, taking a case to the High Court and Old Bailey, winning a divorce trial, conducting a case in the USA… the list goes on. She was also the first married woman to demand and receive a British passport in her maiden name.

Helen’s father died in uncertain circumstances when she was four – his body found in a tunnel under Paddington station – and they relocated from London to Brighton. As was often the case with widows from the ‘lower classes’, mum turned their Brighton home into a boarding house to make ends meet. Thus 4 Clifton Place became Helena’s home and part-time workplace for 15 years. 

She later spent a year on Hampton Place at either number 11 or 26 (they renumbered the whole street that year so records differ).

Probably the most pivotal Brighton location in Helena’s trajectory is even vaguer. It was a solicitors office, likely in the Dials area, but where isn’t recorded. Aged 11 she explained mortgage law to her mother, receiving a pat on the head and a slightly patronising “you’d make a great little lawyer” from the solicitor. She decided to take him up on this suggestion – a ballsy move given that no female (let alone a lower class one) was allowed into barrister school back then.

This set Helena on the path to Edge Hill in Liverpool, leaving Brighton in 1903. It was a hotbed of the Suffragette movement which she became heavily involved with. Fast forward to Christmas Eve 1919 and Helena banging on the doors of London’s Middle Inn. The Sex Disqualification Act had just become law. Women were no longer barred from the Bar. Helena was first and her whirlwind of female legal firsts had been set in motion.

She would never forget her upbringing, citing her “gratitude for all that Brighton did to educate me”. You might imagine that crowdfunding was invented by Kickstarter, but the litany of buildings and monuments with ‘by public subscription’ bronzes tells another story. In the final year of her life, Helena repaid the debt she felt to the town and chalked up another first, becoming the first person to donate to the crowdfunder that would create the University of Sussex.

While her name adorns the UK’s only dedicated legal outfitters for women and the only barristers chambers named after one, Brighton itself has been slow to recognise her. The University has fellowships named for her and a number 50 bus bore her name until quite recently, but is a blue plaque on 4 Clifton Place really too much to ask for? 

If you want to pay your respects, Helena Normanton’s ashes are interred at St Wulfran’s in Ovingdean, not far from a moustachioed fancy hat called Magnus Volk.

You can check out Mister Adam’s video series on Brighton history at factmeup.com and his magazine about Brighton’s awesome women’s roller derby team at issuu.com/turnleftmag

Exotic creatures

Dominic Smith talks to Caraline Brown about her novel and “the best feeling in the world”

I took myself to Ibiza for a month with a copy of “How To Write A Novel In 30 Days”. I thought I could just go there, set up my desk, look out the window and I’d be able to write a book.”

It might have taken more than 30 days, but it’s paid off because last month Caraline Brown’s debut novel The Candlelit Menagerie hit the shelves last month. 

With a background in journalism and particularly PR – Caraline set up Midnight Communications, one of the biggest, most successful PR companies in the country – writing has always been a way of life. Fiction though came with its own challenges.

“Writing fiction is so much more difficult than I ever expected. You think as a businessperson you can just approach it like a business task. But writing complex, realistic, character development is not that simple. You forget that you’re telling the story, so all along the way the decisions from one character will impact the others.”

Set in 18th century London, the story follows Lillian; a young maid struggling to find her place in society, who yearns for something else. When she wakes to hears lions roaring in the distance, her intrigue leads her to discover a candlelit animal emporium – the Menagerie. She quickly begins to find her calling and befriends the exotic animals.

While it’s up to the reader to make their own meanings, Caraline said there was one theme her writing kept coming back to. “The idea of being an outsider and being out of your own environment.” 

The relationship between human and animal is an important aspect of the novel, as Lillian finds her feet in the Menagerie. Trying to give the animals voices and personalities, without them being able to speak, was a challenge: “I was trying to show this without over-anthropomorphising, but our relationship with animals is two ways.” 

Caroline came across the subject matter for book when “By chance I came across a non-fiction book called ‘The Georgian Menagerie’ which coincided with an exhibition in the Brighton Pavilion. I wondered what it might have been like to work in such a place.  I also thought it was quite an unusual setting for a novel.”

The Candlelit Menagerie was first released in the USA, receiving positive feedback online. “I’m delighted, it’s the best feeling in the world when someone reads your book, likes it, and leaves a really positive review.”

The Candlelit Menagerie is published by Arcade Publishing.

Caraline welcomes any questions regarding her novel and would be delighted if you chose it for your book club. She can be contacted via her web site www.karibrown.uk

Pic: Kenny McCracken

Creature Creature

And the music scene in Brighton? It’s a blessing and a curse.
Daniel Scully tells Mick Robinson why

Fast guitar hooks, complex keys, intelligent songwriting… What more do you want? 

Creature Creature have just released their debut album, ‘Two Finger Tantrum’ – described by Rock Lifestyle as ‘the best debut of 2020’ – and one day will tour “although this time we’ve had to be patient. It’s been like the longest and most boring game of chess ever.” 

When and where did the band form?

We’re East Brighton born and raised. We started off as very folk-punk and were called 40 Shillings On The Drum, but we slowly gravitated towards straight up rock and punk. We changed the name to Creature Creature to be more fitting with the sound. 

Who came up with the name?

Seb, our keyboard player, saw the film Critters 4 when he was young and it gave him nightmares, so for a while after he told us, we’d shout ‘Creature Creature!’, – a line from the film – and we joked we were going to call the band Creature Creature to remind him about it. Then we did. 

What’s the inspiration for the album? 

The album’s about being unapologetic for who you are and how you want to live your life. As long as you’re not hurting anyone, do what you want. I write all the lyrics and my inspiration comes from many different things; films, tragedies, love, drunken nights, the never-ending tendency of those in power to oppress hardworking people. I tend not to be overly political but there’s definitely messages in there if you dig in. 

Biggest gig you’ve played?

Angmering Social club. No, just kidding, getting abuse and drugged up wasters in our faces and wanting to fight… that was a real low. Biggest would be Beautiful Days festival down in Devon where we met Feeder’s guitarist, Tommy Gleeson, who became the producer of our debut album. Favourite gig would be supporting punk legends UK Subs at Lewes Con Club. 

Fave venue to play?

Hope and Ruin have nailed it as an intimate venue with a big sound. Accessible by up and coming touring bands and local ones alike. They put on some killer shows. We’re still waiting to grace the Concorde 2 though…

Fave venue to watch bands at?

Speaking of Concorde 2, you can’t beat it. Great atmosphere, great people, fine sound system. Always love a show there! Can I praise them anymore? What have we got to do to get a support slot there? Our drummer Matt gives good back rubs. 

What’s your thoughts on the local scene?

The Brighton scene is great, or was great pre-pandemic. Very much hoping we can get it back to where it was once live music starts happening again. To live in an area with a thriving music scene is both a blessing and a curse. It’s great that there’s lots of places and opportunities to play, but also the competition is fierce so you have to work extra hard to stand out. Actually, that’s not a bad thing either. 

Any particular bands?

There’s the obvious ones flying the flag like Royal Blood and Architects, who have deservedly just scored a number one album. If you dig deeper though, there’s a wealth of varied artists to discover. Nice Guy Dave’s just released some more music and he’s always entertaining. 

Any tips for Brighton bands just starting? 

Find the right people with the same aspirations as you. Be sure you’re all on the same page for what you want, it’ll save the ballache of finding new members when you tell them it’s time to make the leap and do a tour. And practice, practice, practice! And then practice some more. A lot of artists gig before they’re ready. It’s important to get a feel for playing live, just don’t put yourself out there until you’re tight. 

Fave bands UK or worldwide ?

So so many, but right now I’m really enjoying some of Bring Me the Horizon and Frank Carter’s new material. It’s so good to hear some heavy artists actually breaking through to commercial radio. From a totally different scene I always enjoy Frank Turner and the Pogues. That folk-punk style of lyrics really helped me develop as a writer myself and is something I’ve brought through to Creature Creature even though the style is different.

And although I’ll never get to see them, I’ve been a long-time fan of The Clash and have recently been rummaging around their live shows on YouTube. That’s perfection right there. 

What bands did you listen to growing up?

Cliche but Oasis got me into music. I wanted to be them for a while but with fuzzy hair, it was just never going to work. From there I went to the Beatles, funny that, then to the Sex Pistols, The Jam, The Clash, The Stooges – anything with some attitude. 

First thing you’ll do when lockdown ends?

Get the bloody band back together in one place! Blast through our album live and loud, then go to the pub for an ice cold pint or ten. We’ve just booked a Brighton show for 14th August, that’s an exclusive! Put it in your diary, full details announced soon (so keep an eye on the Whistler website – ed)

Facebook: 

http://facebook.com/creaturecreatureuk

Twitter:

Instagram:

http://instagram.com/creaturecreatureuk 

YouTube:

http://youtube.com/creaturecreatureuk

Official Website:

http://creaturecreature.co.uk

Tales From Our City

“It might sound glib, but I wrote it
because I think Brighton is so special.”
Daren Kay tells Katrin Johannessen why

‘The Brightonians’ is the debut novel of former advertising copywriter, Daren Kay. It tells the story of a social group in Brighton uncovering a mystery of the past, sparked by an old letter found in a hymn book at the funeral of iconic former (fictional) mayor Grace Davidson. It spans multiple decades and different generations of mostly queer people.

It was important to Kay, that the novel included different generations, as there can sometimes be a disconnect within the queer community between age groups.

“As a younger gay man, I learned a lot from older queer people and I think it’d be great to foster that intergenerational communication again, which is why in the novel I wanted to make sure there was a full spread.”

“What I really felt was important is I think a lot of queer history has been erased, it’s been forgotten, it’s been purposefully left to one side and so I wanted to do my little bit to make queer history interesting to another generation.”

Not only is there a spread over generations, but the characters also come from different parts of the UK and have different accents, Polari is also represented.

“It was largely a reflection. There isn’t anyone that is based on anyone that I know, but I would say that the characters are a mixture of a couple of people and lots of the characters have bits of me. I think Brighton is a melting pot. It might not be the most multicultural place, but I do think it is a melting pot. One thing I will say about Brighton is you very rarely meet people in Brighton from Brighton.”

Although the social scene is shown as quite competitive and perhaps even cynical at points, there is a definite sense of community throughout the book. Kay himself has experienced how the LGBT community has come together during times of struggle, such has the HIV crisis and the introduction of Clause 28.

“I was in my early twenties when that happened. My experience in Birmingham and Sheffield was that there was a separatism until that happened. I think the HIV crisis and Clause 28 brought lesbians and gay men together for the first time in a big, big way.

“I know from historian Alf Le Flohic, who is quite known in Brighton for his knowledge of queer history, he lived in Brighton in the ‘80s and he said that the lesbian community was very supportive of gay men during the crisis. So, it’s been solid for a long, long time. Particularly with older people. I think age is a great leveller.

“I’ll be really blunt, I think sometimes the different communities within our community spend too much time arguing with each-other, when we have a common enemy, which is quite obvious out there.”

Kay replaced the security of his job in advertising and started freelancing and following his passion for writing, resulting in the ‘The Brightonians’.

“I wrote it for me. As a copy writer, I went into advertising because I loved writing and as you go further up the ladder you get more and more removed from the reason you went into the job in the first place. So, when I left that job, I rediscovered my love of writing through this book.

“The other thing I wrote it for was Brighton. It might sound glib, but I wrote it because I think Brighton is so special. I just find it such an incredible place and I wanted to capture what I love about Brighton. That amazing concentration of some quite unusual people.”

In the novel one of the characters at one point ‘plays the Brighton card’, when she uses her love of Brighton to score social points.

“I’ve invented that, but I do think it exists. I think I have played the ‘Brighton card’. I’ve gone even further and played the ‘Kemptown card.”

“I think the proximity of Brighton to London is one of the things, that has made it so unique. I lived in London for 25 years and I find Brighton even more sociable than London. I think the geography of it, because it is quite small or concentrated people are much happier to do things.” Kay said.

Brighton is more than setting in the book and through a fantastical seagull it gets a chance to speak for itself.

“Brighton is so much a part of the book, I needed a way for Brighton to speak, so Charles de Gull basically became the voice. I’ve referred to seagulls in interviews as nature’s CCTV, because they’re just always there. For people who write, they are just always watching us. It seemed like the most obvious vehicle for Brighton to have a voice. What I liked about the seagull is that in my head the seagull has been there for 200 years, so it’s almost like a fantastical seagull really.

“Brighton has always been a really significant town on the south coast, because of its proximity to France and London. But Brighton in most people’s heads didn’t really become a place of any interest until the 1750s, when Dr. Russell recommended our seawater as this great sort of cure for everything, and people started to come down. So, I wanted Charles de Gull to have existed since that time. So, he allows me to set the scene and say this is a town, which has always been a centre of liberal thinking and artists.

The people in Brighton might like to complain about the seagulls, maybe especially when having their food stolen by a shifty one, but they still have a special status in town.

“It’s weird. The book cover was designed by my friend Sarah Arnett. In her work, she has lots of birds, but she’s never done a seagull. It’s a very divisive thing in Brighton. It depends on if you’re being shat on, I suppose.”

His next novel is already in progress and it’s called ‘The Brightonians Under Siege’ and is about the last year and Covid.

“One of the things I wanted to capture and celebrate was the social scene and parties and what I sometimes call ‘competitive partying’ that I see in Brighton and now to suddenly have that stopped I think it’s really fascinating.

I do think that when people read this book still on the ends of lockdown, they will feel nostalgic for those fancy-dress parties and for being able to meet up with people and having a gin and tonic.”

The Brightonians will be released on April 23rd.

Anyone who signs up to www.darenkay.com before 30.04.21 will be entered into a prize draw for the chance to win a porcelain mug featuring the cover design by Sarah Arnett

The book is available to order now at Waterstones, Book Depository & Foyles:

linktr.ee/darenkayauthor

View From The Hill – Nicholas Lezard

At time of going to press it looks as though – although we cannot be sure, so let’s touch wood – we’re going to be allowed out soon. 

The days are getting longer, we will be able to meet friends again, or at least do so with a clean conscience. One of the great pleasures I have rediscovered is the simple act of walking along the seafront. It is a hard and damaged heart that cannot be cheered, even when it’s nippy out, by a promenade among the various citizens of this city. 

I’ve lived here for two years and a bit, but I first fell in love with the place in 1984, when I was among the first on the scene when the Grand was blown up by the IRA in 1984. I was staying with journalist friends of mine – they got a call from the desk of their national tabloid telling them to get down there immediately; they brought me, in those days not anything even like a journalist at all, along for the ride. 

Every time I look at the Grand I remember the huge chunk taken out of it by the bomb, and then salute the way that Brighton coped with the event. Ever since then I have been visiting regularly and now I am delighted to have settled here. Every day I love the place more and more. 

   My youngest son is studying at Sussex, living in Brighton. We have got into the habit, once a month or so, no deliberate timetable, of having a beer on the shingle while chatting and looking at the sunset and freezing our bits off. 

The latest dilemma, from a couple of days ago: do we sit against the seawall facing the potentially glorious sunset but being chilled by the wind, or sit with our backs to the wind, on the other side of the wall (or groyne, a word that never fails to delight me) and miss the sunset? In the end we chose to shiver and look at the sunset. Which was glorious. 

A group of young women about my son’s age were sitting a few feet nearer the sea and they asked us to sing “Happy Birthday” to one of them. My son is sternly against the idea of public performance. “No,” he said, firmly, “but I will wish you a happy birthday.” I would have sung my heart out to the birthday girl had I been on my own, and drunker, but I did not want to embarrass either my son, or myself. Or indeed the young women. 

   I asked my son, as we climbed back up the shingle, whether he was going to be staying here for a while after his term finished. I was worried he wasn’t loving the place as it should be loved. “Oh God yes,” he said. He paused to take in the life, the light. “This place is great.”

Why we really should wear masks

By Andrew Polmear, our intrepid wine and cheese man – it’s OK kids, he’s a retired doctor

Most of us are pretty good at wearing a mask in a public place, possibly because we’d get thrown out if we don’t. But have a look round on a bus or train and you’ll often see someone whose mask is useless – either below the nose or even round the chin. There are people, of course, who are exempt, but they wouldn’t be wearing one at all. Does it matter? How good is the evidence that wearing a mask saves lives?

Comparing different countries. The first sort of evidence is from countries where almost everybody wears a mask when they leave home. One careful study showed that transmission of SARS-CoV-2 (the virus that causes Covid-19) is 7.5 times higher in countries where mask wearing is not universal compared to those where it is. That’s not proof, of course – the difference may have been due to something else; they may also have been hand-washing, or distancing, or just not shaking hands, for example. But the masks probably help. A study of US states found that states in which mask-wearing was compulsory had slower disease growth rates than states where it wasn’t.

Studies that asked contacts of coronavirus cases whether they wore a mask or not, then checking whether or not they caught the disease. It’s not a reliable technique – it all depends on people’s memory and honesty. Roughly, wearing a mask seemed to result in half the risk of catching coronoavirus disease. But almost all of these cases were SARS or MERS, not Covid-19.

Lab studies. The final sort of study is done in a laboratory where they measure particles the size of the water particles that carry coronavirus. Researchers have looked at the different situations that arise. I’ll focus on where the contagious person is coughing:

  • The person coughing is masked: a mask roughly halves the number of particles getting out. (Warning – different studies come up with different figures, according to what size particles were measured and how far away from the person being tested.) A 3-layer homemade cloth mask does as well as a surgical mask. An N95 mask may do a bit better but it’s quite a bit more expensive. Whether it fits properly may be more important than what it’s made of.
  • The person with the mask is in the same room as the person coughing (who is not masked): there is benefit but it’s much less.
  • If both are masked the benefit is much greater at about 80%. But what really makes a difference is if both wear double masks – that is, a surgical mask with a fabric mask over the top. That reduces particle transmission by 95%. It may be that the double masking works more by ensuring a close fit, than by the ability of the extra mask to filter more particles. Try it, it’s quite comfortable!

Where should we wear those masks? Obviously in public enclosed spaces. Keeping 2 metres apart isn’t enough. Those masking studies I mention above were done 6 feet apart. I think masks should also be worn out of doors. If there are no crowds and a good breeze you would probably be all right, but you can never protect yourself against the panting jogger who pushes past you, or against bumping into someone as you round a blind corner. If you can smell the cigarette smoke of a smoker you are inhaling their breath.

Finally, what about in the home if a family member becomes ill or is a contact. There’s just one study on this, from Beijing. Transmission of Covid-19 was reduced by 79% if everyone in the household was masked. But there’s a catch. Masking has to be all the time, including before the person who becomes ill develops symptoms. That’s partly why Covid-19 is such a problem. The time when a person is most contagious is from 2 days before symptoms begin until 1 day after they start. If the person you live with is a contact you have time – mask up straight away, don’t wait for them to become ill. If they develop symptoms out of the blue you’ve probably missed the boat, but mask up anyway.

PS. You may be wondering whether higher quality masks would do better than the fabric and surgical masks described above. After all, an FFP2 mask is, by EU definition, one that filters out 94% or more particles (roughly the same as an N95 mask (the US equivalent) and a KN95 (the Chinese equivalent)). An FFP3 mask filters out 98% or more particles. The answer is no, not necessarily. They were designed for industrial use, not specifically for viral protection. Also, those EU tests do not attempt to mimic the human situation, with one person coughing, or talking, or even just breathing out, and another person breathing in. They may still be better than fabric or ordinary surgical masks, especially if properly fitted, but don’t expect 94% or 98% reduction in transmission. And, of course, don’t wear a mask with a valve in it – that would allow out any virus you are exhaling.

PPS. Those who wear glasses find masks a problem. Their moist breath fogs up the inside of the lenses. From all the people who have commented on this it is clear there’s only one solution: wear the mask high up on your nose and perch the glasses on top of it. One eye surgeon, who needs to wear glasses while operating, tapes the top of his mask to his nose, so it can’t slip down below his glasses.

This is an area of science where new information is coming out every day. By the time this article is published it may already be out of date. And please bear in mind that it is the opinion of one retired GP, not a leading scientist. Andrew regrets that he cannot enter into correspondence with individual readers.

Dirt Royal tell Mick Robinson about their Great Expectations

I’ve been a big fan of this Brighton band since they started a few years ago, and we’ve done some superb gigs together at The Prince Albert, Hotel Pelirocco, two landmark gigs at the Concorde and the 100 Club in London supporting punk legends Sham 69. They also played the new band stage at Rebellion and have toured Germany.

You have just released your second album, Great Expectations. How long did it take to record, where did you record it and what’s your connection with Germany?

Char – We recorded the album in Horsham at Ignite studios it was very cold, we did nine songs there then we did three songs at Russell Church’s Sea Side Studios. The tracks were mastered at Gatehouse studios. We didn’t have time to record a song called Outsiders which is shame because it’s a rip off another song I really love.

Leon – We had plenty of time Char, me and Loz just decided it was out. Did you not get the memo?

Char – We work with Time for Action records that are based in Germany – it’s just a shame we can’t tour and get out to Germany, they treat us really well out there.

What is the main inspiration behind your songwriting?

Char – On this album lyrically I was inspired by a lot of the uncertainty and repetitiveness you start to notice in the people around you once you get  past 25. I feel compared to the first album it’s a lot more pessimistic. But I’ve been told we sound a lot more vulnerable at parts.

Leon – I think with this album I wanted it to sound bigger than the rest, but when it came to the writing I wanted it to be as honest and raw as possible. The first album we wrote songs based around characters mostly with some self-reflection, but this time I wanted it to feel personal and more relatable.

When & how did the band form?

Char – I met Loz in a bar called PR6 he was playing Blink with his mate Harry. Then I met Leon at the Jurys Out open mic night – he was wearing a Libertines T shirt.

Leon – No comment. I prefer to keep this shrouded in mystery 

Who’s your biggest influence & why?

Char – The Clash of course. So many reasons but for now I’ll say because they are the best band that there ever was.

Leon – Well this is a big one, what does one look for in ones influences? Raw talent, musical prowess, cutting truthful lyrics? I dunno. I like a catchy tune, I’m well into Polka at the minute – it’s the next punk take it from me.

You met Mick Jones (from the Clash) when he was in Brighton in 2015, what did he say? 

Char – He said ‘Nice set boys. You’ll be hearing from my lawyers’. He was beyond cool and had a lot of time for creepy fans like me.

Leon – He didn’t speak to me. I saw Matt Cardle at Westfield once. That was pretty cool.

What’s been your favourite gig you’ve played so far?

Char – That’s really hard. Playing Concorde 2 with Sham was amazing. Our first gig in Germany was incredible, but all the gigs we played at 12 Bar in Soho hold a special place in my heart. I miss that place, but right now I’d be happy to play a gig at a bus stop.

Leon – I do love the Concorde 2 gigs, but we’ve done some great gigs at the Albert over the years, they can be very sweaty and lively. It was also the first stage we ever graced so it has a special place among the many venues we’ve played.

Where do you see live music going, post lockdown?

Char – Going to be a big hit I think which is bad because it wasn’t getting much support before, maybe people will want to go out more after being caged for a year.

Leon – I think there’s a lot of DIY stuff coming out now so I’m hoping the decline of the stadium show will give space for small grass roots venues to make a comeback. Instead of going to see old bastards headline the Brighton Centre, maybe people will watch a new band down the street.

What’s your fave film?

1.Star Wars (empire)

2.Toy Story

3.Rocky 1

4.Clockwork Orange

5.Batman 1989

6.The Fly

7.Drop Dead Fred

8.One Flew Over The Cuckoo Nest

9.On The Beat

10.Overboard

How are you keeping busy in the lockdown?

Char – Writing a lot and Leon has taught me how to record demos at home, so we’re just trying to get all the ideas down ready for when we can practice again. Got a lot of new songs between us, over 20.

Leon – I’ve been reading them books.

Any other contemporary bands you like, especially in Brighton ?

Char – Teenage Waitress I’m all over at the moment, The Lathums, Bite The Buffalo, and I’m loving the new Strokes album. And my mate I was in a band with at school recently showed me Cloud Nothings.

Leon – I’ve been getting into the new post punk thing, bands like Squids, Sports Club and Yak, there’s also some cool stuff coming out of Australia like the Chats and Viagra Boys

And what are your plans for 2021?

Char -Get the new songs together and ready to record. But also we were planning to record a new single so we will be getting that together ASAP I would like to get that out this year, all depends on when we can get back in a practice room together again.

Leon – Shake my tail feather, I just wanna go dancing.

If you could play anywhere in the world where would it be?

Char – New York!

Leon – San Francisco all the way.

Any advice for a band starting out right now?

Char – Write, rehearse, gig, record.

Leon – Don’t do it, get a trade or learn how to code or something.

Where can we buy the album?

Char – The physical copies of the album have sold out, but it’s still up on iTunes, Amazon, Spotify and a load of other streaming sites I’ve never heard of. Actually, we did a few Dirt Royal bundles with the album, t-shirts and previous singles and stuff. There might be one or two still available at www.pipandpine.com…. quick go now

Cor blimey, guv, strike a light

Me old China Peter Batten goes off searching for the East End he knew

Brick lane

My father’s family came from the Isle of Dogs, more politely known as Millwall. This is the area of London portrayed in the TV Soap, EastEnders. Several of my relatives were involved in amateur or professional boxing, a sport rarely mentioned in the BBC’s Albert Square.

That omission leads me to a question I am often asked, “How true to the East End is the BBC Soap. I should certainly be able to answer that question. I grew up in a house which looked out on a very substantial street market.

On the other side of the road there were market stalls and behind them a row of shops. Just at the end of the row was a pub called, The Queen Victoria. As in the soap my grandmother would meet her cronies there most evenings. Just before closing time she would toddle home clutching her nightcap, a small jug of brown ale. On our corner, two houses away, was a fish and chip shop. I can almost recapture the smell as I write these words…

Just a few yards away the market became denser, with stalls on both sides of the road and many different shops. One feature I recall immediately, which EastEnders does not recreate, is the lighting. In 1938 our road had been electrified, so the stalls had been linked to electric lighting.

One of my earliest memories (I was born in 1933) is of the warm attractive glow, in winter months, around the stalls early in the morning and again in the evening. Activity began at about 6am, when some stalls had to be brought out – lots of noise – and ended after 6pm.

There is just one problem with my description. When my mother and father married (they met in Greenwich Park) they lived in my grandmother’s flat in Southwark Park Road in Bermondsey, south of the river.

It suited my father because he worked at the Surrey Commercial Docks in Rotherhithe, just over a mile away. This is the road which I have been describing. It is certainly not in the East End.

The Street Market which I have begun to describe is typical of many throughout those inner London suburbs which grew up post 1850. They were active from Monday to Saturday. Then on Sunday huge special markets took over, like the amazing Petticoat Lane near Liverpool Street Station or the one I often visited just off the Walworth Road. One of their special attractions was the sale of animals, which took up one or two side streets.

My memories of our market are based on the years 1938-1958. I think they make an interesting contrast with the market which has been created for EastEnders, but I do not intend that as a criticism of the soap. Each of the smaller local markets had a character of its own, but they all offered a diversity of goods and characters which EastEnders cannot hope to recreate. Our market was known as “The Blue Anchor” after the pub which was at the heart of the market area.

It was older than the Queen Vic, a late Victorian pub, and an even younger pub, the Colleen Bawn. As a nosey child this name always irritated me. What did it mean? Only in the 1970s did I discover that it was the title of a very successful Victorian play by the Irish playwright Dion Boucicault.

We had a small fleapit cinema, the Rialto, a small Woolworth’s, a bank, and a Co-op supermarket, built on part of the road which had been destroyed by bombs. The variety of the stalls and shops was amazing, with all kinds of goods, groceries and foodstuffs on sale. Immediately opposite our house was a greengrocer’s stall, so it was very easy to nip across if we needed some extra veg for a meal.

Right behind him was a German bakery called Griesbach. A little further away was a German pork butcher offering some delicious specialities. Sadly, that closed in 1940.

Among the more unusual offerings was Sarsparella, a red cordial sold by the glass from a barrel. As in Ben Jonson’s Elizabethan play, “Volpone” there was usually someone offering some miracle cure for all ailments. Sometimes there would be a crockery stall where you were encouraged to make an offer for plates or a tea service, An allegedly ex-boxer stood with a set of scales offering to tell your weight. Someone called Prince Monoloulou might come by offering to sell you betting tips.

Which reminds me of something else. There is no illegal betting in EastEnders. In my childhood it was going on all around me. “Runners” as they were called were quietly taking bets and handling money in every pub and every factory. Our elderly neighbour, Mr Westcar, found a handy way to add to his pension by running a small “Book”, as it was called. Just in case the police came calling, my mother explained to me, all his betting slips were pinned to the underside of his large kitchen table.

OK EastEnders, so there’s no illegal betting these days. But what happened to our jellied eels??  

What’s Going On?

In the second of Andrew Polmear’s Covid reports, he looks at the Oxford AstraZeneca vaccine and the over 65s.

A friend has just emailed to say that she’s delighted that she’s had her first Covid vaccination – but disappointed that it was the Oxford/AstraZeneca version. She’s in her 70s and I guess she’s heard that a number of European countries will not be using the Oxford/AZ vaccine in people over 65. Indeed, President Macron of France has been the most outspoken, saying that “it’s quasi-ineffective in the over 65s” Yet our own Medicines and Healthcare Products Regulatory Agency, and the EU equivalent, have approved its use in all adults. So what’s going on?

The problem is that the Oxford study began with patients under 55 years old. They wanted to prove that it was safe in younger patients before giving it to the elderly. Once it was clear that it was safe they included adults of all ages. But when they reported their first results only 2 patients over 65 had the disease. Neither had been given the vaccine but the numbers were too small to say that that proved that the vaccine worked in the older patient. They could, however, say that President Macron was wrong to say it didn’t work. All that can be said is that they hadn’t proved it did work.

So why has the Oxford/AZ vaccine been approved for all ages? There are two reasons:

  1. The researchers measured the antibodies in the blood following administration of the vaccine. Subjects over 65 had a strong immune response, as measured in the lab. It was not quite as strong as in younger subjects but it was plenty strong enough.
  2. All other studies so far reported have shown that older people are protected by the other vaccines. Especially reassuring is the vaccine made by J&J which uses the same technology as the Oxford/AZ vaccine. It would be very odd if the Oxford/AZ vaccine didn’t behave in the same way.

My belief is that, like President Macron, politicians in those countries have confused ‘no evidence of benefit’ with ‘evidence of no benefit’. If the Oxford/AZ vaccine isn’t shown to be effective at all ages in the next few weeks, I’ll eat my hat.

This is an area of science where new information is coming out every day. By the time this article is published it may already be out of date. And please bear in mind that it is the opinion of one retired GP, not a leading scientist. Andrew regrets that he cannot enter into correspondence with individual readers.

Covid-19 and vaccines – a (retired) doctor writes…

Not only is Andrew Polmear our intrepid wine and cheese man, he’s also a retired doctor and asks… Does delaying the second dose till 12 weeks after the first put us at risk?

One of the joys of being a retired doctor is having the satisfaction of responding to people’s concerns about medical matters without the worry of being responsible for them. So I enjoy queries from friends; and of all the questions I’ve been asked about Covid-19, the commonest is about the 12 week delay between jabs. Is it safe?

The short answer is yes, but, of course, it’s a bit more complicated than that.

The first bit of the answer is the straightforward one that Matt Hancock, Health Secretary, gave when he announced the change. If you have a vaccine that’s in short supply it’s better to give everyone at risk a first dose rather than give some a second dose and others nothing at this stage. The first dose gives a better “bang for your buck”. That means Matt Hancock made the right choice for the country; but it doesn’t stop us, as individuals, wanting that second dose.

But does delaying that second dose reduce our protection?

Things are easiest to understand with the Oxford/AstraZeneca vaccine, because there’s published information about this. The Oxford researchers had intended to test a single dose. But after they’d started the trials they found that, when they gave a second jab to a small group, they got a better antibody response. They went back to the regulator and got permission to change the trial, so they could give a second jab 28 days after the first. However, by the time they gave their subjects the second dose, some were at least 90 days after the first. So they could compare the effect of early and late second jabs:

  • second dose given early (between 22 and 90 days after the first) – 76% of cases of Covid were prevented, with no sign that protection was tailing off towards the end (and none of those who did get Covid were bad enough to go to hospital).
  • second dose given late (more than 90 days) – 82% protection. What’s more, subjects had higher antibody levels than those who had an earlier second dose.

So, with the Oxford/AZ vaccine, we can say that a 90 day gap is fine, possibly even better than a 28 day gap.

With the Pfizer vaccine it’s more difficult because all of those taking part in the trial got the second dose at between 19 and 42 days after the first. So Pfizer are correct to say that there’s no evidence that delaying the second dose until 90 days is safe. The World Health Organisation hedges its bets by recommending that the gap go up to 6 weeks. So why does our own, highly regarded, Joint Committee on Vaccination and Immunisation recommend 3 months? There are two reasons:

  • The first is that most, possibly all, vaccines give better long-term immunity if the second dose is delayed. The HPV vaccine, for instance, given to girls and boys to protect against certain types of cancer, works best if the second dose is given between 6 months and two years after the first. Immunity from vaccination doesn’t fall off rapidly. It takes 2 – 3 weeks after a jab to develop. It doesn’t then suddenly disappear, at least not for months or years.
  • The second reason is a detailed look at the Pfizer trial. Patients in the week before the second jab were 89% protected against Covid-19. After the second jab they were 95% protected. Such a small improvement in protection from an early second dose isn’t statistically significant.

 So, the chances are that a delay in receiving a second dose of the Pfizer vaccine will do no harm. And it’ll certainly mean that more people will get their first jab sooner; which is good for everybody.

This is an area of science where new information is coming out every day. By the time this article is published it may already be out of date. And please bear in mind that it is the opinion of one retired GP, not a leading scientist. Andrew regrets that he cannot enter into correspondence with individual readers.